Welcome back to an acne analysis and tips for anime readers and today I'm going to continue with season two of succession and I'm going to cover things like interaction with props, posing characters, how you can have a character react and listen to audio and a bunch of stuff more. This time it's packed so let's go. In the previous upload I covered episode one to four, this is going to cover episode five to seven but before I continue, hi my name is JD and I do acne analysis tips like these. I do animation analysis tips, I do animation lectures, I do rib reviews, proc reviews, I do a bunch of stuff. This is my pitch at the beginning, this is the channel, check it out, browse around if you like it, subscribe so you don't miss any of those uploads and if not that's also okay, hang around, kind of listen and see how it goes. So that's it, got to pitch it at the very beginning. So let's start with the first sequence and this one is about character reactions in a way where she says something expecting him to give her an immediate reply, something that she wants to hear from him and I love this because he doesn't give that to her. She says it reacts and he just has a bit of a hmm and then walks away and you can tell that she is fairly bummed, did not expect that but what she does with this is so great. She says that little line like meh, something like a little baby, like there's something within the line in terms of baby, it almost fell too much here and she has that little thing here and it's almost like she expects it here, like oh I'm just going to be a little bending down a little bit, I'm not going to hire, I'm just going to be a little bit submissive, like I just want to say a little joke and hope that I'm going to hear back from you and she holds that pose, it's not coming out of his mouth, he's waiting, she's waiting and then she has that moment of okay but she doesn't really say anything, it's that little uncomfortable look of hmm and then he has a little, okay and she realizes that didn't go as planned. Now I know this is tricky to do in animation but you know you always have the actors, the context, it's a season two, like there's a lot more we get from like little looks and expressions and like you know things that are unspoken between character relationships but what you can take from this is that as always and I've said this before when you have a line, right this is my usual, these are my scribbles for dialogue, she says something and then you're in a way your task as an animator is done, like a lot of times you do lip-sync and that's it but if you have room tone, you have extra sound where you can go I can actually continue to animate pantomime and add something at the end, this would be it, that a little reaction their way and then didn't quite work out, just to give it a little extra button to the to the lip-sync and it could be something where you're changing the relationship, there's some subtext that comes out or whatever you can do, to me this is your moment to be very creative at that point where you get out of your lip-sync moment that's right there, so I've had a couple examples and once again this is another one but I'm just a big fan of if this is your lip-sync, what if you could do something before or and after, I could be also both, but think about that because that is really where you can be really creative because here you can be creative but you're still somewhat tight, not somewhat, you are tight to the rhythm in the lip-sync but you could do something with it but this is really where the creativity is, I'm looking at my drawing I'm slightly confused like a weird alien creature, anyway this one is about props, if you've watched my channel you know I'm a massive fan of props and why is this here, because he here can see this here he's washing his hands, they're wet, he's trying to dry them off and he's looking around he sees there's nothing there, there's no, you know there are no towels, there is no fan whatever to dry his hands, so what does he do, he actually uses the jacket and the sleeve of this character, super rude, it's like unbelievable, he's clearly upset and I'm showing this because anything like this where you have whatever like you pick anything like there's a lamp, there's a glass, clothing, all of that stuff you can use for a reason, it's also he's fairly small compared to him, so for me it's always if you have a relationship in terms of lip-sync, body mechanics, pantomime, when you consider height and you know dynamics and hierarchy whatever how could you show that this guy does not respect this guy at all and if you happen to have something where you have control on a prop then you can use something like this and this is why I'm always a big fan of props, he could say something like that, he could have a look of course this would be great acting with just either performance or pantomime whatever but if you want to add something where you have some complicated hand animation again I'm thinking in terms of animation will be interesting to show off and can also pretty as an exercise through something like this is really dark you can barely see it but I love the idea of him using his clothes to dry his hands off because it's just such such a rude thing to do and just that that interaction tells us so much about him and how he feels you know towards him here's another clip that is all about reactions he gives her a compliment I'm actually gonna let it play out so you can hear the audio you know how you're so efficient and good at your job well right so that's your first compliment it's very nice about it your job and she has a bit of a tilt towards him it's like oh that's very nice of you and also sort of like invisible then he goes straight into this very dismissive like invisible you're invisible like wallpaper like a boring old sort of nothing like a he's so rude again he's so rude like a boring old sort of nothing like a competent cut and it's this it's mainly I'm showing you because of this it's also just great like