 All right, it's a new version here with sound. I'll tell you boys, life is crazy. One day, you're in community college, driving a Camaro T-top, coca-cola walk, and then you need some cash, so you get a job. You think it's only temporary, but then you get a promotion and then a raise. And all these doors open up for you, except they're not really doors, they're trap doors. And then all of a sudden, bam, 20 years has zipped by and you're thinking, is this all I have to my life? Not you kids, I love you kids, but come on to the house, it's crap. I'll tell you boys, life is crazy. One day, you're in community college, driving a Camaro T-top, coca-cola walk. All right, awesome stuff, I like it. It's really, really cool. I have minimal notes in terms of posing. I still like this throw. I think someone in the comments mentions that they don't see the force applied to the turn of this. And you might argue that it could be the finger opening, but I can see that, and to be honest, I miss that. I think that's a good comment, where just where is that twist coming from? So it could be, again, it might argue it's the fingers and maybe the hand away from us, so you don't see the rotation as much. To me, it's not a shop breaker, and I think the way it opens, I think it's okay, but if you wanted to add a little bit of a broader rotation in that hand, why not? All I would say is right now, this feels like you're constrained, then you're popping into another position, and then we're staying in that position. It's like you're initiating. I put onions getting on here. You're initiating with my horrible lines here. There you go, whoops, hold on. Hold on, let me switch to my tablet. All right, slight change there. So as we go, all right, it works, going back here. I'm actually drawing on, see that, that spacing pop? Like that. It is a bit strong, so I think that's something we could tweak. That is the royal we, since we're going for final here. And then if we're picky, as we are, you can see how much that moves over to the right from here to here, but then it stops, and you can see how we're going down straight here. And he hasn't grabbed it yet. So it's like a one-frame change, picky, but you know, over to the right. This frame, so we go to the right. This frame, it's fine. It's even, I don't mind here because if he grabs it, there's gonna be a pivot point from here, but rotating over like that, don't mind that. This is so picky, but hey, we are towards the end. Also making sure that I have my microphone in front of me since I just switched position here. That's all cool. We have hardened the sausage, kind of. I still feel like this downward swoop shouldn't go up here into a straight. This almost was like a default position versus this is a character pose. Yeah, I'll just keep it like that. One day you're in community college. Pose wise, we're good. Life is crazy. One day you're in community. I think that's awesome about this rig. It's just like the squashy shapes and all that stuff there. It's so great. One day you're in community college, driving a Camaro T-Top Coca-La-Waq. T-Top Coca-La-Waq. I think that accent is better. Camaro T-Top Coca-La-Waq. It comes a bit early. Camaro T-Top Coca-La-Waq. But it's not bad. Camaro T-Top Coca-La-Waq. Like you're going up early where maybe I would have been more cliche and on the Coca-La-Waq that on that first one. Go up there, but. Camaro T-Top Coca-La-Waq. I think that one. Camaro T-Top Coca-La-Waq. That is a bit strong. Camaro T-Top Coca-La-Waq. That is the strong energy in the audio. Camaro T-Top Coca-La-Waq. And then the walk, it softens. But your strongest move, energy-wise, is on the downwards here. And it feels a bit like a linear key. If you look at your spacing going here and then we pop down and also we pop through a sudden stop here. So watch out, it just feels a bit harsh in the start and stop. Walk. And then you need some cash. This is so good, though. And then you need some cash, so you get a job. Some cash, so you. I will probably for final polish. And then you need some cash. It feels like, again, this is more filling than seeing, but the eyebrow rays here. So all of this moving up, including the eyebrows going up, I will give this like a three frame ease in. So by now it's at its full height. It feels a little bit. And then you need some cash. A little bit harsh on the stop. Not fully linear, but a bit harsh. Cash, so you get a job. You think it's only temporary, but then you get a promotion. And then. I love how he comes back and holds it close to him. I think that's great. Like that. That's a great pose. And then a raise. And all these doors open up for you, except they're not really doors. They're trap doors. That's so good. They're trap doors. I still feel, personally, that this is a really strong move that takes away from the one afterwards. To me, I wouldn't go further than splitting the difference between these two in terms of the fully extended pose. That's just me. I know