 Welcome back to an FNA and today's part two of why you should have creature animation on your demoria. And part two is going to cover character poses, how you can go with type or against type, how you can adopt different animal behaviors onto other creatures, how you could use sets in your scene or not or keep it empty. I'm going to cover situal awareness and primal instinct and all kinds of things is going to be packed. There might even be a part three, I don't know, we'll see how much this is going to take, but this is part two and let's go. And before I continue, I've got two things I want to cover one. Hi, my name is JD and if you're new to this channel, I do animation lectures like these. I do animation analysis clips. I do animation feedback. I do rig reviews, product reviews, animation news, all kinds of things. This is the YouTube pitch. You know it. If you watch my clips, check out the channel. If you like it, subscribe. If you don't like it, don't subscribe. What do you want to do? You can hit that bell button if you want to. You don't miss any of those uploads. And that is that for the pitch. That's what the channel is about. Second part, there was a comment in part one that was talking about adding personality to game animation and that they feature versus games is kind of a long outdated misconception and that there are other things to cover than just film. Absolutely. 100% agree. So I wanted to clarify things and just put this whole series into context and also because I was probably super clumsy in how I was explaining things. So first of all, yes, games animation has a ton of creature work. So does VFX animation. So does VR. So this series is mainly about feature animation, mostly because the majority of my students are, like I said, mainly most of the majority. Anyway, most of my students want to go into feature animation and the interest in game animation and VFX animation is very small, but they kind of divide it. They kind of about the same, but the majority wants to go into feature animation. And this is why this is concentrating on that because this is kind of for my students. And if you're not a student, you're watching this anyway. Thank you so much. I hope this is helpful. And that is why I'm concentrating on this. So this is not a you don't need creatures in VFX animation. Clearly you do. And you don't need creature animation in games, but clearly you do as well. So absolutely. Also, he says here, if you're not putting personality or games animation, you're doing it wrong. This is because I was talking about cycles. The point about the cycles was that games is heavier in terms of cycles animation, then feature animation and VFX animation. But that doesn't mean that cycles need to be boring or simple, like he says. And that's the whole point of the series. I would implore you to look at personality whenever you are creature animation. So I'm not saying that cycles for games are boring. My point is that a this is for feature animation. But if you do a cycle and you are it's say my class for creature classes, whatever, they're very difficult. And I always feel like cycles are maybe too early in a curriculum in classes, I kind of break with the curriculum and bring them in a bit later. So my point was that cycles are difficult, and especially with creatures are really hard with humans. But yeah, the whole creature element, this is really just a lot to do keep track of this is very difficult. So my point was that maybe take a simpler approach, where it's not a cycle, but like the example with the cat and the ball and the owl, you can do just head turns, and you can do maybe ear moves, and maybe a yaw, like a couple of things where you can approach creature animation on a much simpler level. So you can ease yourself into the complexity of doing creature animation. But because you don't want to just have a head turn on the demo reel, or a bouncing ball clearly, the example was will combine maybe those elements into something that will make it much more entertaining. So it's not a dig or a separation from VFX and games or VR, whatever, just concentrations and feature animation. And all of that on the lines of my point, creature animation is everywhere, and you should have it feature animation games, like I said, and it needs to be personality driven, which is basically what I want to talk about in part two and also in part one. So I agree with everything. So I wanted to clarify just in case this you feel like this is just for something specific, and I'm excluding something else on purpose. Again, I'm just clumsy questions, let me know in the comments, all that good stuff. So today I want to start with character based on animal traits is basically as you pick your rake against a certain selection of only so many creatures that are out there, you have to decide, well, why am I picking this animal? So there are many things to consider. Is it because of the anatomies or an eyes or a long neck, a specific build, don't just pick an animal, think about, okay, what are the very extra elements of this wings or tail, and you can incorporate that into your animation to highlight that. Now character based animal traits, I'm going to put a pin in this and go forward with default rig is not a default character post, I throw that into every lecture in my classes. And I actually did a clip about this, this way, talking about the common misconception, misconception, but what I noticed with students is that they take the rake and it's good for your default, you know, my t pose or the biker pose that we have, but then you lower those arms, and then they start animating. But that is not the character pose, that is to default rake pose, you just lower those arms, you have to think in terms of what is the state of mind of the character human or creature. So