he just gets really explicit here I'm gonna show this but at the end I love her reaction to this I have thoughts but continue well I love her blink watch her but continue well just float it's just that a little I'm offended I'm bored like what is this going like this is to me again like every frame matters is it a fast blink is it a slow blink does it show us that she is annoyed bored or maybe interested who knows but the main reason I'm showing this is because as always you have lip syncing if you watch this you know if you watch my channel before you know I'm always harping about this but to me this is a great example he says a bunch of stuff that is really rude and sometimes it's just fun to cut away even though he keeps talking right there's still stuff going on here but you cut to a reaction and just that the contrast of whatever he's saying in your hearing as an audience and you're having a reaction then you cut to someone having probably the same reaction as you can be really funny and it could also be something where you start like this you show off this is the relationship in terms of the setup in a way right this is where we are that's the distance between the two these are the two characters and then we cut to a close-up lip sync that you can do but then we cut right away to this and maybe your your next five seconds are just about this character reacting to what she or whoever you're animating is hearing and I think that's really interesting because as an anime again if you're just starting out you don't have to worry too much about the lip sync right can be complicated but you can just focus on someone listening and then it's all about the thought process right she hears it she has to process it and then she's going to react to it and having a character think and process and react it's just really interesting to animate and also to watch so to me there's always a great variation of a lip sync where you don't actually animate to everything that this character is saying you actually cut away and show off what the character the other character is is thinking about and reacting to this one is about how how a character this character here is kind of shutting off a discussion or in a way something that they want to say so basically they are interrogating him and I don't want to say too much it gives a spoiler just in case you haven't seen this and he realizes I don't really want to be here I gotta get I gotta I gotta find my way to respond to this so attention but I really need to pee and I love his reaction like the way he says it to a really need to go pee hey he kind of leans forward with his face great but that's his way out he goes well I need to go pee and they have the reaction of well we would really like you to stay here we need to continue this this discussion he doesn't care but he needs to get out of there so he just gets up that's already a difference in terms of like the hierarchy of height in a way like we're on the same level but now I'm gonna get up here I'm talking down to I can get I'm reading into this but I'm talking down to you I have the higher ground here I'm going to take control of the situation get out of there and if I keep playing this with the sounds but I'm I'm so sorry I'll be right back okay love this they're just about to go away and he just goes okay love that I love that it's basically I'm snapping I mean that's it I'm done bye bye I'm out of here and I love that you even have the sound of this like don't even say anything I know I'm wrong and I know that I'm here at the guilty person but I'm just going to take control of this and then get out and I love this I love that that's just that type of gesture that kind of underlines the well I'm out so he's kind of nervous and I'm not super confident while at the same time still letting them know through this that this is it and I'm out I just love that little ending here and his next clip is again something where you could do something at the end of a line so he has the line here he says hey there was something really interesting about your memo but he's kind of making fun of her so then at the end he has he can't even finish it without smiling he said instead of memo he says memo and has that little does that I love that little end of that pressing the lips and that little playful thing with the finger watch this just that you can tell that he's not really meaning what he's saying like he doesn't really think that it was good he's kind of like memo and it makes him fun over again it's something where you have your line I'm repeating myself but again it's just I think this is really cool where you have the line and this is where you're animating to and at the end you finish the line with this it just kind of gives it that like I said that extra button you might have a certain attitude and that's that little pantomime at the end can really kind of re-emphasize or give it a spin or whatever it is and as I said before it's your chance it's your opportunity to add that extra little creative button at the end that's yours that doesn't come from the audio I just love that and actually there's another one about reaction so I guess this whole theme and this upload is about reaction she is proposing to her that she could work for whatever you know I guess well too much for what she stands for her her company and the people she knows and so on now this is again all about reaction so I'm going to play this without the sound just look at her this is immediate did you just say this did I hear that I could work for you that's odd and I love that she wants to say something but she also wants to keep listening so it's this little long dissipation before she says anything and then it's kind of like she says you know someone has a certain regard for you she's almost a bit embarrassed or she wants to check is anybody hearing this because that's a bit of a traitorous thing to do and maybe to consider and he hit that really like am I really hearing this and she settles down shoulders go down