 So, that's how the community works. Thanks. Thank you for being here. I know it's just after the lunch, but I think it's perfect. We are Autour de Minuit and Adéves Studio from Paris, France. And first, we're going to start off with some visuals. I hope it's a bang. So, that's a reel that one of us over here put out just for the Blender project. So, we made those. Who are we? We're going to be four presenting today because we wanted to make like a global overview. We thought everyone on the technical team should speak out, pick up. So, we have Christophe Seu, who's our CG and technical supervisor. You may know him as the creator of the classroom that's been used all around for like eight years. We have Mario Howitz, who's a CG journalist and joined the company about a year ago. He's also the editor for Blender Nation, so he's kind of a no-it-all on Blender. We still love him for that. Then there's Samuel Bernou, who's a CG and technical supervisor as well, and a grease pencil enthusiast. So, he made a couple of tools that he's going to speak about a bit later. And myself, Fiona Cohen, I'm a project supervisor, which means I'm a projection person with a technical curiosity. And I oversee Pipeline and the R&D department. Otto Dominu is a company that was founded 20 years ago, 2001. It's a production company with Nicolas Merkin as the founder and producer. Ten years later, he created a studio in Paris. First it was in the center of France, but now it's in Paris where we are. I did this studio. And a few years later, borderline films, which is in Angoulême, so a bit more in the south of France. I put out the Moulin Rouge because we're in Paris close to it, so just, you know. And we are a company that has been working on a lot of films, and first for Otto Dominu or with co-producers, but now we are also open to services, so it allows us to work on even more diverse projects. What's our angle? Well, so again, images. I'm going to be showing a lot of things like that. Well, we're an independent company who's known for like impertinent, quirky, experimental movies, and not really for kids, even though there's like a few reindeers and such. It's really an exception for us. And we've done CG, 2G, hybrid, whether it's live action and CG or 2D, 3D, and also stop motion. We do sometimes the whole production, sometimes we do just one part. And so we've made around 100 films, 5 series, 7 TV specials, and recently we started doing feature films, and it has allowed us to go to many festivals and win like 500 awards, an Academy Award 10 years ago, César, Goya, Magritte, so many things that are populating the walls. And you can see a lot of those projects on our YouTube channel. Animatic will give the address a bit later. The studio, there's an image on the left. You can see Christophe, for example, talking with someone else on development things. So we use Blender. It's been around the studio since 2008. So we're really enthusiastic there. We mainly use Blender for 90% of the things we do. It's at the center of a pipeline, and it was a choice made, of course, for logistics reasons and production things that we all know, but also because it's ideal for hybrid pipelines because it allows us the agility to really do things differently for each project while still having this kind of bone structure to hold it together. It's also easier to deploy and accessible for both the teams and the devs. It's stable, which, you know, kind of cool. And also it's been really nice to work on for remote work, which we've all been doing for the last three years now. But above all, like myself, I discovered Blender four years ago when I joined the company, and it really is amazing for the community. That's what we're sharing these days because we can ask questions, share updates, share knowledge, which is just, I wasn't used to it. And over all those years, we've helped, like, a hundred artists make the switch to the software, and I hope they're still on it and happy. Yeah, on the right, we have this creature, Bob, which is actually a props from one of Rostow's short movies, Rostow may be known in the Netherlands because he was from here. He was director who said he passed away a couple years ago. And we did, like, a museum thing with some of his props and we got Bob in the end. So that's kind of a spirit of the studio. And we're gonna... We also have, like, unicorn hats, but something else. I'm gonna go over, like, some of the projects we've made to show you all the diversity and the evolution. Then I'll leave the mic to Samuel and Christophe to talk about the tools we've developed, either for Gris Pencil or for 3D or for Pipeline, which we have, we have a Pipeline. And then Mario will talk about the future of productions, especially for Blanger, what we wish for, what we want, and what we do not want also. So, first off, we had to start with a film, actually, Fabiole, a short and then a TV series which was directed by Mathieu Ouvret, who is well-known in the community for being the director for Cosmos Landramat about 10 years ago. So we've been working with Mathieu for a long time. And Fabiole was kind of the first, one of the first big projects