 Welcome back. It's time for another Q&A. This is part 9. Lots of questions. Why wait? Let's get straight to this. As always, I'm going to bring those up here and sit over here So I can display them right over there So and as always I'm going to read through those questions just in case you're just listening to this and you can hear a question And then I will try to answer them Elliott's Marin, Marin, Marin, Marin. I'm always curious about how other animators learn from fellow animators For example, you at ILM. Do you watch them work? Are they okay with that? Creepy. Do you guys sometimes do demos to each other where you share your workflows or tools or whatever? How do you pick those genuine brains around you without looking like a weirdo? Haha, also just know that if I win an animation team somewhere in the UK will be staying live in the office to watch Spidey and geek out frame by frame. For those that don't remember, these questions were submitted for the spider-verse Blu-ray giveaway. They did not win So they're sad somewhere, I apologize. Now going about the questions. Do you watch them at work? I don't It is creepy. I don't watch them at work But do you sometimes do demos every now and then there will be someone that Presents something or it's part of a show that they want to talk about or it's a toolset that has been developed That someone wants to demo and explain That happens for sure Workflows not so much to be honest. How do you pick those brains around you with a weirdo? It's it's mostly I can daily see something comes up with the shop. You can ask Or just generally you just talk about things like what's your workflow and Every now and then like I said, it's mostly tools are being developed. That's someone in post. Okay I developed this tool. It's for this and that sometimes sparks a thread an email thread or whatever message thread where people didn't Oh, I do it like this or I do it like that or I use this tool and stuff like that But we don't really have like a round table where we sit down and everybody talks about their workflow It's all like that. Everybody's very approachable. You can always walk up to someone and ask So how do you do this? And then they will explain it to you. It's a very happy and friendly bunch of dial-in Next up Abdul Fahim. Hi when polishing stage, I don't know what to add and polish by now I make my offsets arcs what else to add once I ask you in a blocking FNA comment about spline and polish You told polish it's about small details. My problem is what to add or what details to add Excuse me. I have a lot of questions like this whenever I sit to do Whenever I sit to do I get a lot of questions like this and I saw comment Someone asking about polish. Please add this to your FNA, which I will what to add what should we look for in polish stage? Yes, for sure. Um as I've gotten the new computer. I was gonna say I can pick up the box But I already clean it everything The machine is a beast. It's fantastic. I can I can finally animate again So I'm gonna continue with the most common animation mistakes FNA because that's a lot of animation I don't want to do in demo so I'm and polish is part of that of the list of things I need to pay attention to that being said answering So offsets and arcs. Yeah, so you're gonna have all that and depending on your workflow and how used you are to You are to animating You can start adding your offsets even in blocking so when you have someone my example is always someone who jumps and lands You would have your offsets on your arms and legs on that full extension landing Already built into your blocking so after a while you start So I'm skipping later steps and you put them already in the earlier blocking because if you pose out a character You might as well pose it with asymmetry in mind and stuff like that And I think the sooner you can get into tracking your arcs and not making it a mess and have nice arcs And no pops in your animation spacing, you know have that already in your blocking there the better So you want you want to be clean and nice as soon as you can So it's just part of your initial workflow and blocking pass. But yes, to me you spline is Polish is when you spline things, but I mean you can also have spline blocking to some degree, right? But to me the polish aspect is just it's not like your animation is gonna massively change It's just gonna be polished as in just the final details offsets and fingers little things on the face and asymmetry stuff And just like that that little extra step that makes it that all that's that's that was a nice little thing there But the main structure of a shop would not change But your problem is that you don't know what to add in those details. So to me again, it would be definitely asymmetry in body or face if you haven't gotten to that yet Polish as in like fingers specific finger pose, but also offsetting things or if you have My lens here If I grab that lens, you can see this here, right? Let's focus in my face if you hold this here and you let go things like where you don't just do All fingers keyed like almost the post-to-posting where you might Depending on the grip and what the intention is but let's say you might start with the pinky the pinky ring first And then you take the fingers off or if you are grabbing something This is like a like a pulled lever lever lever or like a whatever make mechanism that you want to pull my English escapes me You wouldn't just be now I'm bringing that arm down It would be maybe two three frames before you start squeezing because you want to show that I'm putting more force on and I'm gonna pull it back down So you're gonna squeeze that because your muscles are squeezing and then you're gonna pull this down So to me those those type of