 All right, new version here with sound, let's go. I said it before and I'll say it again. Life moves pretty fast. You don't stop and look around once in a while. You could miss it. Let's go back here. Let me check. I don't see anything in the mail in terms of, what's going on? I'm not quite sure if you're still keeping what you're doing at the end. So I'm just gonna leave that shot alone since there was also no animation on there. There's still the thing of, even though the candle is on the right and it's technically left or right and it is still left or right. It's just an odd thing of him looking right to left and then we go this way. This is very subjective, this might just be me, but I would try to have something at the end where the eye line is this way. That way it cuts a bit better, again, subjectively. I'm still not a massive fan of this look plus that image versus just geometry. It's also kind of flat and it looks like a painted backdrop, I don't know which it is, but it's like it just flattens everything, doesn't give you any depth or something. I would have something where I would put in geometry and really crappily rebuild this, but then put hardware fog and haze it and put some flickering lights if you want some mood in there. In terms of the animation, I think the energy level with the audio that works just at the end, it's kind of like a, phew, kind of a long exhale and then an inhale. Don't hear it, but you know it's there. There's something about him going down where at the end it's very much focused in here, just mechanics-wise, but there's such an exhale that you're missing seeing compression in the stomach, changes in here, maybe a little bit more continuous bending down or bending over because of that exhale, it just seems a bit too isolated in here. I'm not sure if I'm seeing anything here during the, because there's such a, if you listen to the lip smack, it's such a big thing that even though it's kind of hidden with this and the nose, it could be something where you can have a little bit of a head rotation and kind of get a little bit of like a roll, bit of an accent in there to mix that. You know, you're just gonna have elements and energy peaks in the audio and you wanna reflect that somehow in the body, through to a head accent, lip sync, whatever it is. So it doesn't feel like body's doing one thing while the energy level is different in the audio, if that makes sense. This is subtle though, but just a little thing. Watch out, too mechanically, he leans over. It's not too bad in terms of the whole, it's a little bit harsh, how he comes to a stop right there. It's a little bit hitting an invisible wall. I would soften that ease in and out a bit more. And the same thing there, as he goes to the left, it's a sudden acceleration. It's a bit fast, but then it feels like we're stopping abruptly right through there. Like that's an invisible wall right there. Let me take the other line out, but if you watch this, right there. I know we continue to the left afterwards, also with the bend, but if you just track that line in terms of what that spacing is doing, we're heading over there, and then it just kinda stops a bit too harshly. Again, I would overshoot a bit more. And it's a tricky thing because you're stopping, visually it looks like you're stopping here while this continues with the hip change and the rotation there. So you might have to kind of ease into that overall translate a bit more. So by now, this line is maybe here. And then you can come kind of back a bit. That might help you with exhale, so that throughout this, it's not so locked here, but you're moving this whole body back into the position that you have here, if that makes sense. So you go over to the left, keep going and ease in so that by now you might have this line here, or maybe a bit less. And then you come back into a soft stop into where you are right now. That way you'd have to change too much animation. And it fits into that exhale. Yep. I do like this though. Just watch out that it's not just in one axis. I like what you're doing facially, but you can have a bit of a side tilt where the chin moves over this way. So it's not in one axis, but you wanna make it complexity wise all three. I said it before and I'll say it again. I do like this. I said it before and I'll say it. And I love how you're leading with this side and look and then you turn. Say it again. It's a bit flat. That head turning, we have a little bit of an arc. Say it again. Say it again, kind of a say it again. Life moves. I said it before and I'll say it again. Life moves. That is also a bit fast. If you listen to this audio. I said it before and I'll say it again. I'll say it again. Again, the energy goes down. Life moves. Life moves, like having it again. Say it again. That energy dip. But then suddenly this really fast move. Life moves. It doesn't quite, doesn't quite mix well. I will slow that down. And you can always have a slower so that this. Life moves. This peak just happens just a bit later. Say it again. Life moves pretty fast. I don't mind. It's pretty fast. Pretty fast. I don't mind that section. It moves pretty fast. And this is a, it's also a bit fast with this object coming in, but it's also a bit of a mismatch where, given that arc it feels like and looks like an under arc, as you can see here, right? But then I know it's like implied that well, it will have to come back down. And is that what we're seeing? But the way it cuts, it feels like under, upper, that's a bit jarring. Moves pretty fast. You don't stop and look around once in a while. And in this section, the lip sync is a bit muddy. Fast. Life moves pretty fast. Fast. Turn on the scrubbing here, hold on. Life moves pretty fast. This is an S, fast. So you're gonna have to have to put the teeth together for the S sound. You don't stop. And I think going from this shape to this is a bit even. The curves are like this in graphite, they're very linear. Fast. You don't stop. So I will go into that a bit faster than that way. You don't stop. You, the U shape will be a bit faster as well. You don't stop and look around once. You don't stop and look around. And then what I'm seeing here, the mushy aspect is that it feels like the corners here, here, like there's an overall wave from once in a while. In the lip sync where you don't stop and look around. Like you have an asymmetry here, but it's only only this section comes up. There are a lot of busy shapes here around once in a while. In a while. While and on the while, the mouth is closed. So it just seems, just the timing is off and some of the shapes are off in places. You could miss it. You could miss it. Even here, how you anticipate going into you, it just seems very even in timing where you have a key here and then a key here. You could miss it. Let me turn this back on, hold on. You could miss it. You could miss it. You could miss it. Even here, I feel like the S is, watch out for this. S is a bit late for miss it. That's your S shape. And that's that. Ferris Bueller makes me wanna watch that again. All right, that's it, thanks. All right, there's an email. You can sign up, you can start whenever you want. You can submit whatever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right, thank you.