 Alrighty, let's do this again. This is part two of the Q&A again same leisurely set up I got my questions here, and if you've never watched these Q&A's I will read through the questions Just in case you're only listening to them and then I will answer in you know, whatever fashion free form way That I've done before and if you haven't seen part one the link in description is there plus playlist of all my previous Q&A's and that's about it. They're completely new Hi, my name is JD and I do Q&A's like these and I do a bunch of stuff on the channel So that's the the beginning pitch check it out. I got animation analysis clips. I do acting analysis clips I do lectures I do feedback stuff news do a bunch of stuff So check it out if you like it, maybe you can subscribe so you don't miss any of those things It's a typical, you know like subscribe pitch at the beginning. That's what we all do for the algorithm So tie young man, that's the username as always Apologize for any type of crazy pronunciation. I will try to do my best This is a long text and is in new form. I will blend this in at the top But maybe I'll go back down. I don't I don't think you want to see my face anyway So this might fill out the whole screen here, but so let's start. Hey JD first of all happy new year to you and your Fam, thank you so much. Happy new year as well. This is now February here. This is Sunday, I got a time to pick up my little one. So at one point I'm gonna pause It's I gotta go get him here the Sunday craziness. So he says here. I got a question for you I guess this is a case-by-case kind of situation, but would I but would love to hear what you think, okay? I've been working as a 3d generalist past six months and had to leave my work due to personal reasons, okay? And now I am back in that job hunting mode. There aren't that many jobs around in my area Where is this area? I don't know. Hmm. Okay. And what's available is about two hours commute every day Which I'm not eager to do anymore totally understand that I've noticed many animator jobs being available remotely But they aren't usually for junior animators. I am guessing that if I was to work at a studio I'd be considered as being a junior because 3d generalist doesn't count as an animator Probably I'm not sure how that works, but I would I can see why that would be So my question is would it be possible to be employed as a junior animator while working remotely? Or have you seen anyone who is a junior working remotely first question and my first answer is I don't know It's my honest answer here. I Think in terms of what I'm seeing and hearing Through friends and Twitter and stuff like that and LinkedIn people getting jobs. I would say yes But I can't point to a specific post or something where I can tell you this company did it remotely with a junior Unfortunately, I don't know. I don't really see to me it's less of a Position problem Like a junior. I think the junior can totally be remote I think it's more of a problem if you're senior or supervisor at that level you it's probably more probable They're probably more probable that they're gonna ask you to be on site Because of the role that you have and people you have to interact with versus a junior So I don't think being a junior would mean that you can't be working remotely That would be my answer for that. But again, I can't pinpoint to a specific job posting or stuff But I would check my animation minutes. There are always jobs there at LinkedIn is always tons of jobs stuff like that And just keep your eye out on that. Sorry. It's not the best answer I assume that this is fairly rare because juniors would have to be supervised and work closely with intermediate senior level animators Again, I don't I don't know I mean if the if the company is set up to be remotely and you know, many companies have done full project TV shows and movies remotely To me again, I feel like supervisors are more likely to be on-site versus juniors But again, that might just be me. I Love to know what you think as much as I like doing animation and would like to continue on this career path But also I got to consider my option as I have a family to look after and so forth I completely understand my family as well Your wife to kids and dog the bunch of stuff to consider like the switching around is not as easy as It is if you're single not saying that it's easier to single person But I definitely have more things keeping me in place. So I am all for remote work Basically long story short, I'm not sure if I am of much help With this question. I think generally I think it's going to be okay Just based on what I'm remembering in terms of seeing Junior positions and where it says remote is okay. I mean some companies are still a hundred percent No, it has to be on-site or at least within the same city You know where it's where it's you might be able to do half and then you have to go into the company And then you go back home again but fully remote as in like you're working for the company different state or Or Canton or whatever country right or a different country even I don't know unfortunately Thai young man. I hope that was Somewhat, okay. I would I would just say keep an eye open on Mondays for dimension minutes. I'm not saying this is self-serving, but I do have job postings there So if you want to look at job postings and then check them out the