offsets and little details I put in or if you do a sidestep or lean over you might make sure that the foot is gonna Compress and squish and on the pivot side of where the foot rolls off to me those are the kind of details Maybe if you haven't put anything in the ears yet, so if a character smiling you might have a little bit of up and down In those ears It's just little details like that I would say it's just the the extra finishing touches that if you don't have them in your shop The shot still works. It still tells the story and depending on your budget and your time You might not have time You know because your schedule to put that in but if you do have time then I would put those extra things in there and it could be Just a little flourishes and just this is extra little I had to say details was any asking what those details are But that's that's what I mean anything in the face in the in the fingers in the foot If you have props if it's a tie or something working out extra detail or or just stuff like that where It's it's to me. They're details that make the shot even better and just that X that attention to detail that a not everybody Will notice that you may not need to put in there because maybe the story Doesn't hinge on those details, but if you have extra time Why not just make it that extra polish? But again, it's not something that if you don't put it in there that the shop breaks if that makes sense right everything should be ready and clear and Put it in your blocking and blocking plus to sell the story and make everything clear story wise and acting wise And if you have time you can put in that extra polish, but it shouldn't break the shot if that polish is not in there Hope that makes sense Next we have Is it Eureka Eureka's fray Eureka's fray. I don't know. Sorry. I don't know How do you approach complex acting like a person crying falling to their knees and sprawling lifelessly onto the floor? Intraditional hand-drawn animation interesting question. Do you approach it in shapes? Do you approach it with line of action shapes and then add the arms and legs later? What basics do you need to know about body mechanics? That's interesting because I don't do traditional hand-drawn animation The Klaus trailer came out and people are commenting or posting things So there's a visibility of 2d animators out there I would recommend that you ask them because I don't know I don't do traditional hand-drawn animation So in terms of shapes, I don't even know and my limit not to be honest I wouldn't even know I will probably do just a blob With like you said line of action in shape so everything kind of is right and then drawing bigger details I mean you would have I would assume the body and legs and arms all there I mean that's if you look at pencil tests Everything is kind of there rough and maybe as something stops moving you only animate the rest that doesn't move and then the body If it's move it moves again, you draw that again I mean I'm my opinions will be based on those pencil tests and what I see but again Sorry, I don't do hand-drawn animations I can't tell you but I can't tell you that because of Klaus stuff is more in line about 2d So I would ask them go on Twitter. They're out there and then potentially ask them. Sorry for invading that question But I don't know Theron Chaplin Tiron Chaplin How would you handle a situation where your lead wants you to go in one direction for a shot? And the supervisor wants a different way say you've already talked with the lead about what the supervisor wants But he she doesn't want to hear it from you. Thanks. Interesting question So what do you do go on by one? What do you do when the lead wants to go in one direction for a shot and the supervisor wants to go in a different way? Well, you know because of the hierarchy you're gonna do what the lead says and then as you present this The supervisor have a different opinion. You would just have to I mean I would just mention that Well, I did this because I talked with the lead and we had this idea about going this way I don't want to inform you that that's why we went this way and if you want to go this way You know, it's what it will change the shot and if the supervisor still wants that to do Wants to do that you would have to go and talk to the lead and just inform any updates Unless the lead is also in the room for the shot presentation But if not if in whatever reason you're just in the room with the soup then I would go and talk to the lead Hey, I showed it to the soup. These are his or her notes so that everybody's on the same page Because the thing is you're always gonna have different ideas from people the lead the soup the client Did we affect soup like many people have different ideas? I think it's okay and it's normal because everybody will approach it a different way They're subjective opinions. This is how it goes But I think the main importance is that everybody knows what everybody said because that's the worst when you go We need to do something and then the other person has no idea and wants to do something else And that person doesn't know about the changes And you just aimlessly going towards whatever each person wants So communication is keys that everybody knows even if changes happen at least Whoever is did not ask for those changes should know what those changes are that being said Declined trumps everything. So whatever the client says you should do what the client says So you already talked with the lead about two other ones, but he she doesn't want to hear from you Yeah, but anyway, this goes into company politics and hierarchies and how people are and if they want to hear something or You go one way nobody's okay with that and then despite everybody wanting that including