it's been there forever, so I'm sure you're fairly decided on that one, but that's just me. I love this here. Going down with the rotation. I think that's so cool. And then all of a sudden, bam. That still works. All of a sudden, bam. Camera works as well. All of a sudden, bam. 20 years. The pose changes here, that it goes up. And I know this goes down sooner. I can see it, but when you play it in real time, bam. 20 years. It has a slight feel of, they go down at the same time. And I think I'll just push that by four or five frames. Like really offset this. 20 years has zipped by, and you're thinking is. I really like the zip by. Has zipped by, and you're thinking is. By, and you're. The only thing I'll say, by, the by, if it's more like her, her, you, you with like an asymmetry over there, versus a by, by, by, I will open this, not to a lip, whatever you call that shape there. By, I will go into this, straight into this, and then into a wider. By, and you're. Just a bit. Yeah, more into that, that shape, and then outwards with a little bit of stronger. And you're thinking, is this all I have to my. Zipped by, and you're thinking is this. Is this, there's no connection on the teeth. Hold on. Let me do a. A scrub if I can get to this one. See that, that was a bit of. Yes. Bit odd. I would have an S like a full teeth clench to get that S shape. Or shape as in a S, you know, visual shape of teeth together for S. It's hard to S without touching teeth. Is this all I have to my life? Not your kids. I love you kids, but come on to the house. It's crap. It's all funny. Goal thing at the end. It's crap. I like. She added that there. It's a little bit. Here. We're bringing a little bit more over. Those eyes. It's going to be tricky because you're going to be, let's see. You're going to have to cheat this guy a bit over there and then this guy a bit higher. So that's not quite there. Zoomed in so much, but yeah, this guy in me like it's a bit low. So go a bit higher, but this one a bit more screen, right? Just a bit. So you don't want to be wall-eyed and be off in those, but it's, I think that could be pushed a bit more. Again, being super picky, but we are at the end of this. And the pose wise again, the only thing I would say is it's a bit mirrored. I know this is longer visually. If you just go into like a black outline of what the silhouette is. Yes, I understand, but or and, if you like doesn't want to defend it, but to me there's something of like, like it's such an open pose where this is important because we have this. And at the same time, he does point to that, like what's the important pose? Like what does that pose mean? To me, it's more like a come at me road type of pose. Oh crap. Like he's upset, right? Given the yelling. Not you kids, I love you kids, but come out of the house. It's crap. And I think last time I mentioned that you could have him lean more forward. Like guys, it's crap, more defeated. And this is, I don't know. I don't know if I would have done a backwards move. I still feel like maybe don't go as far back. Might argue like maybe it's, I don't know. It feels to me, it feels like I would choose a forward pose where it's, you can't really see it, but it's more like this to me has strength to it. If you look at just the shape, this is outwards and everything. Whereas I feel like he would be completely defeated. Not only is the house crap, he kind of scared of these guys. Like his life is not what he wanted to be. And that's why I feel like the weight of all this would have him, you know, it's a burden. So he's leaning forward, everything's there and including the sausage thing that he holds is down, which you can't see behind the grill, of course. But to me, it's more like everything is crap. And that's why, that's why he leans forward. Like it's crap, but you can strengthen or straighten that arm, maybe even have the shoulder up a bit to show tension. Like he's not fully soft defeated. He's mad and you can hear it in the voice, but having this move forward with a straight arm would still feel more like, ah, he's mad, there's tension in this. Versus this is more like, if you turn the sound off, it's like, oh, you wanna fight me? Come on. Like he's, he makes himself broad as like, I'm ready. Come on, you can, you can take me. I'm ready for this. So I'm not quite sure that I subjectively agree with this pose with the way he feels and what he says at the end. As with anything acting, it's subjective and doesn't mean I'm right as a disclaimer. But that would be my last thing other than that, in terms of animation, it's awesome. This guy always reminds me of Sid from Toy Story and that's kind of that. All right, little things here and there. You can pick and choose whatever you need and that's probably the last round for this. Since you are also ready to move on, I would say final pending notes if you wanna accept those notes. All right, thank you. 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.