it's almost like I need to really sit down and listen to this with this is actually interesting to me and it's still but you still got that dart of am I really hearing what I think I'm hearing so good she continues on and it kind of re-underlines of this is what we kind of need you for it could be really cool then her reaction again is she doesn't say it's a long wait oh wait oh hold on did I hear this it's great look look at how she she closes the mouth here reacts does it again does it again like she wants to say something but she just can't believe what she just heard and I love that she goes from okay I'm interested but I'm going to lean away from like really like I got it again it's once again me reading into this but like I need to take a step back and really look at the situation did I really just hear what you said and then she goes uh me and then I love that that she doesn't say anything it's more like yep and then look at her again like she is very nervous and she said at this point this is never going to happen I love that she again she looks away and back at her it's almost like she doesn't want to say it out loud because it's almost too good to be true in a way and again there might be people listening and then she goes I don't know but I can get it fully and she continues on saying well I can make it happen people could hear it and then we could we could all think about it then look at her reaction to that that's so great so again you don't hear this and I could plan anything but it's basically she talks more about how this plan could work and this is all about her you got this reaction right there and just that here she says you can take the job and I love that it's very attentive right no more darts she's not moving around she's really listening now but she's still reacting to certain words like here like really do you just say this and then she says something about her dad which is always a bit of a problem and then you get this reaction of whoa I don't know but she thinks about it I love all this the complexity of all this I've just played aside instead of just talking about this and interrupting this I'm gonna keep playing so you can see the reaction here okay I heard this oh this is really difficult but I could consider this hmm it's not too bad well um she waits and then she goes after thinking about oh this is so good that to me is so interesting that succession here no pun intended of thought processes yeah she hears this and then has the initial reaction of that's not a good idea but then hmm I could actually do this a little bit of a swallow there too and then back to a very diplomatic well let me think about this and then she has that thing of hmm okay you could think about this and she has that moment of thank you even still then doesn't quite believe it and she breaks eye contact for that a little bit of a dart over there I know I talked over all this it's rough to the bunch of stuff but this is to me again underlining the the awesomeness of you don't have to animate to all the lip sync of one character you might as well you might have audio just one character right you think it's just the one person shot to start with a couple words maybe half a sentence or whatever it is and then you actually cut away and then you cut to another character we don't really hear right maybe you can add some giggles or laughter's exhale if you want to but it's just really interesting to see that whole thought process because we read all into her face she's shocked she's nervous she's really thinking about this here all of this especially that part here so great and that to me is just a really cool challenge as an animator to really portray the thought process to you know the processing of information and to reaction of it I know that to me is just really really cool totally switching gear this is more about posing and composition again this might be tricky you don't want to have that much handheld and maybe the character you know this far off in this case he's really really small with this overbearing fate here the talking over there it's very deliberate in terms of composition but to me it's more this thing of he has his hands in his pockets and just the way he sits down knees together hands together he just he just seems very very weak and it's not a very powerful character in general he isn't really and that's just something for you to think about whenever you do anything in terms of animation this is more a broader point in terms of posing if he would sit down like this and again I want to spoil what's going on there's a very heavy significance of this character in relationship with this character but imagine he would sit down and have his legs crossed and he would be leaning maybe even bored and kind of maybe playing around with some toy or something or look at his phone or something completely different relationship to this subject again I don't want to spoil this versus what we have here so as always what is the headspace of your character what is their emotion what's the attitude what's the personality and within the context of your shot is it within other characters so is it something where it is like a certain dynamic between two characters we see on screen is it between a character and a prop and again this could be a character as a prop in a way but just think about what is the relationship of this character within the space that you're framing in your animation and that space could be occupied by props like I said a character and then think about how that's going to influence the character and how you're going to pose that character because that's all we get as an audience we're reading into the face but here the face is small so now you want to showcase the body language the body posture and his emotions through you know the body language as I said and then this one is about posing as well in a way but it's more about character attitude and contrast so you see this looks like an expensive car so you think of hmm the character's coming out