the client Then someone else wants to go that way that happens as well And then you just have to go by the hierarchy and just you know If the soup wants to go one way and the client wants to go the other way, which is rare But it can happen you still got to do what the soup wants because this is soup that has to Present it to the client if the client, you know, it's not okay with that Then they have to talk and come to an agreement and and get new notes and then you continue you just kind of I mean, you know the minimal view of it is just going to do as told Depending on your on your level of hierarchy and just you know address the notes But that is part of company politics and studio politics of different opinions and And their Perez hello, Jean-Denis. Whoa. Thank you for using my full name What advice can you give if I want to exercise my creativity muscle to produce entertaining and fresh ideas for a demo reel? Excuse me, I'm not coughing for any specific reason have something my throat. There's not like it demo real impression What I would do is I would look at demo reels first of all I would look at show reels of animation mentor animates I animate and I'm school and squad like all those schools out there, right? I would watch and see what is the current state of demo reels of animation level terms of quality and polish and look And ideas so you can kind of see what your competition quote-unquote is D11 second clubs will look at the top 10 Submissions, so I would look at Outsides, you know information and and examples so you don't live in the bubble first of all That's not about those are blinders, but anyway, you know what I mean, so I would look at what are people doing? So a it's an inspiration And it's also for you to show what you shouldn't do because it's been done before Also, if you look at many many things You will see repetition. You will see that Everybody use this rig everybody use this sound piece everybody use this acting idea or this gesture or this look or whatever it is so I would just look at that for a An inspirational way for what not to do way That's just as kind of see what the landscape is out there now if you want to do something That's more creative and entertaining I think it comes Down to you Acting things out and going outside and looking at people and kind of being influenced by real life As in you go to a park the airport the DMV is like the classic examples But some of these are more or less difficult if you show up at the The airport and you start looking at people that might be weird and strange something at the park with kids And if you don't leave the altar weird so you know it depends where you go But my point is that you go out looking at other people and looking at real life For inspiration mainly because those are all new ideas. They haven't been Filtered through the mind of another animator because if you look at if you only look at animated movies or TV shows for inspiration It's gonna just be a repeat all your ideas will be based on other people's ideas that have been interpreted based on on real life examples So just kind of a rehash of ideas So it's cool to look at other animation movies and TV shows and animators work online again for inspiration and kind of like This is the bar. This is how good my stuff has to be but I wouldn't look at it as Acting inspiration or idea inspiration unless you really look at that Kernel of idea and really go the other way where like that's cool Let me do the opposite or whatever you want to do But I would just not copy what other animators have done because then it again, it wouldn't be like you said fresh So if you look at real life real people and you look at that and you interpret that and you caricature that and stylize it and go through your process and your filters and then produce that animation Then it's gonna be new and fresh. I would do that. It would be kind of a Balance where you're leaning heavier more towards your observations and your ideas But still look at what are people animating so to see what's out there kind of what are people doing like with this specific Oh, I didn't know you can go you can do this with this rig and go this far and do those subtle Shots or whatever it is and I think that's cool. It's cool to be inspired by other work And I mean if you follow me on Twitter, I retweet stuff all the time from people and that's why I do it Was I get inspired by other people's work and I go like man, that's really cool That's the minimum level now I got to be better than this and I got to work harder and get those better ideas and all that stuff But it wouldn't be that's cool. Let me do this as well Then it's just not original. It wouldn't be creative and fresh like you said so that'll be my advice Abdul Fahim I heard from someone. Oh, welcome back I heard from someone inside the industry saying that juniors have to work both their shots and their seniors Shots supervisors will shout and treat you like SHIT is that true? No, but I don't know unless whether your company. What are the black sides of industry I have just heard and learned AM blogs and other sources talking good about industry And when I hear these types of comments from artists, I just get scared Okay. All right school one by one here. There's a lot to unpack here. So Supervise and leads will treat you like crap and yell at you. Um, well, let's put it this way Not an island that he I have never been shouted at and I've never been treated like crap. Um, I Them I'm sure they're somewhere a company out there and a person Could it be someone internal a leader supervisor? Probably maybe Would it be a client? Probably maybe I mean depends on their position their level of stress there What they have to deal with like who knows why someone does