made on Blender at the studio with a CG integration into live footage. So it's really part of the core DNA of the company because it's those little cute creatures doing absurd things and being run over from a landfill to a table and just doing weird stuff. It's very funny, you can see a lot of it on the internet. After that, Mathieu went on and there's no sound, it's normal. Went on and adapted a kid's comic book called Nono. There was Wee Wee and now there's Nono. And he first made a short, then he made a TV series all in Blender, fully Blender, with a plasticine stop motion lookalike. Yeah, it's running over. And then we also made a TV special with a lot of waves and this one, hard. You're hard to make. It was like six years ago. And then we did two other TV specials with another director. So this is from the last one, Nono in Space. We had a lot of fun. The animators did not have so much fun with the no gravity situations. And so again, fully in Blender with this stop motion lookalike which actually allowed us to win a prize at a stop motion festival. They didn't really read the fine prints, but that's fine. After that, we have Ronde de Nuit, which is a short film by Julien Rénard. We did it in 2021. It was the first, well actually made it in 2019. It was the first 2020, I don't know, between this 2020 doesn't exist. So it was the first short film we made entirely on Gris Pencil. So that allowed us to first see what animators can do, what they like, what they hate, what they hate. And Samuel then designed the first tools for the studio then. There are some CG elements for the car and the sets. You'll see a bit of that in the later presentations. And it was actually a success because two of our animators really fell in love with Gris Pencil, so hey. And they're still working for us, so double hey. Then Unicorn Wars, which is one of the best things we've been working on the last few years. It's a feature film, the first we've made in production with Spain. And so it's the tale of... Well, I'm wearing the t-shirt right now because it's coming out in theaters. So it's the tale of the teddy bears against the unicorns. It's all cute and well, but it's also very difficult to make because those unicorns, you know, they run in pack and we love animating four-legged friends in 2D. No, we don't. So we make them in 3D. So it's mostly in Gris Pencil, but the unicorns are in 3D and we converted them into Gris Pencil objects for them to be reworked on by 2D animators. That's called GP Tracing, and Christophe will talk about it a bit later. So it's a hybrid movie and we took the Spanish team and convinced them that Gris Pencil was the way. And they've done everything on Gris Pencil. They had Daniel Martin as well to help them. So it was a big effort and we're very proud of how it came out. And as you can see, it's not for kids, again. And it's not just violence. It's also the theme. It's tragic. It's sad. It's emotional. Just go see in theater. It should be out early next year in the Netherlands and most of Europe and North America and Japan. It's already out in Spain and it will be out in France at the end of the year, 20th of December. So take your family without the kids and go see it. Then we also have another short made entirely on Gris Pencil which is El Aftor del Mundo by an Argentinian director who didn't know anything about actually really making a movie. And so she allowed us to just take her hand and say Gris Pencil and she drew. And she worked with some of the animators that worked on Ronde de Nuit. And it was actually one of those projects you don't even really remember that you worked on because it went so well. So it just confirmed that Gris Pencil was the best decision for 2D animation at the studio. It doesn't look anything like Ronde de Nuit so we are able to do different things to go in different artistic directions and we did get a bit of help. If you can see there's a bike. It's a nightmare to animate in 2D with a perspective and everything. So we did a 3D bike and we converted the 3D into 2D objects and it was amazing. And they loved us even more the animators. Right now we're working on In Waves. So it's a feature film produced by another company, Sealex Film. It's in development. It's an adaptation of a graphic novel by Eiji Dango about surfing. So waves, constraints, etc. We're actually just doing the technical development as of right now. That's why I can't show you anything that's not already on the internet. And what we aim to do for this movie is actually to animate everything in 3D, work with geonauts for the waves, we're having fun testing those out, and converting all the 3D for the characters and the props into Grispen Soul objects. So taking this tool we made for Unicorn Wars and just pushing it to the limit and making it better and hoping that there's even more Grispen Soul tools that will help us along the way. So In Waves should be starting a production next year and out in about 2 years. Then there are many other projects just like Jean-Michel Luc Caribou, again by Mathieu Auvray. He just loves us, you know. So the short was made entirely on Blender, but the series that followed in the