even if you don't know any of these you think oh maybe they're dressed in a certain way okay that seems fairly elegant maybe the way they walk is a specific way of okay maybe that is their typical way of maybe a rich person walking whatever it is right but then you have him and then he does this and it's not even the hand here so that the food can drop and it's about no it's his the fingers are touching obviously the food but also the mouth so that could be all kind of stuff and saliva on it and then as the character continues we don't see his afterwards but they meet another person so the context could also be that wow this is in a way really gross he doesn't have a napkin and maybe the next shot is him shaking hands with another character so to me it's interesting in terms of a it's an unexpected thing of this is not really how people eat in public do that tells us something about the character and then the contrast of your expectations of whoever is in this car and how they would behave is completely the opposite when you see this that is like this and again this also goes into props right this is a prop let's go back here that sets a certain expectation so you can go against that with contrast which is this the prop is food so again you use that to tell us more about the character and then at the end you can also just have the character movement right just the way he walks he's very relaxed lots of swinging in his arms so for me again it's these and I keep harping about props if not that many are watching this series but for those who are watching you know I talk so much about props and sets and how characters are reacting to props and sets or how they interact with them and so on and to me it's not just because well I just want to use a prop because I don't know what to do with my hands or I need to I don't want to animate you know dangling arms or something it's not just there as a crotch where well I have free hands let me just add an object in there for them to handle that's not the point my point is always whatever is in that scene it could be a prop you can hold a prop as in like production is at some sort of set or something or like the car for instance all of that to me is the opportunity to expand the character beyond just the physical body language and lip sync because if you have someone let's say that eats something really slimy and does this and then shakes their hands that's just an added visual of why that person is really rude versus maybe shaking hands and then not looking at the person like that could also be rude so to me it's like the the extra level that it could use to show how rude a character is by using props obviously you don't have to use props even again reels you don't have to have props and sets could just be a character in empty scene there are lots of great shots like that I'm just saying if you want to practice that you want to practice shots with props and sets that's how we think about it's not just there to add something just because you want to deal with constraints it's what are you choosing in terms of props and sets that would enhance the character that gives us something more to see and to learn about the character and to me just it's adding layers to the performance that could be interesting to watch that's the main reason why I say all this now speaking of layers and watching and props and exploring things I have workshops where you could explore those things with me and I can help you I can help you make your shots even more awesome that's my pitch at the end you know this if you watch this you know this maybe you don't watch this I don't know but that is the pitch I have workshops so you can sign up at any time you can start whenever you want it's very flexible link in the description all the information it's that's the you know check it all out if you want and speak of checking out if by now you haven't subscribed me if you like that's kind of neat and find that kind of interesting and I would like to not miss the next upload feel free to subscribe and hit that bell button you don't miss any of those head uploads and that's kind of it so if you're still watching as always thank you for your time I appreciate your patience that you watch till the very end and there will be one more if not two more about this there are lots of stuff to cover I think there might just one more but season two currently on season three which is also awesome so yes I will definitely cover season three as well so I'll say thank you for watching and I'll see you in my next upload


Ever since the first ImageNet competition ILS VRC in 2012, deep learning computer vision have come a long way. We have new architectures with better performance, all to solve the problem of image classification. Despite the changes in architecture, the core process remains the same. You take a bunch of labeled images of different categories, you show it to your classifier for training, and eventually test the classifier on unseen images. Although it seems that we are on the brink of solving image classification, there's still one fundamental flaw with all of these architectures. And this flaw is actually to do with the process of image classification itself. So what if we don't really have all images of every single category? In the example of classifying animals, what if we don't have enough labeled samples of squids or giraffes? What do we do then? Well, our image classifier certainly won't know. I'm AJ Halthor and in this video we're going to take a look at exactly how we can build or rather synthesize an image classifier without having every category sample of an object. So let's get to it. Let's restate our problem here. We need to create an image classifier without having some samples of some object categories. So like in the example of creating an animal classifier, we want to create an animal classifier without having as many giraffe samples or probably no giraffe samples. So one way we could possibly do this is zero shot learning. That is learning