this. I'm not saying it's good. I'm sure it happened somewhere Let's put it this way. I have not experienced it. I have never done it So I can't really answer that does it happen? Probably people are people and someone's gonna be stressed and do something So I can't really tell you about that. I don't I don't really hear that. It's common To be honest from what you hear in your rumors and things. I don't know that doesn't seem to be a thing and You just get scared Reading through your call your questions. No, so as a whole I mean you're gonna you are going to Encounter weird people mean people backstabbing people because you're dealing with people. That's why I keep repeating people I mean like to me It's always the movie industry is kind of like high school with more money You're gonna have certain specific people and egos and clicks and just groups of there's always gonna be something That's gonna rub you the wrong way and it might be even something that other people find okay But you're not okay with that and I'm not talking about harassment or all kind of stuff That's clearly bad. It just might even be little things that you don't agree with that you don't want to be associated with You just again you're dealing with people, but you being yelled at I mean I can see this Where it's not internal but from an external party I'm not gonna say clients it could be whoever but mainly because you are if you're working with people within the company You're gonna you're gonna keep working with them I mean it's gonna be it's not gonna be all I met that person once and they can yell at me And then they're gone doing the other thing like you're still you still have to continue working with people I mean you have to learn to deal with Stressful situations without yelling at people because you're gonna keep working with them for years and years and years Hopefully if you're still employed there, so it's it behooves people to be nice and to me It seems like internally that's gonna be less the case if at all And that's I'm saying maybe a third-party person element where it's just a short amount of contact and they can go out But again, you know, it's like I'm not saying it's it's good to do that and to yell and shout obviously But you always have to kind of look at well, what's their position? What what is their pressure? What is their moment like? What are they dealing with currently again not to make excuses? But sometimes you have to kind of also look at a certain amount of sympathy and empathy of where is that person coming from and Just you know, so you don't also yell back or whatever it is if you ever in that situation But as a whole I don't I may as it I'll am a really nice So again, this is one of the things where I can't really answer it Because I haven't experienced it and I don't know But I wouldn't say don't be scared if it happens. It's it's an exception Because of what I what I have experienced in my 16 years what I hear from other people It just seems really like an exception and I hope you can be not scared. We'll be fine Helmet thunders. That's an awesome name. Do you have to be a very patient person to be an animator? I love that this questions comes right up. There was that right after it is right after Yes yes Yes, you have to be a very patient Person to be an animator for many reasons You have to be patient as a student You want to get that job, but you got to go through all the classes the exercises work on your reel And you see other people succeed you have other people getting jobs I mean, there's so much that can happen. You just got to be patient and keep working. It starts early on as an animator You're dealing with something that's on the frame by frame basis So you're gonna be you have to be patient just with that workflow where you can't just film yourself and act something out And then it's done thing. No, no, you're gonna go frame by frame and tweak those muscles and shapes and arcs and body mechanics It's a lot of work. You gotta be very patient for sure And then once you're at a company and again, this is from my blindness from my point of view of the company I have dealt with you got to be patient with you know, maybe the rigs are not ready But then the the sequence has to be done So you might be working with rigs that are still in progress So sometimes you did something and in this rig update and that kind of kills whatever you animate You have to redo it So there's a lot of reduce because of technical issues because of changing opinions and minds and notes from internal You know people or clients Because that's the process. It's a creative process where no one has the right answers right away Then that's normal You're going to have to go through changes on your shot because you use someone someone had better ideas The creativity blooms and you have better ideas for this and that influences the rest and has a ripple effect I mean, it's just it's not going to be a static thing if you are to me at least in the creative field because It is creative and you create new things and it influences other things They're always going to be changes with it now after a while you get used to it And you know you don't have to be that patient anymore, which that's just the workflow But at the beginning and especially if you're new to this You will have to be patient For sure. So I think there are many many levels to What to what you have to deal with as an animator junior to senior to whatever And yes, I think you have to be very very patient You might like something that you did but then you're going to get notes And you'll have to tweak this for a couple more weeks even though you think you it was done And then you know most of the times you're gonna see the end product on the on screen