 Welcome back to Q&A and this is part five, part five of a ton of questions and hopefully some answers and helpful answers maybe and this is a totally different format where I read the questions out loud so if you just want to listen to them you can just hear that and then listen to my answers and this is all free form what I'm thinking about those questions and that's a different type of clip that I'm doing and if you're wondering what I'm doing here at all. Hi my name is JD and in this channel I cover animation topics, I do animation analysis clips, I do acting analysis clips, I do animation topics and lectures, animation news, rig reviews, product reviews, all kinds of things feel free to browse around the channel you know the pitch and subscribe if you want to or not totally up to you but it helps my channel grow and that is that you know the pitch. Let's go straight to questions because there are 10 I think I saved 10 questions and let's start with age 3 rcm as always usernames I apologize and everybody who's watching and listening is your very patient and suffering through my pronunciations and the question is what should you do when you get a super jerk person teaching your animation as in how to deal with bad teachers and someone else below reply with um you know that is like katers like kathus like kathus I don't know also how to deal with the bad teachers that just do not care to help or really teach that's a good question and that's a sad question I mean if you are a teacher any teacher who's watching this this makes no difference if you're watching or not no one's going to care but if you are a teacher that just doesn't care and just kind of doesn't want to teach just gives them a tutorial then sits back and is on their iphone I've heard of some of those teachers I'm not going to name names um it's actually don't remember the name but I've heard of a case where a teacher would just come in get their phone screen tutorial then just browse something and just let them do in like you know three hours of silence or something that's super crazy I mean I would say go to the school and and tell the officials management the assistants your advisor whoever the hierarchy works at your school that this teacher needs to get their sh it together and do something about this or replace the teacher I mean this is really because the students are paying I mean the parents of whoever is paying for the classes and they need to get something out of it so that's it's really not good thing now again how to deal with this I would go again I mean you can talk to them if you're into confrontations you want to hey listen I don't feel like what you're doing here is right I mean you got to tell them like I asked my students to give me feedback I don't get that much feedback and maybe there's something where students don't want to say too much because they fear whatever precautions but I want the relationship between students and teachers to be as honest as possible so if I do something wrong or I teach a wrong way or my Swiss accent is just horrible and you don't understand anything I want people to tell me so I can switch my style around to help them so if you want to if you feel like the teacher is open to that that might be one way but if you're saying there's a super jerk then you got to go above that person then just go with management whoever the HR or whoever and tell them this is just not wrong that's kind of what I would do because the thing is again it's your time and your money so I wouldn't suffer through semester after semester with bad teachers just let them know or let the higher ups know that it's just not right because you know why waste your time with that that's just me I would just I would take action plg 30 30 okay what is the best way to improve your animation skill while working full-time as an animator you are the best well thank you you are the best that's a good question because that's kind of in the same I'm in the same boats I'm a full-time animator for anyone who's new I work at ILM 9 to 6 right depending on the hours might be longer but that's my daytime thing so the way I improve my animation skills that's a good question I hope I'm improving by animating at work what helps me is I know this is not something that's like an easy thing but then you have to go through all the proper channels and get into that the territory but teaching has helped me in terms of analyzing other work identifying problems quickly so I can help the students quickly and then I apply all of that to my own animations everything that I was repeat to my students this is the checklist look for that you know arts and pops and acting choices and you know all the things that you want to put into your shots when I work on my own shots I try to remember that have my own little JD somewhere on the shoulder that repeats the same thing hey imagine this is a student clip what would you tell them and I kind of go through that obviously how do you can how could you improve is by doing work outside of work which I can't I still have the time but that's what I used to do a long time ago to try to do like different clips like different style if you're doing cartoony stuff maybe more realistic realistic more cartoony or continuing with the same area but just kind of refining maybe there's something at work you haven't done for a while like actually just yesterday I think we talked about two days ago I can't remember the Q&A with my students I never animated on Jurassic World or Jurassic Park I'm not that old but and within that franchise so I have pretty much no experience in terms of feature live action feature animation dinosaur realistic animation so that's something I would have to practice at home versus getting that and the feedback from work so that would be my thing so find your area where you feel