second season is in production was not made on Blender. That's one of those things you cannot control when you're not producing the things yourself, I mean making the things yourself. Then there's Peripheria that was done seven years ago, which is about emptiness and how the world just can work without humans. So it's a lot of dogs running around and those dogs were made in 3D with a lot of fine-tuning done on After Effects. We have to say we use a lot of After Effects because the compositor is not up to what we expect, especially for short films where we have to tweak so many things and do artistic weirdness all around and directors tend to love doing those tweaks in After Effects. So, but Mario will talk about this a bit later. Then there's Swallow the Universe more recently, which is kind of this weird venture into weirdness by Nieto, who is a real artist. And it's a mix of 2D, 3D, After Effects, Strange Ness again, and we did it on Blender for almost all the animation, I think. And right now we're doing this second short film and we're applying more 3D. So he's asking us to do more 3D and he loves bugs like weirdness coming out of the software, so we're here for it. Very anxious to see what it all looks like on the screen. Absence in a very different look is also a short film. It's a short sequence and it's about a homeless person and how he interacts or how the world interacts with him, actually. And as you can see, it's a more political stance. It's a very different visual and even more so when you put it next to the goose. Four kids, one of those rare projects. So this one is actually CG composited on a live plate. So we had to also have a stop-motion look with those textures and also the feeling of the animation that was stepped. We tend to love animating like that. It's actually pretty cool. Well, we can work really fast. And we had a lot of fun working on the clothes, the goose with this fabric effect. It's a cute short film. And we're also working on another feature but it's still early development, Les Hommes or the Shadows, which should be done mostly in Angoulême because it's going to be 100% on 2D crisp pencil. And there are more of the 2D people over there. So it should be coming out in the next three years. We're hoping to push the production next year. And it's a really beautiful tale of immigration in kind of a fantasy land told by the point of view of the brother and the sister. And I cannot do those presentations without mentioning that Samuel and Christophe both worked on I Lost My Body, which was produced by Xilam. So it was the early days of crisp pencil. So they've been, you know, nurturing those crisp pencil desires for a long time. And as a team, we also worked at another company for this short film, which was an episode of Love, Death and Robots for Season 2, entirely made on Blender with just like a little pitch of Udini for some effects. And we actually offered the Blender solution. The director tested it out and fell in love with it. So again, it's a win. And that's the best image of the short. It's the first short of the second season. I encourage you to look at it. Again, totally different look from what we've done with Autour de Minuit and Adévé. Very much real and sci-fi, et cetera. But that's also what we love about Blender and working on short films especially. It's how you can make so many diverse things. So now I'm going to hand it to Christophe for all the technical talk. So I'm going to talk about more about the pipeline and the tools we developed. So I'm going to start with a very draft overview of our pipeline. So if I had to explain it in just one image, it will look something like that. So we set it. We are using Blender as our main 2D and 3D software. We're even using it for compositing sometimes. On the other side, we have Kitsu. So that's the production tracker we use. So Kitsu, in short, we are using it for our production manager to follow the progress of the current project. For a supervisor, it allows them to assign the task to the artist. And for the directors to see the image and make the review and retakes on it. And in the middle, we have Gadget. Gadget is our in-house asset manager. So his role is to make sure that the pipeline, naming convention and the workflow is as transparent as possible for the artist. So it gathers all they need to work on the same interface without having to go looking in files and folders. And for me as a supervisor, it centralizes all script and makes sure the pipeline is respected. So I'm going to talk a bit to present you the basic functionality of Gadget. So what is Gadget? Well, Gadget is just an empty interface. So I made it that way that it can be fully customizable depending on the project. And we can still share script between a project. So that's the way I think the tools. So what Gadget can do? Well, actually, it can do a lot of things because you can add any script you want in it so it can do quite a lot. So I'm not going to show you everything, obviously. And for example, we are using it for launching and selling blender, different versions of blender because there are so many versions of them. And we love to test