in whatever you do, any type of animation, there is going to be a certain headspace, an emotional state, just the character trait, just the posture where you start to shot with, and then if there's contrast, you will end up somewhere else. Try to not just go lower my arms and I'm going to animate, just think in terms of how do they just stand. And for that, I'm going to show you this. So with humans, you will see, yes, you can have arms out and you can bring them down with animals, it's not super pronounced, they're kind of defaulty, like a horse, it's not a crazy thing you can do, depending on the style, right? If you go stylized, clearly, there's much more you can do, but generally still, even if you have a creature, you can tweak things. So that to me is more something that's character based. You have the relaxed and kind of cocky stands of Han Solo, right? You got the dude, you got Bigelobovsky there, or you got Mr. Bean, it's always a specific facial expression that he has, he's really default, it's always a specific look. So if you have someone like Han Solo, it's like this, think in terms of, well, this is even in creature animation, how I'm going to start my shot. Again, look at part one, there are different types, right? You go Lion King and it's super photo real, you're not going to have that amount of freedom, but you go into Zootopia, Life of Pets, Ratatouille, it's going to be different. So just kind of also look at the style and you know, adjust accordingly. So if you move forward, look at Nick, right? You can see that is kind of his demeanor throughout the movie and then there will be changes. So you can really think about, well, what is the trait of a character in terms of the posing, how can I lean into this? But then also the character trait of how we perceive a creature. So in this case, you got Lucas the spider, I am afraid of spiders, like spiders gross me out, snakes for some reason, it's okay, spiders don't like this. And I'm not the only one. But then you got Lucas the spider and it made it super cute. So when you pick a character, besides going into your character pose and thinking about who they are, you can look at what is the character trait was the anatomy, what is the look and then lean into it. So you can either go lean hard into this, like the sloths in Zootopia, they're slow. So the whole joke is that they're slow. But then you look at onward and you have unicorns where you think they'll be clean and majestic at the wings, you know, rainbows or something and they're trash, you know, they go through the trash and they're dirty to lean against that type. So you already have something where I know what people perceive this character to be, what is the stereotyping really go hard into this and then explore that, or you go what they will expect this and I'm going to go against that. And there are many more examples, like a lion, right, or something, the Lion King, like clearly, right? You have a pigs, you think that maybe the pig is dirty enough to think or in your shot, the pig is really interested in being super clean. So you go against that stereotype, or you got dolphins, where they have the cute little face and it's almost like a little constant smile. And you can go like the other examples that I showed in part one, what if the dolphin is not so nice. And again, you can decide if the dolphin is defending the territory or not. But I think in terms of, am I going to go against expectations or lean fully into those? This is my dog. This is Indy. He's got ginormous ears and he's super cute. He's actually sleeping right there. I don't think you can see him. Where's my couch? No, he's right below. He's always so sleepy with his ginormous ears. When he wakes me up, like if he jumps into the bed and his ears are just flopping around and it slaps me, then he goes back to sleep and I'm wide awake. That could be something to lean into. There's a long ears of a creature. If you look at dragons, the first thing you might think about is potentially if they're different types of dragons. In this case, it's fire. Maybe your human has a wooden shield and the whole joke is about shields gone. And then that's now the setup of a soldier, whatever, whoever that cannot really defend themselves against a ginormous dragon, whatever the setup is, right? But maybe fire is a thing. Or you got bats. They hang upside down and they don't really see well. They got their sonar. Maybe lean into that. Maybe the whole upside down thing will be a funny dialogue where the camera starts and then starts to turn around and realize, oh, it's a bat or whatever. Or the blindness, whatever. Like think about what is that specific thing we associate this creature with and either go with that or go against that or in between. I mean, it doesn't have to be, you know, either or. It could be a very interesting exploration of both. And then you have something like this. If you look at this clip here, it's super cute. It's great animation. It's also great use of camera. It just opens up the shot. So it's not just stuck in this place. You have that move where we break frame and then we go with them. But the reason I'm going to show you this is that this is my dog. All of this. The moment I take a toy, my dog goes, all right, let's go. Let's play. What are you doing? Come on. Let's go. Let's go. And then do something. It's also really funny, just the contrast of size. The tongue is out. There are already different personalities right there in terms of the speed and everything. Good. I didn't go. So it's basically when you have a creature that is not what we would, you know, think this is normal. This is some alien creature. You can move this in a specific way that's alien. But then the danger is that the audience is not going to connect. It's going to sound different, look