company on LinkedIn and stuff You it might give you a better picture Rough doughnuts Hey JD. Happy new year. Happy new year to you. Can't wait for your new content Say I just started studying animation and I'm school awesome And even though I still have a lot of time to think this through I would love to hear your opinion on whether I should choose a career and feature or game animation I know that the simplest answer is to do what I love the most But there are some more factors at play that make it difficult for me to decide Okay, first of all, I love both and I would like to work for both Okay, I have some slight preference for feature animation because I think that nowadays they're using mocap way too much for games I am afraid that this takes much from the creativity and fun of handy animation in a way I guess so Um, I would actually before I continue reading Point this answer or or ask Harvey Newman Check out his channel since he's is in that field and he will be able to tell you more In my peripheral thing I see game stuff that is mocap and then I see game stuff that's keys. Um, but I don't know Generally percentage wise where it's leaning more really depends on the style and stuff. Um So I don't know But again, just in case I'm giving you a crappy answer for the rest of this Harvey Newman check out his channel he and ask him comment and ask him he will know The thing with me is that I'm European and financially It would be way better for me to get my first job in Europe rather in the states rather than in the states Yeah, okay I'm also European. So why not that could be a fun there I'm curious how the job search is there and the salary range and stuff But from my research, I find out that there are way more game companies in europe than animations Studios and I'm afraid that if I choose the feature path, I won't be able to easily find a job here Okay, it's a valid point. Now. Don't get me wrong. I am not pursuing animation for the money It's actually my dream job and I would do it I would do it even if it didn't pay at all clearly my reading skills on this weekend Not the best But it's really important to me to know which path will lead to higher chances of learning a job faster Okay It would mean the world to me if you could provide me with some guidance on this matter because you truly are One of the people in this industry who I trust the most That's very kind of you. I would question that faith in me Yeah But thank you Again, because I'm not I'm not super versed in game stuff. So you should not trust me Thanks in advance and sorry for the huge tech sets. Okay. I know that you don't have much free time That's okay too. This is why I'm doing it. I'm taking the time to answer these questions now If you are focusing on The path that leads to higher chance of learning a job faster as you're saying here then I would do what best You know available in your surrounding which sounds like it's games because the thing is I don't know how old you are But if this is your dream job, I'm going to sooner you want to do it for quite some time So you're going to have time to switch around So even let's say you have games and feature and you're slightly more in feature lands Mentally, but you start in games You're still going to learn a bunch in there your resume is going to grow the people you're going to you're going to meet there It's going to be great And then you can always switch later. You know while I mean it's going to be more work But as you work on weekends or something you can do your demo reel for feature animation I think nowadays it's it's not I always felt like back in the day it was harder to switch But maybe that's just I don't know maybe that's just my weird memory But I think I think you would be okay switching and if you want to go for a job quickly In terms of you know, then you have to look in terms of opportunities So if there are more game companies, it feels like your Availability in terms of job offers are going to be in that sector. So you might as well go there first since you like it anyway It's not going to be a waste or a horrible thing to choose And then while you work at the company, you can work slowly on the other reel Just in case you need to jump ship and go somewhere else. I think that will be That will be my recommendation. Again, this is very subjective. It's very Totally up to you But I think if you're liking both And you go into games first again the experience is going to be awesome You're going to learn a bunch because it's it's a completely different technical approach and incorporation of animation versus Like cinematics or feature animation type of stuff So I think if you do this and then you switch over to feature you're raising me like you have these two That's already great. So I don't know to me feels like go for games because that sounds like it's going to be easier in Europe And then go from there That's what I would say Rexel Durre Rexel Durre Rexel Durre, I don't know. Hi JD. Happy new year. Happy new year to you My questions are do you animate only using iK hands all the time? Or do you blend between iK fk if needed? If you do animate all using iK only Can you share some workflow on how to make it feel like fk? Thanks. You're very welcome. Um I would say iK hands all the time mainly because I learned fk at school and then when I started islanding was iK and then I got