from zero examples. Instead of training the classifier with an image, we can input a description of that object. This description can be text, word vectors, or any other input type. And such types are called modalities. So we are now able to train our classifier by describing the objects for which we don't have a labeled image category for. So does that solve our problem? Well, not quite. How do we know which features to define and how do we know what to call them? There could be name ambiguity when many people are contributing to the descriptions. So instead of actually describing an object category, what if we were to draw it? This would remove the problem of naming ambiguity and they do say that a picture describes a thousand words. The paper Sketch a Classifier released by researchers at the University of London does exactly that. We are going to discuss three types of models that leverage drawings or sketches to synthesize image classifiers. The first model converts a sketch classifier to a photo classifier. The second model uses a sketch or some sketches to synthesize a photo classifier. And third model uses some sketches and a photo classifier to synthesize another more fine grained photo classifier. These models that do the magic are called model regression networks or MRNs. Notice the goal of an MRN is to generate an image classifier. Let's take a look at the three ways of doing this using sketches with some math.   They all have their own parameters that need to be learned. Parametric models make life easier because the problem of determining a model is reduced to the problem of determining their parameters. We train a sketch classifier to get the parameters theta s. This is input to our MRN and trained to get the parameters of the photo classifier theta p. Since the output of the MRN is an approximation, I put a cap on it. Since we have theta p and the photo classifier is parametric, we have essentially synthesized a photo classifier. Now instead of an entire sketch classifier, what if the input of the MRN is just a sketch or a few sketches? Let's represent the sketch by sigma parameterized by the feature extractor phi. We feed k such sketches to train the MRN in order to generate a photo classifier. Now the third type of MRN takes a trained photo classifier h parameterized by theta p h and a sketch sigma to synthesize a more fine grained classifier. You're probably thinking, why are you using a photo classifier to generate another photo classifier? Well, the input classifier is more generic. It could be a bird classifier, for example. But when input to the MRN with the sketch of, say, a swan, then we can make it a swan classifier. That's pretty neat, right? I talked about the MRN and its three types. But what exactly is the model regression network? That is, what is the MRN? To synthesize a binary classifier, the MRN is a multi-layer perceptron. And to synthesize a multi-class classifier, the MRN is a six-layer fully convolution network. Let's now determine the objective function. Remember, the output of an MRN is an image classifier. But that is defined by the parameters. If theta p is the original classifier and theta p hat are the parameters predicted by the MRN, then the loss is a simple L2 norm of the difference between them. But there is a problem with this intuitively. The difference between the parameters doesn't necessarily signify the distance between the models themselves. A small difference in weights could lead to drastic changes in the results. So to solve this problem, instead of just comparing the parameters of the synthesize model and the actual photo model, let's actually compare their results or their performance. And we can model this or measure this using a performance loss. Let y be the ground truth and y hat be the output predicted by the MRN synthesized image classifier. For multi-class classification, y is a one-hot encoded vector and y hat is a vector of probabilities. The loss is computed with good old cross entropy. The overall loss is thus a weighted sum of these two losses. The regression loss and the performance loss. And we need to find the parameters of theta that minimize this result. This paper uses an alpha that's equal to 0.01 and beta equal to 1. And the loss is minimized using the atom optimizer. It uses 75,000 sketches from the sketchy dataset along with 12,500 photos over 125 categories. They also use 56,000 photos in ImageNet that match the categories in sketchy. Training the MRN with sketch models synthesizes photo classifiers with a 78-80% performance on multi-class classification. Interestingly, simple standalone sketches when fed to the MRNs yield better photo classifiers with a performance of about 83%. Now that is cool. So what have we learned today? Do photo classifiers perform better when you have all the data you need? Well yes, yes they do. But it's usually the case where we don't simply have the abundance of annotated data. And this research shows us a method to overcome that drawback. We design a model regression network, an MRN, that are used to synthesize photo classifiers. MRNs are classified into three types depending on their inputs. We have an input sketch classifier, or an input sketch or sketches, or just input photo classifier and a sketch to create a more fine-tuned photo classifier. And that's all I have for you now. So if you like what you saw, hit that like button. If you like content like this, like AI, machine learning, deep learning, and data sciences, then hit that subscribe button. Ring that bell icon for instant notifications when I upload. Links to the main paper and other resources are down in the description below so check them out. Still haven't gotten your daily dose of AI yet, then click or tap one of the videos right here for an awesome video and I will see you in the next one. See ya.


Don't make yourself small for people. Be the funny, awkward, intelligent, little weirdo that you are and stop doubting yourself down just to suit them. Just go ahead and weird it out.