like you need improvement and then practice that at home if you have the time and if you don't have the time critiquing has helped me and at least look at other things online I mean on nowadays it's I guess it's online where you see awesome animation that might be inspiring to you in terms of that's really cool and then analyze that like analyze yourself not yourself but you do the analysis on other people's work so you can compare that work to your own work I think those are kind of the different areas that I would use to improve um and if you I mean if you really have the time and money um go as a as the full-time working animator take workshops uh or go to a school or anything where you get feedback from someone else like someone that doesn't know you doesn't know you're working can kind of neutrally look at your work and say well you need to do this this and this that will be something again I would love to do that I don't have the time I would love to go back to school so to say and have assignments and have a professional look at my work and and critique the crap out of it because I need I need more practice and that'd be really cool but I don't have the time um but that's again maybe I'm through the other ways but right now that's what comes into mind Moki Tobi Moki Tobi I guess Moki Tobi have you thought of trying to use Blender it would be interesting to see a video of you trying to learn a different software and then the industry standard by the way the best tip for animating cars please I'll get two questions in there um have I thought of trying to use I have absolutely thought of trying to use Blender and it all goes back into time I had more time before this semester but even then I had no time now I have really no time whatsoever but I do want to try it I don't know if you want to suffer through me trying to use it for the first time it'd be really boring to watch how I stumble through this but I do want to go in there and see how is that here's so many good things and I see so many good things with that software so I do want to use it um and the best of animating cars well depends I mean cartoony cars look at cartoony cars out there cars Pixar or the older classic cartoons or motion things of what their style is um and if it's for realistic cars you got to look at reference how do cars move the suspension and you know if it's like a hard suspension soft one bouncy things what type of car they make of the car how you know how do the lean or you know what's the gravity I don't know to me it would be looking at real life reference to see how they behave quote-unquote um and then looking at whatever tools you have do you want to animate the car on on a path or not something like that I'm not sure if that's the best answer to this um kind of stumped on that question but I'll leave it at that Mexican burrito a burrito super cool with the q&a thank you thank you my question is when practicing learning should I worry about how long I am taking on an assignment when I sit down with my own animations I feel I always feel like I'm too slow and was wondering if I should just focus on learning rather than speed that's a good question um should I worry I mean let's put it this way I would first worry about learning this goes back into having a good or bad teacher so you get the material you you get the assignment you get the list whatever you need to do and then practice or practice try to understand the assignment and the principles behind it so don't rely actually that's what we talked about yesterday for sure in the class um don't rely on the teacher's notes to move you forward by that I mean if you just get the list of the teacher's notes and just follow that list and then resubmit your shot but don't understand why you made the changes and what the principles are behind those notes then you will never succeed and or succeed you never improve if that makes sense like you will never like once you go to a next shot you don't know why you made those fixes so you can never make it better on your own so that's what I'm saying first I would focus on learning looking at obviously your education the principles and everything and then when you get to know strength you understand why did I get this note why do I need to do the way shift or the spacing change or the arc changes or the acting choice change whatever whereas acting is a bit more you know subjective but that's what I would do but then also speed to be honest it's a both thing but ultimately I wouldn't I would first focus on the learning and then the speed because you don't want to rush through things because I need to be fast and then it looks crappy and then what's the point so learn the principles make sure you understand all the fixes that you're supposed to implement and then start working on your workflow to be faster I think that will be that will be my advice that's a long one by nilo far navaye navaye and that is actually there's a two-parter of someone else called sumaye nagizade I think this person replied before anyway I have the same question as Eric Malaco I'm learning Maya and 3d animation by myself your channel really helps me to learn more about 3d animation well thank you I'm glad to hear that although I was 2d and 2d game animator I quit my job and decided to switch to 3d because I really want to work in triple game anime game companies I'm practicing every day sometimes I feel lost and ask myself am I on the right track is there any specific exercise like a list or something that newbie animators start with them sometimes I really don't know what to do I stop my practice and start overthinking and asking myself no no maybe I should try body mechanic or no maybe I should make some acting animations and dot dot dot quite a quote quote sorry for a long comment but I'm about to explode and I need help and