different, move different. As an audience, you go like, I don't know, whatever it moves, whatever. So you can start thinking about maybe you can take certain character traits and movements and locomotion, this behavior and put that onto your fantasy creature so that the audience has a connection. So we go, oh, I recognize this somehow. It doesn't have to be super overt like a dog thing or wagging the tail. But they might go, yeah, I'm familiar with this. This scares me. Like a cobra thing or certain posture or fangs or looks or playful behavior. So try to find a certain anchor point where you put that into your shot, like ogres or whatever. They might have some gorilla movement, but it's the audience will go somehow subconsciously go, I recognize this. This makes sense. I am, you know, afraid of it or not. But if it's completely alien, this is a tricky thing to pull that off. And sometimes you can be super obvious if you have maximus entangled, it can just behave like a dog. It just makes it funny. So you can be super obvious or more subtle. Again, this whole thing and about character traits is either lean and hard or go against it or bit of a mix. But all of that to me just makes it already much more interesting than just going default and kind of going back to numbers. Then you have this example here. I love this. Where are you? This cracks me up every time. You got a frog with a butt. So now you have kind of no specific creature behavior here. And I love the contrast of the head. It's such a great design to really funny poses. But then when you have this here, I'm going to talk about this later on, a frog. You would expect a frog to jump. That would be kind of like frogs jump. Now you do have a jump right there. It's also great for contrast, but you just don't really expect a frog to do this. As I'm going frame by frame. Look at this. Those steps are fantastic. So a running and then jumping frog. It's just a great moment where you just, you just did not expect it. Just add so much to just the comedy aspect of the scene. And then speaking of sets, I want to talk about environmental influences. Now you don't need sets. If you watch my stuff, you know, I'm really heavy on props and sets just because they give you so many opportunities of just leaning interaction and movement and asymmetry. We'll talk about that later. I'm just a big fan of it. Also, if you are going to work that's in feature again, I'm sticking within the feature environment, your characters will be part of a set. They're going to interact. They're going to do things and move things and touch stuff. And it's not going to be an empty scene like the matrix where just there's nothing. It might be, but it's going to be probably an exception in the movie. So it might as well be something that you start to get familiarized with and practice with. Camera moves and interaction with sets. Why not? It just adds to your skill set. But sticking with this here, and I'm going to play this in full. We were having an argument one day. He was saying, he was hungry. I was saying, I was hungry. He was saying, I eat more. I was saying, that's just rubbish. I eat a lot. And he was like, well, I'm a guy. And then that that was the end of it. It's just so good. And it's just a character literally in an empty scene. There's nothing else, but it works really well. The movements are great. It still has some implied body mechanics move with the shrug and the lean and the arm out, the leg out. And the facial animation is great. The poses are super appealing. It works really well. So don't get me wrong. You can have on your real shots with just the character in an empty scene. The animation is awesome. The animation is awesome. I'm just saying, if you add a set, it might give you new ideas and might make something a bit more original or just different or just, it gets you just more excited because ultimately, you want to be pumped about what you want to animate. You don't want it to be boring. So, so take this example, right? Your flat surface, which everybody's used to, but then you got elevation change. Then you can do all of this, the sliding, the flying. This is just really, really fun. And you can add crazy complications like that into a drop and roll. That to me is just really, really fun. This gets me totally pumped more so than having an empty scene with the character just standing there. Like this is just really great to show off your mechanics in different ways, right? For this, and then a slide, then a jump, and then the flying and down. It's just really super complex and awesome. For this example, I love this here. I love how this is not really what you expect, like a bear to do to go back. And then this, I love that. And it doesn't mean that you have to do some crazy snow simulation in your scene and whatever you have. It could just be, you know, white spheres and that's it. Just kind of imply the snow and you can continue this. You could shake this off and you have reveal a cute face. But I love that. I love that you have this. Okay. Well, we get a bear and then you change it. It's super cute. It's almost like Jungle Book, like cute and fuzzy bear, even if they could kill you in heartbeat. And that is fun. It's a fun mechanic. You can show off weight. Oh, really, really cute. And after that, that's a great, just you did not expect to lead with this and then do this. So when I said you said, it doesn't have to be super complicated. It could just be where you use again, sand, snow or something to cover the face. It could be something because of water, because of ice, something simple that just adds one extra layer, literally a layer of snow. To just make the shot a bit more interesting, you know, again, more fun for you to animate. And then you can combine all of this into one massive shot where