different versions. So we need an interface to switch between a blender version. So we are using it also for opening the shot, building the shot, playblast, play, and everything. And Gadget also provides an object-oriented API to API to make our script way easier and way simpler so to get access to the tracker data, for example. So I'm going to show you how it looks like for an artist to open a shot. So actually, the interface looks like that when Gadget is configured. So you have all the tracker information on it. And for an artist, you just have to go to the My Task folder and just select the shot and open it. So really straightforward. So Gadget will make sure that the right file is opened and it will build the scene if necessary according to the task. So I put some images on how the build pop-up looks like and the published pop-up also. So I'm going to talk a bit about the design of Gadget. So Gadget is a dynamic config-based interface. So I made it that way that I can change the whole interface without having to change the source code. So all we need to do, depending on the project we're working on, is changing the config file. So we can choose on which project, which button we want, at which places, and which script we want. So I put an example here. So this example came from the film Lefto del Mundo. We wanted to send Zipped Blender file with dependencies to our director working in Argentina. So we need to make a first command line script, which is what you can see on the left. It's just a Python regular command line script. And after that, you need to write some configuration. So you can say the name of the command. You can say the path where is the script. You can also put some argument on it. And you can, with that, get information from Gadget to put inside the variable to execute the script. So on the script, we need to get the selected shot on it. So in the configuration file, you just get all of this information inside the variables for the script. And also, as we can have a lot of buttons, actually, we can also group them inside menu. So yeah, on that config, I put just one command, which is the zip file. But I can add any description I want. And Gadget will make this interface based on this configuration. And after that, we just need to set up on the bottom of the configuration, the location where we want the button to be. So that's the basic idea behind Gadget. I hope it wasn't too condensed because now I'm going to talk about some tools I developed recently. So I'm going to talk about the GP Tracer. The GP Tracer is a tool we use on Unicorn World, and we plan to use on other production. So I'm just going to show you the quick overview of it and how it's working. So we're always trying to improve our workflow for the artist to have more artistic control possible. So that's the goal of the GP Tracer is to combine the power of a grease pencil with the flexibility and modularity of 3D. So I came out with this idea to convert a 3D renderer and make it a fully editable grease pencil object. So you can see on this schema on the left, I have the 3D renderer. And I use freestyle to convert the stroke. Then I use Python to convert this stroke into grease pencil. And I also use cycles for rendering the lighting, the solid color, and the cast shadow. And actually there is a function inside Blender which allows you to convert an image to grease pencil which is called trace image to grease pencil. So I use a lot of this operator to convert images from cycles to grease pencil. And now it's a video of how it's working in a shot of unicorn walls. And for this demo I'm just changing the color of the light. And also overriding some parameters per material just to change the color of the unicorn. And then we need to trace the whole sequence. And from the camera it can look really 3D but when you start moving around the scene you will see that it's actually a 2D renderer so it's a fully editable object that we can further trick by artists afterwards. So why do we need editability when doing NPR render? Because yeah, we often times need to fix some issues we have with line rendering because a lot of the time we have some flickering issues so we really wanted to be able to fix them really quickly. So grease pencil has a lot of tools to fix stroke and to improve the drawing. So we use that to fix some issues on the conversion. And on that example we can also use the power of the grease pencil with the brushes and everything to actually improve a lot the drawing adding some texture and stuff like that. So now I'm going to talk on a different add-on I did. So yeah, rigging is another area I'm interested in. I always try to improve the life of 3D animators. So as we all know 3D can sometimes be really a mess of controllers so I developed an add-on called Rig Picker to make a 2D interface to make the scene a bit more clean and to give a weight for the animator to interact with the rig without having to try to select the good controller inside a scene like this. So here's the demo on the mascot character of Nono. So you can see on the 2D interface we can select the bone from that interface. We can use it for just visualizing