underneath someone respond with or add it yeah exactly I think that happens when you self-study animation or anything because you don't know where you are in the path of learning and there's no one to tell you what to do after you did for example that especially in the middle path of learning things start to become harder and you need someone to push you those are great comments great questions um so let me go back up here you decided to switch with 3d because you want to work in triple game but you feel lost am on the right track is there a specific exercise list I mean there's the classic 51 exercises for animation that has all kinds of things in there I mean that's definitely somewhere to go in terms of that's the list I want to go through these are all very helpful lists like it's a helpful list of exercises you it will teach you many different aspects of facial acting body mechanics and moves and all kind of stuff and that's for sure good idea I totally agree that it's hard without feedback to understand where you're at I think what I would look at in terms of self-teaching um yeah if you again you have to have feedback because you otherwise you are in that bubble so either your friends post you work online in a forum or obviously if you can't go to school which is not the thing that's self-taught so find somehow a way to get feedback from someone in terms of structure I would look at if you're self-taught to go through the principles like literally going down to bouncing ball like you got to go have a proper foundation for timing and spacing and the bouncing ball is just easy to do in terms of it's no crazy rick just the ball you might have other ricks where you got squash and stretch and other things in there but you can literally just take a sphere in what a software package you have and go with the bouncing ball and different weights and stuff like that I would start with that and then I would go into mechanics I wouldn't go for my bouncing ball or like a pendulum or whatever straight to a walk walks are hard especially once you get to character walks so to me it will be kind of building on top of complex mechanics where you have a bouncing ball the bouncing ball with the tail so you get the drag overlap and all that good stuff and then what I always recommend is subjective but I recommend a sit down because then you can just do just the root sitting down you have to anything crazy with arms and legs but then you can you still have to look at the weight and the arcs and then the little paws and a plop and then you have that impact on the body there's still a lot of you know successive joints that have to overlap and compress I think that could be cool and then you can exaggerate or exactly you can make it more complex by adding a step a turn maybe the arm is leaning here like I have on the chair you know like that you can make sit downs more and more complex just mechanically and then you can start adding character to this is you know someone's tired or anxious or nervous or happy or tired whatever all that good stuff so I think that is one way to go and then going into a jump which again could be just a standing jump jumping for me to be walk to a jump run to a jump you can make this all more more complex and then you can then I will go into pantomime stuff where it's a bit more thought process and and and character driven so that the movements are not just movements for physics and and proper mechanics but driven by a thought process and action and reaction and whatever it is that's kind of what I would say but even within that you would be lost if you're just doing it by yourself so I'm going to put a link in the description with the 51 exercises that might be something that is helpful but if you're I mean if you're typing this you are on some form of machine be it a phone or computer so you have access to let's say LinkedIn or if you want to do an account or Twitter and I know Twitter might not be you know it can be a very negative you know hellhole this is there I say just kind of curate it the way that makes it a bit more positive but at least you can follow animators we can you know follow artists where you can post your work for feedback or just ask for feedback again you might get a lot of unsolicited feedback or opinions you don't want to hear from or I don't know whatever so LinkedIn will be more professional and that would be that so yeah find a structure and exercise list that works for you depending on where you're at level wise and then go through that but try to get some form of feedback even if it's just someone in your household or a friend or someone or send it to me or I could say worst case send it to me I can give you some feedback I have to provide it as my students in my workshop people but feel free to email me and if I can if it's something short I can just write it one or two sentences I can always do that so I will leave it at that vibe of but yeah but yeah but yeah it's always kind of tricky how to plan your shots for example if you have seven days for a single shot then how many days you're gonna spend for gathering references or doing research and how many days do you gonna you're gonna give to execute the shot and is there any do's and don'ts for the shots during tight deadlines those are great questions how do I plan my shots well generally it's the type of shot that's going to dictate how I plan by that I mean if it's something heavy in terms of mechanics especially creature stuff I don't know every creature by heart so I have to look at references so then my first step would be online or books or whatever you have look at references for posing and mechanics and movement how do those creatures move or how do humans move um for something very very complex you know especially if you have you know anytime like parkour or some actiony