there's sound effects, music and camera moves. You got humans. You got creatures and different types of creatures too. And also you got the set interaction. You can see as they come in, the sliding here. It's really, really great with the re-grab. Even on the jump off, you got a bit of slipperiness here. Same thing with this. I mean, this just combines it, everything. It's a really dynamic and really cool shot. And it doesn't have to be just the environment where it's a character that interacts in terms of just placement. It could also be something that they're reacting to, right? So you can have a dog. My dog hates water. He's not a water dog. So this could be something you can lean into with that. The dog is afraid of water. Or, you know, he's also really nervous when fireworks go off. He just shakes and you can hold him and it's super cute, but not for cute for him, but you know, he's just a cute dog. But that's something, you know, maybe noise, or maybe they love water. And that's the whole other thing you want to lean into, where you just use outside influence. Again, it doesn't have to be for placement. It could be something that they react to, that they really want something that's like an action moment. What do we even do with this? There's many, many options clearly. But what I like a lot about sets is that uneven environments create asymmetry and posing. Because one of the things that I tell my students a lot is that once they're done and put in the blocking and everything, maybe blocking plus and then into polish for especially facial stuff, you want asymmetry because it's sometimes you can have symmetry and twinning, especially for specific characters, character trailer, the way they are. You don't always have to be asymmetrical and twinning is not always bad. But in general, it also gives you a bit more of a dynamic pose with certain diagonal lines and all that good stuff. So sets will give you that, right? If you have creatures on the branch, that's going to be a certain offset or just one creature on there, or even the elephant. You can see that with the back legs. That environment is going to create asymmetry. It forces you into that asymmetrical pose, which you're going to do anyway at the end. So it kind of forces you to think about that step early on. And it gives you contrast in posing contrast in elevation. If you go for something high and low and you get a little jump that's contrast in timing already, that's why I'm just a big fan of sets. They just give you all those extra elements, just give it a bit more texture in posing and a timing and all that good stuff. But if you are putting your beaches also for humans, but if you are putting your character into an environment, I want to talk about situational awareness with the familiar versus non familiar. So my example is always home versus hotel. What does that mean? It's basically imagine you're coming home and you got to switch on the lights. It's your home, could be an apartment, could be your house, wherever you are, parents house, wherever you are. But you know the place. So when you open the door, could be to your room, your bedroom or whatever, you don't have to look for the lights, which you know where it is. It's going to be a blind clicking of things. You just come in and that's it. It's muscle memory and you don't have to really think about it versus if you do, let's say the action, it's a foreign assignment. A student assignment is character walks into a room and switches on the light and I'll tell one student your character is in a hotel and the other student your character is at home. So the home thing is going to be all like super learned. It's basically the reason why I have this next slide with Robocop is another thing later. But anyway, you come in and it's all familiar versus a hotel. You don't know where things are. You open the door and it's dark. Where is that light switch? Probably on my left. If I open the door, it's probably there and not behind the door. Look around. Oh, there it is. Switch on the light. That's it. And then it goes for the rest of the room. I don't know where this is. I don't know where that is. When you are in an unfamiliar environment, your actions are the same in terms of like your goal. I want to get to there. I want to switch on the light. I want to grab this. Same thing. Home or hotel. What you want to do, your objective is the same. That's a different word. But the action, how you go about it, it's going to be different because you are either familiar or unfamiliar. And that's a big thing I want to stress to everybody, especially my students when they started seeing because as I recommend sense, you put them in there, make a decision for the character. Clearly, you're the animator. Are they there for the first time or not? Because that's going to change how they think about things, how they're going to behave, how they're going to react and how they're going to make choices. And it doesn't have to be just with sense. It could just be with people in his placement. This is a scene from Midnight Special, awesome movie. I love that little tiny subtle moment. If you look at him, right there, he does not know or find out if they reverse it and just use a really good actor and just, you know, pretends, but technically this character doesn't know that this character stopped because there's something that's off screen. That's really interesting and that just grabs his attention. And then as he turns right there, you get the field of vision, he realizes, wait, he's right there and then he's got that tiny bit of a move up and then they continue on. And that's something that I mean as well. It doesn't have to be actions. It could just be you are somewhere new. So maybe you didn't expect a step to go lower or something to be slippery or you