so used to iK Now I'm fully iK and I'm I'm I would say I'm lost but I'm definitely reluctant going into fk arms And hands and stuff unless it's something very specific where it's going to look better. It's going to be faster um But Yeah, I think the best thing would be and it's something on my list And I'm probably say this all the time and the and the clips never arrive But I do want to make a specific clip not just about iK fk, which I do want to do But like you said a couple tricks on how to make it feel like fk was a couple things you can do um One thing you can do is like you can roughly animate something in fk Even though it looks crappy like fk will give you really beautiful um arcs And then you can always constrain a helper object locator or geom whatever and then bake that out Or the emotion trailer you want to do and then you switch back to iK And then you constrain that iK to that helper object or track or trace that arc that either through the motion Trail or you drew and that gives you Like the nice look of that while it be still being fk if the iK if that makes sense so do something in um And actually that's something that I do frequently not in terms of iK fk switching But animating something and then baking that animation on a locator And then constrain that arm to that locator So that animation is locked while I do other things with the body to make sure that this doesn't get affected at all For anything else depending on the rig some rigs are great in terms of setup where you do chest stuff It's not going to change anything in the arms or hands, but not always so I do a lot of um animating Baking out on helper constraining and locking things. I only want to move a specific thing My dog is back there sleeping. Um, that's that's kind of my approach. So Yes, iK all the time At the same time to me. It feels like that's a liability Or something I should stop doing at least at least doing some practice shots with full fk And go back into this. I feel like it has limited myself in terms of Workflow and look But there's some things in iK there are pain That you will be a couple seconds in fk and again, they're helper ways, but it will never be as easy. So I don't know. I want to go back to this and and Through that I want to create a couple clips and demos and tutorials and put that on the channel So look out for that in the future Prexus prexus if you had never worked on any big studio Do you think you would have felt fulfilled quote unquote as an animator? That's a good question and that's something I can't answer because I have worked at a big studio Actually, I'm working on a second big studio now. Um, so I don't know I think probably at the beginning. No That's my honest answer. I would say probably no because I always wanted to work at the bigger studios not in terms of Like a big studio name prestige, but because of the project Projects that they worked on so being you know a child from the 70s and 80s and stuff for me star wars niana jones You know like all that stuff ghostbusters. It's it's just that's my surrounding in terms of like movie experience and Like the imprint It's a kid of all that stuff and that's you know, primarily done by ilm like ilm the ghostbusters 2 not 1 But like all those companies that are doing those awesome event movies that have you know Shaped my my upbringing in terms of movies and that's why That's why I really wanted to work at ilm amongst also other companies as well. But ilm was was that thing um Had that never worked out probably in the first couple years. I would have been definitely bummed I think because I wanted to work on a star wars movie. I wanted to work on something like sci-fi and actiony and things um But I think now as I'm older and somewhat wiser but also somewhat more relaxed um and where my my My shift and focus in terms of happiness and success has changed It's almost like I'm setting up a sentence and I'm finishing it but what I'm trying to say is that Now that I'm older. I think If it's if I want to do something it doesn't work out as like and whatever It's just it's it's a bummer, but it's not the end of the world. There's other stuff you can do Um, I just want to be able to pay my bills support my family and I love animating as a whole I think that's the big change like when I started it was always I want to work on that specific project. I remember that ilm early on like, oh, what's the next movie? I want to work on this and then as you work on a couple projects You get to know the people then it becomes more about the people Oh, I want to work now with this person because it's so much fun to work with them And then as I did more and more more whose ilm was so awesome in terms of The variety of things because you do creatures and vehicles and cameras and digital doubles and sets and props You just animate so much stuff in there that it really opened up my Horizon terms of how much fun animation can be because at school at the academy It was all cartoony stuff, but human bipeds. That's all that's all I did And I loved it but Through ilm it opened up the door to so many things you can animate where at this point now I just like animating anything and that's why I feel like the answer to this is that If I want to be somewhere it doesn't work out and I have to go somewhere else. I don't see it as Unfulfilled just it's a bummer. It's bummer that something