thing a stunt double stuff that I can't act out then I got to go online and check someone something something that's similar to that action if it's something that I can do then I act it out just to kind of feel how it is how my body moves for whatever action it is if I if I need to study that more than I feel myself for reference or if you have a good acting body you can film someone else that does that that that to me would be first if it's something where I don't need reference and I just want to think about the performance and it's something where it could be character or creature something that is not you know legs and arms and it's just something something else um then I usually just sit there and think which is horrible when someone walks by my desk nowadays it's not the case you know I'm in my office but um at work it's something like this I really like this I'm just thinking because I try to visualize the shot in my head until it's clear like I try to see it in my in my head like the final pass that's the performance that's what I want to do if I don't need reference or I don't need to act it out some stuff you should kind of like yeah that's what I want to do then you go in there and you animate it that's kind of what I do so how many days do I spend for gathering references uh a day I don't want to spend more I mean you can always start with the basics do something submit your shot for review and feedback and then keep looking at things and looking for more references while you wait unless you have a second shot to work on and you do the same thing you keep working so I don't want to spend too much time basically I want to spend enough time to make a good decision I know if it's going to be good but something that's at least informed enough to start um so I don't want to spend four days on something where if my idea my pitch is not good I just wasted four days I prefer to do half a day or a day get a blocking together send it as an idea and then when you get feedback that's a good idea keep going then you can continue with reference gathering for more details or more polish or whatever you need that's kind of my process uh and any do's and don'ts for shots doing tight deadlines um I don't know keep it to me it's keep it clear I don't want to make things too complicated once I have a tight deadline okay well this is the shot this is the deadline don't have too much time let's not spend hours and hours and hours for reference trying to find some crazy details I started simplifying it into what does the shot need what's the story point what does the client need with the leader supervisor need um and then try to execute that idea as clearly as possible and once that has been approved then I can add some other flourishes to the shot to kind of dress it up and make it cooler but um I don't want to go into crazy stuff when it's a really tight deadline then it's just stick to what you need to do like what needs to be read as clearly as possible in the shot story point wise or pose wise um and then I put on some music to drown out everything and just have you know certain mood and then I go in and attack the shot it's very subjective that's kind of what I do I don't know actually comment if what's I'm curious what other people do what are other people's do's and don'ts for tight deadlines and curious what your your distraction free zone thing is that you're going to to uh to get there I know all right Namankari I'm again assuming the pronunciation here how do you plan action sequences for game animations or action movie where it's tough to find or make reference there's a common question that comes up a lot I don't do game animations I can't answer that if you're action movies where it's tough to find references it's kind of like for me it's a two step thing it's basically I look at reference now you're saying it's tough to find but I try to find reference that is at least somewhat similar even if it's extremely removed some part of whatever you're going to animate you will find reference for even if it's just a certain body move a look an arm a grab a fall there's something that you can go this part exists somewhere now if it doesn't then the answer is just make it up then you've got to rely on your experience and all the things you've done make up an idea and then go and animate I mean ultimately you still have to have the skill set of not looking at any reference and think about a shot come up with an idea and animate it from A to Z you know final polish without any reference or help I would still practice that type of thing so but I still try to find as much as possible there's a reference so it's it's related if you have a creature right it's like some fantasy sci-fi creature that looks totally weird you still want to find something that obviously won't look like this but as an audience the audience will go oh that seems familiar they don't have to have that massive reaction but subconsciously they can go you know if it's like something threatening you might find an animal that has a threatening stance or pose or move and you know like like snakey stuff like snakes right he's a snake that's gonna be threatening so if you have any type of creature that's like a threatening snakey thing then you're gonna go you just gonna feel like that's not right that's not like a cuddly creature so I would look at that like what elements can you can you choose from whatever reference human or creature that an audience member is going to react to viscerally in terms of cute or not cute like if you like there are obviously many other ways of reacting to something but like those basic good or bad bad or evil or evil or not evil type of things um and then once you have that like I said then you have to make it up in your own head and and create that performance and just rely on your sense of