turn around and then the characters that you go, whoa, I didn't see you there. I didn't expect this. Just think in those terms. Is your character going to expect something or not? And how is this going to influence your animation? Your acting choices and just the character in general for that scene or sequence. So why am I bringing up little monkey here in Robocop? So it's basically the example that bring up to my students is that what if you're going, let's say Zootopia style, you get your monkey on back legs, walking like a human, business suit, whatever, right? It gets ready for breakfast. Monkeys in the kitchen, long tail, that's the trait. You picked out a rig, monkey, you know, kind of Zootopia of human in there. You can actually at least move the rig so it looks normal that they're on the back legs and but they have a long tail. So why Robocop? It's mostly Robocop too. There comes a point where he can memorize, you can program, this is my target, this is my target and it doesn't shoot by looking. It just goes bam, bam, bam. It just doesn't have to look. It's just it's programmed. And with that, I mean that when you are at home, you have that muscle memory. Things are familiar. So why the monkeys? Let's say in the kitchen, breakfast opens up to cover and you can see all the glasses. But then the monkey doesn't have to look to grab this. The monkey can just turn around. Then the tail comes up to grab the glass and then the monkey brings in banana juice and then puts that in and blah, blah, blah. So you can use the anatomy of the long tail in this case where I'm familiar. I don't need to look. I can grab things with this long tail and you know, fix my breakfast. And obviously this is across all, you know, anatomical traits for a creature. Long ears, a long tongue, I could just be grabbing it, you know, the glass from really far away. Whatever you have, think in terms of, well, I picked this creature. These are its features, long neck, weird eyes, long tail, whatever. Maybe I can use that and make the shot about that. So it's a very specific moment you want to highlight, then through the body mechanics and the humor. And again, that is just something that humans don't have. And that's why I love animating creatures as well. It gives you that extra layer of fun and interest and then something creative to do. And going back to my dog, familiarity through sniffing, tongue licking, face or body contact. Basically, when I move something, it's something that my dog hasn't sniffed before. And you just go straight to that place and start to examine what it is. Sometimes I'm somewhere and he kind of walks by and slicks my knee and continues to go. I don't know why. Is it just to check that I'm still human? That's a body snatcher thing where I'm someone else? I know it's just super cute, but it's just there are a couple of things that my dog wasn't able to move. He's at the door now, he wants to leave. We can't see him, but it's going to start yapping at one point. So I would look at and observe what are certain creatures doing. And then like I said, I'm starting like a broken record, but it's just important that you look at those things. And because you pick that specific creature, you will take those traits and either emphasize those or go against against that and go against type and subvert expectations that people say nowadays. Anyway, that is something that you should think about as you pick a character. Now, human acting ideas apply to creatures and you can add animal behavior that's unique and specific to them and how they would react to that situation. It's basically what I've been rambling about in text form. So what is unique to your animal? Stylize your caricature of that, right? Again, just in text form, just in case the rambling is just ridiculous and you want to read it. And then there's primal instinct. This is what I call it. I don't even know if this is all, you know, the right terminology. I'm just calling it primal instinct. I don't know. I'm making this up as I go. Basically, stress reveals basic animal behavior. To me, it's like, imagine you're continuing with the breakfast moment. Your monkey is grabbing the jar and the jar full of something, whatever, right? Bananas, whatever. And then it just can't open. And you know, all human behavior and movement and at one point the creature is so frustrated that it goes, it's that moment of whatever is in me. I used to be this creature, it's going to come up. Clearly, Zootopia had that. Brave had it as well. It's a really great moment where the bear which is changing to like being actual bear is creepy and dangerous. It's awesome. It's so well done. I love it. So you have moments and where you have something like this, right? Or billable with the ring. There's some certain elements where maybe the inner animal comes out and again, great for contrast, great to emphasize a certain, you know, observation you've done with creatures to animate and show that. Just, I don't, to me, this gets me all super excited. There's so many ways you can animate creatures in a really fun, interesting way. And again, brave, you got that example. It's really, really great. Conflict. Well, why do I have conflict in there? It's kind of piggybacking on that stress thing. But if I'm telling you all of this and you're going, All right, but I don't know what to do. Like I picked a rig and everything, but what should I animate? One thing that I mentioned for humans and creatures, just to all of my students is that think in terms of a conflict that your character is presented with. So like a horrible example that I bring up in class just because to see their reactions is what if you walk into a room and you got your puppy that's on fire and you got your computer on fire like puppy life. You love it. It's hurting and you got your