and go like yeah They were right It was actually needed to make all those changes because now the final thing actually looks better Or it's a note that you don't understand because you might not have the big picture view and then you see the movie Oh, yeah, I did this change because this happened earlier and I needed to connect these and I didn't know that and blah Blah blah So there's a level of trust in terms of what people tell you to do And if on your end definitely patience is a big thing and patience with Your day-to-day work patience with maybe your career aspirations You want to be this this and this and within I don't know how many years Maybe that happens that doesn't happen right away. You don't get hired out of school right away Whatever it is. So yes, it's a long answer where I can just say yes Definitely very patient Hrushikesh hrushikesh shinde. Sorry. I'm pronouncing names crazy town Thank you, sir. Your information helps us a lot. You're very welcome My question was while animating creatures, what things we should think of that's a good question So for creatures, it really depends what kind of creature it is So if it's something that is a real creature like an alligator an elephant or whatever you're going to do You will have real life reference that you can draw upon if that's english again And you can use that where you don't have to copy one by one unless you do unless it's something that Someone wants to be exactly that from a sequence that you found or a shot So you have to think about what is the creature that I'm animating? Is it a real one? Then you need to look at what is that real creature doing that to me is like it has to be grounded on reality and based on that creature If you do a creature that doesn't exist in real life, you have to think of well What can I do to ground that creature in reality? And even though it looks weird I can put in Real creature behaviors that are people who watch this go not they don't watch this and go Oh, yeah, this looks like a gorilla moves like a gorilla. They might go. Yeah, I believe this They don't know why but it's because movements are based on real creatures and this could be head darts and movement and mechanics Or just whatever it is So I would look at that is a real creature that we know in reference Is it not real something that we see or know? Then you have to put in other things that from other creatures to ground that in reality and makes it more believable Um, and sometimes to be honest, sometimes you have creatures that just look super weird And you have no reference. Then it's going to make it up. Um, but these are the things that I would think of like as the big blocks um other than that And this goes for humans as well But like what do we do with creatures again? It's not different than with humans like humans if you do you I talked about in about that in class yesterday When you have humans you do your acting humans still have to be aware of the environment So if you're talking doing something and something happens a loud sound as a human you're still going to react to this Or whatever it is whatever outside influence in terms of sound or weather or environments or something That's you walk on or whatever it's going to influence you as a person Same thing with the creature if you have a creature and it's like there's fire You know an explosion or something fire shows up creatures don't like fire They're going to go or whatever you can't just have no reaction to that element So to me that's then the next level of what is the creature? What is the thought process? What are they doing? Is it a creature that's full on 100 real? Or is a creature with human behavior and acting if it's a cartoony thing But they still have to be aware of their surrounding react to their surrounding and because they are a creature They're going to ride in a different way where one creature could do Like that another creature could do whatever defense mechanism of opening ears or flaps or eyes roll back So you have to look at What their properties are if they're based on real creatures And if not you can make them up, but they're going to have a specific creature behavior So we'll think about that And as always with anything, you know the sense of weight and mechanics. So is it a mouse versus an elephant? They're going to walk differently the sense of scale is going to be different Stuff like that's a long list that is very similar to to human Behavior, but it would just be that but before you do any of that The acting type of thing the main structure to me is is it real or is it made up? If it's real study the real stuff if it's made up Draw from real stuff to make it believable Um and either way look at the basic structure. How do they move? What's our gate? What's the mechanics? Why do they walk like this? How fast are they? What would they never do like if you have a sloth running that would be weird Like you look at certain properties of of certain animals and make sure you're stay within that wheelhouse and within that You know the parameters of that creature in terms of mechanics and behavior and so on Hope that makes sense rambling I'm gonna leave it at that Ah another question from you Which kind of demoreal makes your identity different from the other candidates? Which are those golden points which will create the difference? Those are interesting questions and kind of hard to answer But they're important because what I told my students is that You know, it's your real that's going to get you the interview But then to your personality that's going to get you the job in a certain way. I mean more or less plus minus Um, so what's going to make your identity different? It's exactly that. It's your It's your sense of timing. It's your personality