timing and spacing for the proper weight and then your sense of timing and drama and attainment value to make it a performance hope that makes sense that's kind of what I do again not saying I'm doing it well but that's my that's my approach this guy that's the username this guy sorry sorry one more last question how do you give breath and settle to a character especially when we have like four to five frames damn that's really tough um if you only have that much time I mean the breath is going to be four five frames is so sharp for breath I mean it's also will depend on the action right if you're just doing a you don't have time four five frames is not going to work now if you're doing something action-y I was like and you can do something like a cheek puff or like a chest flare then that might fit in but four frames is super short I will look at something where I settled her character I will look at what is the action you're ending and what is the main aspect of the body part that ends is it something where you know if someone comes to stop with their leg and it's like this where it's the leg is going to hit the root and the pelvis for the whole thing to stop you're going to feel something in the chest it's going to be a chest head with potentially an arm move but it's going to be a lot of compression or just a stop I would I would try to sneak that in there because you can you have to potentially stop the root really quickly that doesn't feel natural like it feels like it's too fast so the momentum has to go somewhere so then any body part where you can show that off where it's a chest or the head that follows through or an arm that has like an overshoot for where you feel like that momentum just doesn't stick and if it's just a regular settle with not a lot of action it's the same thing to me if it's if I'm resting and it's like a I don't know it's a chair on this then I will look at this is the thing that stops first and it might be the saddle on the head so a little adjustment on the head to finish this if it's standing thing weight shift it could be your hips could be an arm I would just look at what is also what is the thing that needs focus I don't kind of all over the place but there's so many ways you can approach this so you have to look at a mechanics way of the momentum so it looks proper in terms of how a character stops but at the same time you have to look at in terms of where is the audience supposed to look at the end of those four to five frames so it might be something where mechanically you're supposed to do like a body compression upper chest whatever but the focus should be on the face because then there's something there or it says something or it cuts to something where the eye needs to be up here not down here and however the eye line is for across the cut then I would exaggerate the head so that if you stop the last it could be a bit of a like a twist in the head and that's the biggest thing that moves so the eye goes to that part that makes sense you have to lead the audience in terms of focus if that's the frame right so let's say I'm stopping here that's my head here and the neck shot has another character within this area I would move that at the end so the eye stays there I don't want to do something where something happens over here right and then in the next shot the audience is supposed to look here but then you have a lot of back and forth and it kind of it's a jarring cut or um stuff like that so that to me that's what I will look at in terms of mechanics what would feel right and then on top of that well would that be overwritten by a performance where you want to focus on some some other body part and then that again will be overwritten in terms of but how does that work if it's a sequence how do you cut to the neck shot where do you want the audience's eye to stop so that cut is smooth and so on and so on so I think there are many ways hopefully one of these is helpful to you Robert good night that's the name when you specialize you're real for a studio how do you analyze this you just work to match your real to what they do like if you apply for blizzard what sort of things do you show for that if you're going to apply for ilm what sort of animation would you prominently show in your reel like would you go for more real real action scenes realized in rl if you're listening there's not rl uh since it's a vfx studio unless stylized slash cartoony and blizzard is more stylized action i hear a lot about specialized your reel to the work the studio does yes and i'm also the same proponent of of that saying um you know again it's that example i mean go broader in terms of let's say ilm and disney like disney feature animation totally different styles so broadly look at what is the general style um and then go from there and then once you have that like let's say ilm now i don't i mean i work at ilm but i'm not going to represent hr or the recruiting aspect or this is not an endorsement of if you do this you will get a job i know this sounds like a massive disclaimer because it is so what i'm going to say now doesn't mean that if you do that you'll get a job i have to say this so but for ilm specifically i would do something where looking at the portfolio of what we're doing like you have Mandalorian season 2 is out right you got the crate dragon really awesome stunt doubles with mando flying around like you have digital stunt doubles that you can apply to maybe bigger creatures you have look at transformers big robots you have pacific rim big creatures um you have star wars you have flying vehicles i would not put star wars on your reel but something where it's a vehicle flying so you have flight dynamics and then we also do a lot of camera work so a lot of the cg stuff like cg cameras we do we get it from layout but there's a lot we have to