the selected controllers. We can also execute script to do basic EK AK switching and basically on that interface you can put every operator that you want. For the demo we use selection set for example and you can also drag selection to select multiple bones and you can actually also hide and unhide controller with double click on it. And with this interface actually we can work without seeing the rig because if you know the rig enough you can just select the controller inside the 2D interface and work in full screen with the rig hided. Okay, so that's it for me and I'm going to let you with Samuel Bernou which are going to... Perfect, Christophe. So I'll be talking about the tools, some tools I made for grease pencil. So let's start with two main ones, grease pencil tools and GP toolbox. There can be confusing because about the proximity of the name but the first grease pencil tool is actually built-in blender. It's shipped with it, you just have to activate it. And it's some tools that the grease pencil team deemed worthy enough to be integrated into blender. So I'm honored. And then there is the GP toolbox, it's our in-house add-on that we develop continuously across the production. So the animators can have the best workflow possible for animation. And those two add-ons work together. Let's start with the grease pencil tools. It's like the essential package because you have 2D animators open first blender. The first question is how can I rotate my canvas? Well, this is integrated. You can rotate in preview. You can rotate in camera without selecting the camera and press R. So that's fine. And the second question usually is how can I flip my drawing? So this is integrated as well. And the third question usually is where is the control T we have in Krita? So yes, you have the box-deform tool that mimics this behavior and also some bonus like the ability to straighten a stroke, pop-up timeline, scrubbing features. So you can work in fullscreen without having the timeline below. So here is a demo of the grease pencil tools in showcasing a shot of Rom de Nuit, a hybrid shot with the grease pencil parented inside a 3D car. So we can see here the pop-up of the timeline. That is used to also snap onto the key as I scrub in the timeline. Then I rotate the canvas to align the view how I want. And then selecting the strokes, I can use grease pencil box-deform to just create an in-between for the movement of the arm here. Here I'm just adjusting the subdivision so I can have a smoother result. And yes, the in-between is created as I want it, but I'm not an animator. So next, the GP tool box. So the in-house tool, which is public. You can go onto the GitLab and download it. What's in the box except the big sidebar panel? Well, a lot of things actually, like all overblender, a lot of little things. And I won't have the time to cover it all, but let's see some of them. First, a big set of preference, preference in a set of shortcuts because 2D animators need to have all the basic settings they need right away when they start to work. And here is just a little batch checker they can enable according to their own preferences. First, we need to expose the most used feature. For example, the camera switches. All that is related to the view, like the past part 2, the zoom level, the access to the reference without going deep into the interface to bring the camera background images. And as well as important object properties like in-front, they always switch this one and edit the line of velocity. So this is the main part of the panel. Then we need to make a bit of context because 2D animators don't work the same way 3D animators do. They are a refining process of starting with rough drawing and then going into the tie-down phase and a clean, then a color layer, then apply tones and you get the final image. And that's why we needed to have things organized. So to keep things tidy, we have a prefix-managed system. And here in the preference, we have some prefix and suffixes that can be set by the user or set by a gadget when we launch through Gadget. And that's useful because it can help artists know what's going on, which layer relates to what. And also for us on the pipeline side, give the ability to script things, like export everything at once, like all the color layer at once, for example. We have also in GPToolbox a palette linker. So there is a library blend that serves as a source for the materials. And so everything... every GrisPencil object that is in this blend is listed as a palette. And that way we can just quickly throw a palette through the active GrisPencil selected objects. And there is a little fuzzy search system that allows you to quickly have the right palette from the active objects, according to the name. And also we have to tackle the fact that it's in a 3D space. Animators are used to 2D, and they never heard about that third axis you all kept talking about, you know. So we have some tools to correct, to help with that and to also fix some errors that could be made. So I'll just go on with that. So for example here, a shot from Unicorn Wars, you can see there is a butterfly going rogue here because