doesn't work out or that you miss out on something But there's always going to be something else somewhere potentially, but at the end of the day The baseline is that I'm as long as I'm animating I feel happy. That's my current situation in terms of my you know, my age and situation all that stuff Just because I love animating. I love the process of animating and And anything animating anything be props and sets and stuff in the background and characters and creatures and cameras I love it all. So That's kind of a roundabout answer and I hope that makes sense All right, mahesh is asking. I am selected as a 3d animator in my digital studio But I have a doubt that okay to join that company because that is a small company Okay, so what I'm getting out of that sentence there Is that you're reluctant to get higher there to start? There was a small company and it sounds like you would prefer to work at a bigger company. It's almost like A continuation of what we talked about before we as in me talking. So what time is it? Okay, no time is going off soon 20 minutes. Uh, how long is this 18 minutes? Okay, I can keep going There's not I'm not sure how much I'm seeing there was a question because it's going to be such a subjective personal Situation and answer for you like you have to that you have to answer that for yourself. Are you Wanting to get hired because of The prestige aspect of what we talked about before Of the name friends of a company or the project or like I want to be associated with this because of the like I said like the the image that comes with it or Do you just like animating and you're seeing any job as an opportunity to learn new things Get better at your craft Make new connections and friendships and then move around as you know as your life continues I think that is something that's very personal and subjective and that's something you just have to You just have to decide on your own like I don't think It's always like I say it's not bad to start at a small company Some companies are better when they're small. There's more that you can do. There's maybe more ownership It's made more creativity the bigger the company the more corporate potentially and the less You know freedom you have in terms of creative choices and stuff like that But I also say it's solely fine to start at a small company while I started at the big company So it's like I'm not in that position to To say this in a way if that makes sense Again going back to what I said before at this point I just love animating So if it's a smaller company now in my position at my age It wouldn't it wouldn't bother me because of I don't care about the image or the prestige or What comes with the name I want to be at a company with a good group of people that do Cool creative work where I feel fulfilled As an animate in terms of the work that I do and how much fun I have there To me this is all independent from the name And everything that comes with that But probably also honestly because I have worked at a big company actually my second company My some mine, but the second company I work at now is also a big company. Maybe it's because I I have been part of big companies And maybe that's like the blase spoiled um You know view that I have like oh, it's fine to work at someone else because I did it I I worked at big companies. You mean like again, I feel like I'm not in the position to Say something smart When I read that sentence But I'll just give you my honest My honest impression and thoughts on that and I hope I hope it's It's helpful. I would just choose whatever makes you happy. This is a really standard answer But ultimately after all those years, that's what I would say Regardless of like company size Are you going to be happy there? And then not all the all the others like that goes around working somewhere It's the commute. Okay, if you go there for three hours to go to a company Your your uh, you know quality of life is going to Diminish after a while because you can't sustain such long commute So I know to me that there are many factors that go into choosing where you want to work It's very complicated and very subjective. I'm gonna leave it at that Sujoy suyoi suyoi patrannabish patrannabish. I hope that's that's how you pronounce it With shows like arcane Do you think the bar keeps getting high to get into the industry? If so, what would you suggest for people trying to break through? That's a good question and I would say in my very uneducated opinion point of view is that you can't At this point, I don't feel like you can Have arcane as a reference point of this is now the new standard A in terms of quality because they worked on it for a bunch of years And also budget like they must have had a bunch of money to do all that work The texture work all this for so many years. That's just not something that Every other company can do so to me. It's like yes, the bar has been raised But to me it's also an outlier because it's not like oh, this is like a new tool that came out that now everybody has That's the new bar and everybody, you know can easily access that and do kind of the same quality and look That's something very specific to arcane and while looking also awesome It's just to me. It's unrealistic that now every project can look like that just because of time and money so I don't the bar. Yes higher, but I don't think it's I