do to pass on top of that or we have to create the whole camera from scratch so anything that would be camera work because maybe you do previews or post office work so to me it's leaning more that way versus a cartoony stylized looking character doing cartoony animation with lots of you know cartoony stuff in there because that's just not what we do um that would be the biggest thing so look at your reel in terms of the style and then within that just look at what has the company done recently and apply to that like you look at you know some companies are doing the effect stuff but it's not actually it's a bit more a bit more like performance room like a lot of harry potter stuff has creatures but then they talk they perform um or anything stuff like that again you have to look at some companies are more into the performance we effects some are actiony creature stuff some are doing everything so that's kind of how i would approach that again this claim right it doesn't mean that you'll get a job um and i'll leave it at that hope that makes sense basically it should be this game over everything i hope that any of this makes sense anything that i say all right let me check the time oh 29 minutes and 30 seconds this is why i'm looking down here because last time it cut me off so i'm gonna stop this oh this one last question i'm gonna stop this and rerecord and then finish this with a new recording all right i'm back i could have cut this out look at that my timer i'm gonna leave all this in this is all something that i'm doing this guy again is asking it's the last question how do you manage to do youtube plus your daily work that to uploading every single day and what do you think about anime i like those double double totally different questions and funny enough i was just talking about anime yesterday with um my wife's younger sister is here uh it was a lockdown you're kind of living together right now and she watches a ton a ton of anime so she'll be the better person well actually you're asking what i think about it but uh talking to her about it yesterday like i'm so old like my anime thing is you know like dragon ball uh les chevaliers de zodiac the saint seya whatever you know the zodiac or whatever it's called in english whatever you know and then i don't remember the couple ones way back when i was a puppy uh and even though it was in switzerland i we watched french channels and there was a channel called or a show called club doughty and she and her co-hosts would present all kind of shows also anime stuff and there were a ton there i don't know if ken fiss of the north star was part of that lineup but like just so many different old school um anime shows that would watch and that's kind of that i don't really watch them anymore because i don't the time that i have to watch things like the time that i have in general i want to spend with my family so i'm not going to sit down and watch anime with my wife because she's not super into that so like castlevania was like the last thing that i watched that was animated in terms of a non big feature thing i guess um and i know there's a ton of good stuff out there like there i say i've barely seen anything of avatar i know i know a kora or even clone wars not the clone wars is anime but just generally animated tv shows it just it's just hard to find the time so what do i think about it i like it but again my liking of it is steeped in nostalgia and very old old shows that i used to watch i'm sure by now you got a lot more better and i know you do but i would say how about this this guy uh comment and let me know what your favorite anime shows are or movies anything in that style and then i can make a list and uh catch up and watch these or anybody watching these what are your what is your what are your what are your thoughts about anime and what are you your favorite movies and tv shows and then we can go from there um and then i can catch up the other question is how do you manage your youtube plus your daily work well it depends that's my my favorite answer to everything's always it depends um right now i have a really hard time uh to manage it if you are watching my clips more frequently if you're if you're a subscriber you will see that my schedule is now completely upside down i just don't have any time right now i have like i said before i teach five classes i got three classes at the academy uh they're all online obviously right now i got two classes uh i don't manage mentor and i do my workshops as well so my my world right now is is heavy leaning towards teaching with the daytime being work so any free time at lunch i exercise but that is basically teaching working exercising and an evening i watch uh Ted Lasso just finished i watch he wishes be my wife in movies that's stuff like that or mandalore and tonight um that's kind of currently uh the bubble that i'm in now there were too many classes it's usually because classes that i applied to some of us get cancelled to not enough people there or something changes so it's usually give me all of them because i know at least for the academy and mentor one of us going to cancel because of not enough people there or something changes so i never have that many for some reason everything got approved this semester but i'm not going to do that again so there's going to be a certain cap that i want to put in especially for the academy to like the two on-site classes which are online like the online classes you just you write stuff your critique but it's kind of my own schedule i kind of go and log in and record the reviews but the on-site classes which are now online there are three hour blocks so for me that's Tuesday Thursday from six to nine p.m that i have my block so that's like a big chunk uh that's gone and the first class is so big that it's actually six to ten like i