computer with all of your life's work, your animation, your work, everything on there. You got to make a choice. Which one are you going to save? Well, you're going to save the computer because it's all your work. No, of course not. But in case you go there, two things. When I always go with the computer just to see people's reaction. And the reason being is this, when you face your character with a problem, the character has to make a choice to fix that problem and choice reveals care. So think in those terms, you, you give your character something to do and you put in a roadblock and how that character will then fix or go around that roadblock will be probably something interesting to watch. The audience might be ahead of that. They might know the solutions. They just want to see how is that character going to do this or the audience is discovering that moment with the character and it's going to be more invested. Now, why am I bringing up those two things? It's because most of the times, most reels, and just in general, when you look at the animation, the character is usually nice. And then why not? Because most people could be nice and that's what they want to reflect and that's what they want to do. But you will always have a villain in the movie. It doesn't have to be a physical villain. It could just be, you know, something else that someone has to go through. But in case I'm now I'm talking about physical thing is that might as well pick a villain, which I think you talk about in part one, to anime. So your conflict could also reveal the bad side of a character, bad side of a creature or again, whatever you have. So if you don't know what to do, give your character a problem and then see how would you fix this, how would this character fix this with the creature, what are the features and maybe they can use the feature of long tail, long neck, long tongue, whatever it is the size or the smaller big to fix that problem. That being said, I say all this and you go like, that's all fine and dandy, but where are the rigs? I don't see that many, you know, stylized cartoony rigs. That is very true. Hence the car, rigs, rigs. I know. So what I would recommend is that you do this, you can take any rig, right? Could be photo reel, could be super realistic. You got those really detailed textures. And then you grab the eyes rig. I'll put a link in the description. I have that on my animation beefy website. You can download it there. And then you do two things, well, maybe more than two things, but generally you will take the creature, delete all textures, add a simple color to it, maybe different colors for teeth and eyes, depending on how much detail you have, and then put those eyes on there. And what's going to happen is that you're going to go from this rig to this rig. This is the same rig, but it's cute and it's funny, at least to me, it's funny. And if you look at this, you're not going to worry too much about lip sync because you might go, yeah, but then the facial features are limited. I can't do this. Then I would just go, but just concentrate on body mechanics and a stylized movement and the way it shifts and reaction. That's just, you know, if you're really picking a creature, maybe it's not because you want to do full close-up. Maybe it's because you want to showcase the creature. And they're very specific body mechanics, not the direct set or not. I think that way you don't really have to worry about the face. So you change the features, go from this to that. And now you can just worry about the stylized body mechanics aspect. You still get a lot out of Muppet style jaws and this still has blink and you still have ginormous eyebrows. You can still emote a lot. It doesn't have to be all super crazy with crazy lip sync. Now there are rigs out there like gorgeous George where you can do all that stuff. So slowly but surely there are more stylized rigs out there. And I will try to put them all on my animation with your website as a collection. But for now, if you're stuck with a realistic rig but you want it to be cartoony, I don't know why I did this, you can just, like I said, strip those textures, tweak it and then focus on your stylized animation to show off stylized body mechanics and pantomime and even like some limited lip sync with just the jaw and the face like that. And that is that. I have a channel like this was the end of the presentation. And this is the end of the clip. Again, it's on the longer side, but that is that. So that means part two is the end. There are only two parts now, no part three. Then again, there's always more to talk about. So in the future, I might add a part three or for now that is the deck of presentation slides, deck things that I have, whatever. So segue, if you feel like you want to slide into a deck of awesomeness with your shots, I don't know, I'm lacking in my segues right now. I have workshops that clearly I can work with you and talk about all that stuff for creatures or humans and how you can make your shots more awesome. So feel free to sign up, signups are open, you can start whenever it's very flexible, link description everywhere with the cards and everything. Check it out if something for you let me know. And all in all, that's it. It's again, longer piece. So if you're still watching the whole thing, thank you so much. I always appreciate your time and best thing in the time to watch the whole thing. I know it's long, but that's that. Thank you. I hope it was helpful. Any questions about any of this, comments, concerns, comments, corrections, comments, suggestions, comments. Let me know. I want to make sure that everything is clear and then maybe I'll continue with a part three in the future I can imagine. But for now, that's that. So thank you for watching and I'll see you in my next clip.