don't think arcane brought up the bar in terms of Anything below that look in standard is is now crap and you can't get into industry if you don't have that look And stuff like that that makes sense. I don't like I know that's again very uneducated opinion there, but Animation is really good But I would say You have to look at a broad spectrum of of work different tv shows Especially tv show Like tv shows of lower budget, so there's not much you can do compared to movies so Arcane being a tv model is also a massive outlier in terms of quality But I would look at different tv shows CG I'm assuming you're going to talk about all CG here And then movies and kind of look at entry-level, entry-tip, stuff like that You know have a better view of What is being asked of you and other people as they want to enter the industry? Definitely now the bar is higher than a couple years ago like that for sure every year It gets tougher and tougher for sure But I wouldn't look at arcane As now the minimum bar for everybody else is that to me is unrealistic But I do love arcane though. It's pretty awesome It's not just pretty awesome. It's really awesome David's K That was a harsh K here My Ks are harsh Hey JD, do the 3d animators make their own sets and props? How important is it for an animator to know how to model props and sets for a demo reel? It's a good question Now do the 3d animators make their own sets and props? No And it depends So I would say I never made my own sets and props at ILM in terms of this is an asset that you will render But I I we have a library or we had a library. I had a library Where you can import certain sets and props effects and cards and Dynamics and stuff to populate a shot In in the viewport and animation to make it look better a more You know It's more attractive and like selling the shop for clients. It's not just the standard play blast But it's not like I made this problem someone did So if you are able to do this and you can provide that on top of being an awesome animator, I think that's great It was not something that was required But I'm sure other companies maybe they're smaller or even bigger where it's a bit more in a generous role You might have to do that So in terms of now for the second question in terms of you demo reels, it's not company related but demo reel wise There's so many models out there for free and also many many more paid I would look at those websites and see what you can get for free depending on your financial situation Or pick some that are that are um, you know that you have to pay for There's a great one that of course for getting right now. I'll put it in the description It's on my animation beefy site It's as an asset pack with sets and props a bunch of things. It's constantly updated. It's really good And I really wish I remembered the name Embarrassing that I don't and I wish I could give that person a shout out right now But look in the description of the of this view of this view this clip here I'll put it in there. Um, so there's a bunch of stuff out there for free that you can use but I would personally Look for model and props for your demo reel and I say this all the time in in anything that I talk about especially my acting analysis and tips for animators is that sets and props give you characters context and something to play with Physically or just visually in terms of focus And to me it's more interesting because then that character lives in that world and reacts to what's going on in that world and uses that world Which in turn changes your general acting choices because if you just sit in the room and you shoot reference and it's empty You might resort Reverb back to that classic, you know, like w and like all those hand poses and gestures that are just kind of overused And if you want to build a reel You want to be as creative as possible and to me sets and props Just give you that extra level of ideas to play around with and if you want to work in movies and tv's You know like tv shows the characters live in an environment where there are sets and props so to me it's always You're gonna deal with sets and props eventually at work if that's the path you're choosing right And you might as well practice and work with that and have it on your reel so that when you send that to the company They can go No, your shot looks like a shot not like an exercise It's a shot for the character in the environment Like what we do and you seem production ready that you can you think about those things in terms of composition interaction stuff like that So that would be my answer. I'm always very very pro props and sets Giuseppe S. Hi JD and happy new year. Happy new year to you too Thank you so much for everything that you're doing on this channel. Awesome You're very welcome. That's very kind of you to say it's my pleasure Although every video that you upload is a course by itself Have a question more of a curiosity and because you have a major role in one of the biggest studios in the industry What it takes to become an animation executive producer Someone like john lasseter or anybody else that I don't know about what you do. What are the skills paths and etc Thank you so much and have a successful and healthy year. Thank you so much same for you And that's a quick answer. I don't know Um, I forgot that question and I remember I might have already answered that I