have to do extra critiques and stuff so that's a big chunk of time that's just gone and i can't do that anymore so for spring i would only do one on-site online class and then an online if they want me to happen right but i'm not i can't do two on-site slash online classes it's just too much an evening three hour chunk uh is kind of gone so i kind of i have to really pull back because i do want to do other things besides what i'm doing right now they say there's a like a clip i want to animate too for i don't know how long um but also for the channel as you can see like a lot of stuff has just been on hold but i want to continue and i need to find a way around that i just i just don't want to work on weekends that's the thing i want to critique i don't want to animate and i don't want to work i don't do anything on weekend weekends are my my work-life balance thing i want to spend that time with my family but it comes to a point where people again have sent me stuff to review and if they are watching this again thank you and i will review them and this weekend i'm going to break my rule and i'm just gonna work because i need to catch up and i can't just say hey send me things for a review and then they do for free and then i sit on them and i don't review them this doesn't work so i just i have to change it i talked about that with my wife and you know we're figuring out a schedule so there's still family time there but i cannot always like take advantage of people sending me review units and then i don't do anything for it or delay it massive because i can't wait till december until the semester is done like this ridiculous so actually this weekend i'm going to break my rule and start working so i'm going to catch up lots of unboxing and reviews and then i will try to find a different schedule to get back into the rhythm of reviews um fna's all that stuff because again it helps me going back to another question like all that stuff helps also me to learn more and and dissect stuff and have more material for other classes and not just the channel because i try to do material that will serve the channel but all my students all the classes i can show them that stuff i can point them towards the movies or the extra material that i have i can show them in class so i need to get back into that so how do i manage right now poorly and um in the previous semester where i had less to teach um i'm i'm also doing a side project i can't really talk about that needs my attention in the evening uh and because of that i sleep in in the morning where i get up at between six or seven before that when i didn't have that side project i got up a quarter to five and this is how i was managing my stuff where quarter to five i get up and i do the critiques i need to do i record i edit all that stuff up until eight or nine until work starts then it's work work work work and then in the evening i can do family stuff from my own thing what i want to do and that was kind of schedule and then i go to bed between 10 10 30 maybe 11 but usually between 10 or i i guess roughly between 10 and 11 i do want my six to eight hours of sleep preferably seven so that's kind of that's how i used to manage it a very rigorous morning schedule to get everything done they work and then blah blah blah and right now um it's a big tricky the thing that i can upload every day is our critiques because i will always critique my workshops and i have again eight nine hundred files of critiques from my 10 years of teaching so i have so much material in terms of feedback that i can i can upload all the time i mean i would have three years worth of daily uploads of just feedback so and given the comments people like them and they learn from them and it's also kind of a promotion for my workshop where i got workshops link description all that good stuff so you know people watch these feedback clips and well that's cool and they feel like i want to do that for my own thing that's why i'm posting it it's an archive reason and for people to watch this and get interested and then sign up for a workshop as well if they feel it's helpful so my daily upload will always be critiques which again i try to keep the monday to friday uh monday to wednesday and then thursday is ack analysis and friday is an fna again right now it's all just chaos so yeah that's that it's a long answer what is this eight minutes into the last answer um yeah i'm leaving it at that i think i have after this 10 more 10 more uh on youtube but i got other questions on my instagram and someone twitter and i think someone linked in as well so there'll be two more parts one to finish the that's not true and then i got questions on my answers q and a so i will probably say three more parts one more part to finish that the comment list there one more to cover the extra questions on on those q and a answer clips and then one last one to round up all the questions from all the different social media uh sources and that is that and speaking of that is that that is that for this q and a again what is this 10 minutes so probably half an hour 40 minute almost clip very long if you're still watching thank you for watching if you're still listening thank you for listening i appreciate it uh and you know the pitch like and subscribe subscribe if you want to you don't have to but it helps the channel grow will be awesome comment if you have any questions of course comment if you have any clarifications comment if you if i missed the question i probably missed something somewhere and that is that thank you for watching thank you for listening have a fantastic weekend and if you're watching mandalorian season two tonight it actually comes out midnight this morning but uh let's all sit together mentally and watch episode two of season two it's gonna be awesome anyway that is it thank you