it's deforming over time. This is because the canvas wasn't aligned. It's an anamorphic drawing because of this wrong alignment. So here first I disabled the animation, found the key where it was correctly drawn, and then we have a real line tool that will rotate the object so it's facing front and re-project everything on the right canvas. So now the animation is properly re-projected. I can re-enable the animation and play again. And the butterfly are aligned. That's better. Now but another tool, still about this idea of 3D space, the background plane manager, because this is mostly a tool for the layout artist actually, because it's needed to slice the background via Z file for example we have into different depths in space. So they have a tool where they can just reorder right away. They can move the depth of it. And then it's also useful for animators because they can change the opacity when they want to see more of the background, if it fits their drawing. They can also as well just send a grease pencil object to a background image plane without actually changing the size within the camera view. This is an example here, just selecting send to plane and you see at the back that the size didn't change because the scale was updated so it's still fitting. And this is useful for the parallax of the shots to be correct. And we can also parent objects to planes and some other useful features and also initialize a grease pencil object directly at the position of a background plane to avoid the error I mentioned before of not being aligned with the camera. There is also GP render. At last we came to the export and we want to be able to do all of this with just pressing the glorious F12. And for that, here is a little demo again. So I have all the layer organized with the prefix which I talked about earlier. Here I'm doing some name cleaning to have everything outputted as the convention we have for the project. Then I'm sending all into the render scene so that way we can just have all the layers and here I'm merging some layers because you can see all the pink ones are the color ones and we want them to be outputted on only one sequence of image. So I'm merging them with some tools renumbering the outputs with an increment of base 10 so that way we can insert some other potential addition later and then a test render and you can see that everything is separated as we want it. Now I don't only do 2D tools there is also a tool for the cycle animation to be unfolded on a 3D curve. Here a demo of it. We can just select the armature, create a curve, then it will just place the thing as we want in space then calculate the motion with the button for the rights forward motion. Here sliding is sliding because it's animated on 2 so just a baking of the keys and everything works but the feet are still sliding and here you can see that on the mark as red it's the contact keys that needs to be marked in the original work cycle or run cycle and that way those key can be pinned down so there is no sliding afterwards when we use the pin tool. It works without sliding. And there's more because as well as many developers here I guess I do also all the stuff on my free time and there is 2 add-on I want to present that are used in production as well. There's only on peel, an alternative only on skinning system. So here in example with a shot of El After Del Mundo what it's about you can have your skinning, onion skinning transformed in the world space according to the position of the objects and also you can change the opacity of the skinning individually and then you can replace like the shift and trace feature we heard on the previous talk you can just use another skinning which I call peel to be used as a reference to redraw on it. Here the curtain was just shifted so it can be redrawn just a little bit different. And there is also as well the sound waveform display add-on which is public as well you can fetch on GitHub on my GitHub at poolUSB, weird name and this is just adding a sound waveform inside the animation editor so it's easier for lip-syncing and synchronized action and there is a lot of other tools I wanted to talk about but it's all merging and all activated at once and it creates the ultimate workflow and it's a lie, it's a lie, it's a lie it's just an eternal work in progress and now I drop the mic to Mario How do you follow that? I'm not sure so I'm here to talk about what we have planned for the future and what we hope for the future for Blender after my colleagues showed you the amazing work they did so first of all it goes without saying what we want to do is more more Blender, more productions here there are two projects that are currently in development and our plan is just to push it even further and to push it further we have two prime directives for technical development efficiency and flexibility efficiency to be able to do more and flexibility to be able to do it better and before jumping into what we're going to do I'm going to show two examples where these directives were in play and influence our decision making first, efficiency so as you may have heard cycles have been updated since 3.0 into Cycles