don't know but, um What does it take to become an animation? I really don't know All I can say is uh when you are in that position of power don't abuse it That's all I'm going to say And uh, I don't know an executive producing animation. I don't know. I really don't know. I hate to just know nothing At the john snow of animators right now. Um, but you're gonna have to direct that question Somewhere else. Sorry dv underscore animates how to study and apply reference That's always that I mean that question comes up all the time. It's a wide range of um of uh subject exploration Again, I will link That that description is going to be long with lots of links. I did a couple clips about reference I'll link it there so you have more to look at And in terms of studying as a general answer It will depend on The style and what you're trying to achieve So if you're going for something photo real You can stick with reference, you know much more closely. I still wouldn't rotoscope reference and just leave it at that because there's a certain softness and floatiness and lightness when you just rotoscope is Even though it's exactly what you're shooting where you're filming It doesn't feel quite right. You're still gonna have to go in there We're like a 10 push in terms of some of the the timing and then like the the final polish and the kind of the That specialty in that in that shot now if you're doing That range and you go all the way to cartoony stuff. The reference will be in terms of many things. It could be idea finding um observing complicated bottom mechanics to apply Or taking your reference and then copying it and then stylizing the movement and the timing Or you shoot reference where you are already acting things out very exaggerated So it's it's easier to then take that into your animation Or you film whatever you want to do and then you do a time warp on your on your reference footage And exaggerated timing there and then you can bring that over But I think as a whole reference is there for me reference is there to study and and To figure out complicated motions and also to kind of get All the bad ideas out of your system and just try things out in terms of acting And a lot of times it'll be a copy paste from different takes into one big take of things you like But even then I don't remember There really just must be a handful of shots or maybe just one one hand I can count where I had the reference and I stuck with that reference till the very end. It's always going to evolve It's going to go involve involve, you know, when you ask friends for feedback or in dailies And it's it's always going to be a change and you can always start with reference Anime change things and shoot reference again Um for specific things bottom mechanics wise or details for fingers and and the face But to me it's just I wouldn't stick to reference only I think it's a good starting point and it's always helpful And I will I will I'm more in the camp of film reference or fine reference Start with that versus don't look at anything and start blindly Wish you can there's some things you you will have to because there's no reference around But you're always going to learn something. There's always something you get out of that reference Even if you only use five percent of it. There's always something worth exploring in terms of of reference um And that would be my hopefully Helpful answer again in the description with more of my I might I think I have a playlist of just reference stuff Priyanshu Sharma Priyanshu Sharma again. I hope that's correct. So I'm not with my accent Wanted to know if companies like Dreamworks Pixar take slash Pixar taking the nationals on h1b visa I do this sponsor because I'll be studying as an international student in a a u and later on would love to work for m ncs in my opt I don't want mnc's is opi is optional practical training. Um Again, this is one of those we're after say I don't know Anymore just because so much time has passed since I had my h1b, which was 18 years over 18 years on yes So I don't know are you you're gonna have to I would find people who just started foreigners and ask them if you can Through instagram twitter linked in whatever And ask them. I'm really not. I don't know anything anymore. Um I would hope That they still um hand out h1bs. I mean they they're still hiring international people. Um, but I don't know what that process is how long it takes and Uh, and what's going on in that in that environment of visas and and opts and all and so I apologize. I don't know So he waited a month to get an answer. Let's say I don't Kushai is a kushal kushal. I heard of all I heard of all again I am now working as a junior animator. Should I need to learn rigging for my animation career? Well depends. Um, yes and no Maybe you just want to animate forever and that's okay. Um, do you want to know more about the process? you can learn again It's an answer I can't give you just because it depends on what you want to do I think generally it's great if you know rigging as well If so if you get a rig and it doesn't work you can help out you can about the team You can do like a proxy rig for for your team until Maybe that's a junior but as you move on until the rigging team catches up I mean, there are many positives in terms of knowing more than just Your one thing that's animation. So could be rigging simulation