It's your sense of humor or sense of entertainment or whatever that is going to make your real difference now I don't have a list of things of Do this and you'll be better than ready else. You'll be funnier than ready else It's just kind of up to you what, you know, your sense of timing a sense of humor is Um, but I think in terms of the points that you bring up here That is what makes the demoreal different because the thing is you look at all the demores Like I said before you look at the quality and all the schools and their show reels You're going to see a very high level of polish But polish can be learned and even if you don't have it quite there yet You might learn it while at the company if you have uh, if you go through an internship You might learn it during that internship time where you learn the company's techniques and what they do so that's something I think that's Achievable through a lot of work and practice and repetition But that's the base level right? That's something that everybody should be able to do Like a high polish is not something that's going to stand out or something that's almost Uh, a requisite at this point like you got to be able to polish, you know the crap out of your shots But then what makes it different to me is just you know, I hate to say original creative ideas because then you might ask Okay, well, how do I get original creative ideas? And then I go back to the question By observing real life and getting new uh influences and and mixing that with your Sensibilities and then creating a new idea through that Which is all very theoretical and I know how actionable it is to you. It's like a list that can give you Um, how does it make it different? By avoiding like looking at everything what everybody else has done So you avoid what has been done before so you consciously don't pick certain ideas because you know that's been done before Um, and then it's again like a combination of what do you see? What do you observe? What are the things that you know that you then repackage into something new mixed with You and that's something that you know, I can't talk about because you are you and you're an individual person and You have your own sense of humor. You have your own sense of timing um And it's just that's just something that will make you different um But yeah going back to what I said all you can do is make sure you don't repeat what other people have done Obviously don't copy them. Don't rip them off um And observe things that are new and fresh and original by looking at real life have Have a life basically if I give you Some form of answer to this have a life. Don't just watch animated movies and animate all day do other things Go dance go do something archery whatever you want to do have hobbies and be around people Maybe travel if you can I don't depend on your finances and your time But experience other things and that will give you new ideas that other people haven't gotten because of their other unique experiences See if that makes sense. It's a very vague answer, but that's kind of the best that can answer that question Holy moly joshua joshua kuskovsky kuskovsky Um, that's a long one. I'm gonna read the whole thing here. Thank you for these videos if you're very welcome I always learn so much. That's awesome. I'm it's making me want to take a stab at character animation I'm a generalist environment artist seven years now Wow, awesome cool for you also cool that you're inspired to do something else I reached a burnout and I'm trying to stay involved and not give up on this amazing industry By trying something completely out of my wheelhouse. That's cool. If you see this can I have your opinion on something? This is random. Trust me. I'm full aware, but I have an esfp personality type I love people and I pay close attention to behavior Movement emotion and try to gauge what they might be thinking or feeling in moments to better understand them That's awesome. And if I read the rest, that's great as an animator Do you think this would translate well into character animation? Yes Barring bearing barring obvious technical requirements. Yes Also, I really want to find a good character rig to work with to learn with any suggestions for that Thank you for your time and what do you do here a fountain of invaluable information? Thank you for your kind words That's that's too kind To go backwards here Good characters and rigs. I do have animation buffet and I post rigs there and I have my rig reviews So if you want to be on the lookout for rigs, I recommend animation buffet Where I have links to other sites that constantly post rigs I'm not saying any buffet animation buffet is the only thing But I try to combine all kinds of findings, but there you will have links to other sites with even more rigs So I would just start from there probably Not because it's my side because I don't that's the main thing that I would say because I know there are rigs there And in terms of all the things you brought up Yes, I think this is all very very important Paying close to attention's behavior Playing attention to people's behavior Uh movement and emotion and and figuring out what they're thinking or feeling. Yes So my quick answer is yes. I think this is great You have to you're a people person. You have to observe people You have to think about their thought process and why they behave like that and then their emotional process And arc and and change in something when the character is exposed to a situation a problem or conflict All that so yes. Yes. Yes. Yes. Yes. Yes. Yes. Everything you brought up. Yes I think this is all great the better you can understand people and their behavior their motivations The acting choices all that is great. So if you never look at