Hey, what's going on? I am Greg Salsman joined today by Tom Vecchio Fandall. And we're taking a look at the top studs on the board for week number 10. What's going on, Tom? I'm doing good. You know, I think you're shaping up to be a really, really interesting week. We got 11 games, so let's jump in. Let's jump right in then. Let's begin at the quarterback spot where Deshaun Watson in the post-bill of Ryan Ehrer has been fun to watch. Brandon coach is very much involved. Will Fuller has scored a touchdown in six consecutive games, I believe. $8,300 for Deshaun Watson. The Texans offense is rolling, and this week we expect it to continue against Cleveland Browns. Absolutely. We have a 53 and a half overunder on this game. That's the third highest on the board. The Texans have a 25.25 implied at team total. Now, right off the bat, David Johnson left last week's game with a concussion. His status is up in the air for this week as of now. So if he's gonna be out there running game, isn't going to be as strong as it could be. You know, dude, Johnson's a solid player. I want to be leaning towards Watson just a little bit more. He has two touchdowns or more in, was it a six straight game? He has 20 fatal points or more in five straight games. And you know, I know the Browns are a team that like to run the ball, kind of milk the clock a little bit, but surprisingly, they're allowing 21.1 fatal points per game to opposing courtbacks. That's the 10th worst in the league. So they're taking time off the clock, but the courtbacks on the other side still have plenty of opportunity to rack up fantasy points. So I like Watson. I like the multi-touchdown upside, and his price tag isn't that bad this week. Watson's price tag is totally doable this week on Fandle. It makes him a top star here on the board. A lot of games to choose from this week. A lot of different stars out there, but to show Watson the quarterback worth going with here in week 10. Up next, we move on to the rebate packers, specifically Aaron Jones. He's priced at $1,800 here this week. And Aaron Jones, when healthy, has been a study in DFS. This is the first time we're gonna get him here on the main slate in quite a while because he has been hurt. Obviously they played on Thursday night last week. Aaron Jones, $8,800. I'm not one of a discount here, Tom, but you don't care against the Jaguars. No, and like you said, we haven't had him on the main slate in a while. It's been a little bit crazy for him. I'm hoping that the fact that they played on Thursday last week, as you mentioned, gives him this extra time to get back. Obviously he was questionable going into that week against the 49ers, but he played on 61% of the snaps last week, saw 20 total touches. So he's looking like he's fully healthy. We have the Packers coming in as massive 14-point home favorites. Going up against the Jaguars, the Packers have a 33 implied at team total. Again, looking to a home running back, who's a favorite, who sees close to 20 touches or over 20 touches every game. The Jaguars are allowing the 24.7 fan new points per game to opposing running backs. That's the sixth most in the league. If Jones is healthy with these extra few days of rest, it's gonna be a lot of Aaron Jones on the Packers defense this week. Remember, this wasn't the offense for the Green Bay Packers before he got hurt. Aaron Jones, Aaron Jones, Aaron Jones. Last year when Matt the Floor came in, they were a running football team with Aaron Jones seemingly healthy last Thursday, now having an extra 10 days to even get healthier. That puts him in a prime position and the Packers are in a prime position to do damage here against Jacksonville. Let's move on to the wide receiver. Your top stud on the board is coming off his buy week and that is Cooper Cup. Cup is priced at $7,700 on Fandale coming off a big game before the buy. I know Jared Gough is not exactly Mr. Reliable. If you're relying on him here this week, relying on Cooper Cup, why do you like the matchup for Cup here on Sunday? I'm gonna be relying on him this week because guess what? You should know at this point, they are playing at the Seattle Seahawks and we know they are absolutely terrible against wide receivers. They are allowing 48.6 Fandale points per game to opposing wide receivers. That's the last in the league. It was the Bill's receivers with Brown and Diggs last week. We saw them with most of the Cardinals a couple of weeks ago. They're playing. I want the wide receivers going up against Seattle. We have a 55 over under in this game with 26.75 implied teams over for the Rams. We have Cooper Cup leading the Rams with 73 targets, second on the team with eight red zone targets. Everything is pointing towards the Rams this week. We know that this is gonna be popular game, the Seahawks and they're eight games this season. Six have hit the over, one push and one under. We're looking at points every single week in this matchup with the Seahawks and it's mainly coming from the wide receiver position. As good as the Seahawks offense has been, the defense has been that bad. We relied on Josh Allen's to find Diggs, John Brown last week. This week we go over to the Rams because it's going to be a high schooling affair. The Sean McVeigh genius will be in effect. So we believe and hopefully a lot of that genius involves Cooper Cup. That's gonna do it for us here in the Fandale Hurry Up time. We appreciate the time. We'll talk to you again on Thursday. Sounds good. Talk to you then. Tomorrow here on the Hurry Up, it's time to talk about the Masters. The famous medic of SportsGrid is going to join us and give us his three favorite bets. And as we said yesterday, Patrick Cantley certainly among them. It's time to back you up. I'm Greg Salsman. Thanks so much for watching and we'll see you back here tomorrow for another edition of the Fandale Hurry Up.