stuff modeling Um, you know, whatever. I think I think it's good to know but I don't know rigging and there I say I've done okay with my animation career. So I would say it's not needed But it's definitely helpful The only caveat of course is that if you're doing animation It takes a long time to learn animation. It's a constant process to this day for me And if you're also doing rigging Now you're splitting your attention to groups for something else and that divided time, you know, are you going to be Just okay as an animator and just okay as a rigger or do you want to be an awesome animator? But then you're going to be an okay, like not so good rigger. It really depends on Your schedule how much time you have what your priorities are Um, so I would say it's not needed, but it's great. It's great if you know Kaito Lau is asking what would you advise on timing? Okay. I usually block my animation without paying attention to timing Okay, I don't Focusing mainly on posing and setting the keys very close together. Okay. Why not after that? I try to achieve the timing using sounds Definitely with that by making sound effects myself are trying to get sound bits, but it doesn't always work as well Do you have any other tips? I like that question because I'm kind of half no half. Yes um I'm sure if I have tips because it's very specific workflow to you all I can say is that um If it's not always working out like I would love to know what is not always working as well Like what specifically doesn't work and then if you can figure that one out, then I would look at well, let me fix that It's definitely okay to go It's always like you're doing stepped. I don't know what you're doing But sounds like stepped just with poses and you can even do on ones and you flip through To get your your main storytelling poses and then in your mind you're flipping through at a specific timing rate That has you know kind of the flow that you want the once you have that Then you can spread out the keys to kind of make that timing work And what you can do is if you scrub through it or frame through it and that's the right timing You can always screen capture your screen Maya, right? Um, and then play through it the way you think it is and that's going to be your new reference movie And then you can animate and space out the keys to match that um, I definitely use sounds all the time either Making sounds all the time and then animating and then animating sounds again and see if it matches Sometimes making sounds recording those sounds putting these into my import waveform And then have that timing as your guide as a beat sheet almost. I don't know. Um That's what I that's what I do. I definitely post things out In terms of timing where I post things out every Couple frames every four frames and I'm really messy with things But generally I like to think that I'm doing things like every four frames Major keys would also kind of break down so it kind of works Every four frames and then I move those keys around to make the timing really work And then I go layer it into root chest head arms and legs And then it's just keying whatever wherever to make it work um And the reason being is that I can I can make broader changes quickly if everything is key Like the whole character's key moment frame and all I have to do is move those those single keys in the timeline That to me is much easier than move things around Delete stuff put stuff back in or change things and then once it's in a better state Then I go into more detail work. Um, that would be my My approach that is the alarm We gotta pick up my little one. All right Well, also perfect timing since I just answered that question. This would be answer question 12 13 would be M I think I'm gonna leave it at that. It's 38 minutes. It's not as long as the other one But let's leave it at that and I'll do one instead of a couple weeks. I'll do the next one. Hopefully next week So I'm in a faster, um rhythm of answering these so I have 13 14 15 16 17 planned for today So they'll swap into the next one. I think I'm gonna have this part two I think there's going to be a part three and four. I don't think I can cram everything to part three So it's going to be three and four as well And that's it. So, yeah, that's the end of the q&a. Hopefully helpful Any other questions concerns confusions about what I just said comment and I'll I'll fold that back into The rest that might also be a part five or all those questions that came in in parts We'll get answered as well. We'll see how much there is Usually in those follow-up questions. I try to answer them in the comments and not add them to yet another part But that's it. So hopefully Yeah, hopefully that was okay. And maybe you haven't subscribed yet And you know, I'm gonna pitch this right subscribe so you won't miss any of my my silly clips It's the algorithm and growing the channel the usual thing that we all asked for on youtube And uh, my dog thankfully didn't do anything Usually he kind of wakes up and goes crazy All right, I gotta go. So thank you. I will upload this probably I don't know maybe Wednesday or thursday Maybe friday. It's a bit mixed. I have a bunch of stuff to do. So my schedule is a bit wonky right now Um, but it will come out next week Well, as you watch as it will be. But anyway, thank you for watching and uh, hopefully I'll see you in my next