X and it became super fast at that time we were starting production we already started production on Nonon and we tested it to see the speed and it was 2.5 times faster and as you can imagine on 40,000 frames rendered over passes and layers and tests we couldn't help but do the technical heresy of switching Blender versions in the middle of the project into a beta version even and use 2.0 beta in production because it was simply blisteringly fast another example of jumping into this new technology for flexibility at this time is the famous geometry nodes so for this project this was our first foray into geometry nodes to do the straw model underneath the goose so the goal here was to test out how to do a procedural model where the power of geometry nodes allowed us to interact with it the animators loved that to be able to do that in the viewport the performance was great and to be able to change the hey and the look of it on the per shot so this was one example of saying hey this is something we don't do usually let's try it out and it worked great and as Hiorna said in waves is in production there are massive waves all over the place and geometry nodes will be a central part of this project so that's how it helped us in the past what we're looking forward to in the future hybrid animation you may have noticed that we kind of like grease pencil so we intend to push that even further and our vision for that and this is a recurrent theme being presenting on the last day all the thoughts we had the pain points we identified have been mentioned before by the likes of Daniel Martinez-Lara so for example here our ideal workflow for grease pencil would be one powered by geometry nodes would be one with interoperability to be able to change the textures of the stroke on the fly to be able to generate stroke banks texture banks so then you can easily apply styles from one project to another here I did a quick and dirty mock-up don't judge me on geometry nodes I'm not sure how this would look like so here I'm using the curve tool to emulate grease pencil so here for example each instance of the stroke has a variation of colours and depending on the length of the stroke it can maybe look at a different part of the bank and these simple additions would make changing styles per project so much easier you can tell the director give me a bank of your stroke styles and then you can apply it to other projects these are endless but this is one example we currently face in our project so fingers crossed grease pencil 3.0 the other big talk that makes us all dream and also have nightmares is AI so AI the way we envision it is at least in the beginning simply as image processing we know that AI has a lot of ambition to make 3D scenes and all of that but simply in image processing like the open image denoser by Intel it's already incredibly powerful so if we have access to be able to use the upscaling models the interpolation models that would already be hugely beneficial to our pipeline and we're already investigating that using for example chainer which is an open source tool which allows you to quite beautifully load models and then simply chain their inputting images outputting images and chain these operations again quick and dirty mock-up don't judge me of how it might look like in Blender how we envision it so for example why not imagine NN neural network loader node where you would load neural network models that are specifically done for image processing of course and upscaling image and then style transfer etc as a bonus I typed into stable diffusion person dreaming about AI in Blender and apparently that's what I think it looks like and last but not least I think the goal of everyone here is the holy grail the all-in-blender pipeline so as you again as mirrored in our talks previously there are some pain points identified at the end of the of the workflow and in compositing so some people are reluctantly having to use After Effects Nuke the other Bob mentioned it the phase special have to use After Effects and us too on a lot of projects we've tried to use we did the effort we tried to use the compositor on the full project oh no no we did it I cried a bit so what we're looking very closely at the viewport compositor and the real-time compositor this could be a game changer for us and for everyone I assume once the multi-layer compositing is applied this would be huge step into getting rid of the pesky little little softwares lingering in our open source pipeline and on this very violent note that's about it for us thank you very much for coming thank you for the Blender developers for making an amazing software for giving us the tool to do all these things thank you for the community and if you have any questions I don't know if we have the time we have one question if someone dares it could be for me or for anyone else on the team but yeah where can we get you a T-shirt I'll leave for you go back in time for now they're just for the team but we hope to have goodies when the film actually comes out well thank you very much we're available to chat if you want to talk about anything we'll be around thanks again for coming