people if you don't observe people If you don't study people And you just animate bouncing balls you're gonna have a harder time Thinking and creating performances Based on again human behavior and their reactions and all that But if you do all of this what you just said, I think you're gonna have a I would say an easier time. It's gonna make it better and more believable. Not gonna say it's gonna be easy So it's hard animation. It's hard and any patients just to go back to the other question But yes, I think overall this is all very very great Daniel Daniel Shaman Pira hamam pira chamom pira. Sorry. I don't know. I don't know. Hi JD. Hi My question is do you think you can still be successful as an animator even if have very bad uncreative acting decisions? Um, yes I would say yes. Why? Because you might be doing work that is not acting heavy You know, it might just be cycles where it's more about modern mechanics It might be also mechanical where you do more machinery animation or vehicles, you know, I mean Um, or even if you do human or or creature, whatever that has acting You might not rise to a level where you might be a leader super you are Creating the performances and leading people in terms of those performances. You might just be just an animator That's totally fine Where you are given those ideas and you're led by someone with creative acting ideas And you're just going to do what you're being told to do Um, and that can you can last and it can be very fulfilling Um, it really depends on who you are and what you want to do, you know, it's like the more I work the more I see the pros and cons and kind of the benefits of You just work on the show where you're being told what to do and you have no Creative input in terms of you're leading a team or sequence. You just get your shots You get told what to do. You have your own ideas to some degree Show it in Dale is any work and that's it. It's also very very satisfying there I say because You have your goal, you know what to do any because you put on some music and work through those shots I think that's pretty cool at the same time what I also like is that when you Have a sequence that you're in charge of and you try to find other animators and you're in dailies and you figure things out That's also very satisfying but sometimes it's also very Draining in terms of the energy and the creative inputs and things you have to do is definitely more to do There's more responsibilities more stressful to some degree Um, and maybe you don't like that or maybe you want this for a couple months and you want to take a break I think you know all those different positions as an animator. They're all very valid and they're all Needed at some point for you potentially, you know, you have maybe too much to do or not enough to do you want to be More creatively fulfilled and sometimes you have too much of that You just want to work and not worry about other things So yes, I think you can be successful and it can be rewarding It really all depends on your state of mind and your current level and your priorities and your wishes and dreams and It's all very subjective. Some people don't want to be a leader Don't want to be a supervisor and so people just want to be doing that They want to be more in a creative leadership position and not the down and greedy animation work and some people won't both I think it's all valid. It's all it's all It all depends on you and I think you can be successful. Yes Um, that being said again, it depends just to go back to really answer that question It depends on your idea of success You know, if you are you happy That's successful or is your idea of success that you want to become supervisor director Well, if you go to that level, you're going to have to have ideas You're going to have to tell people what to do and you're going to have You might be the springboard of creativity that other people latch on to so It really depends on your definition of success Let's put it this way Rushi kesh in the I'll be back. Uh, how to manage time schedule for a shot to complete it in a deadlines I'm just reading what I'm what I'm seeing here. How much your own acting reference matters more And as a fresher, we get frustrated when things goes wrong. So what we should do for that. Okay. Let me just unpack this How to manage time schedule for a shot? You're gonna have help I'm talking about if you're working at the company was you gonna have production That's gonna help you with uh deadlines and targets and they're gonna check in with you and um, so Managing is also up to you Obviously, you got to know if if you get a shot and they say it's due in five days You need to know that you can do this in five days and I tell that my students right now in class They should write down how long did it take them to finish the shot a cycle a weight assignment an acting piece a gear change Whatever you have I can sit down assignment But you should pay attention to yourself early on as a student already How long it takes you to certain shots so you can self manage yourself self manage yourself My English today is fantastic. So that you know that if someone asks you even as a student Hey, you need to do a cycle How long is it going to take and you can say a week or three days or 10 hours or whatever it is So that starts early and that way as you get into a production side You will be more comfortable with Managing your schedule like that in terms of just like how long it's going to take you to do a shot Now that being said you're going to be dealing with multiple shots Problems with with potential rigs or shots Dailies and meetings. So it's kind of a You're going to have help from production But at the same time you just have to be aware of what you're doing and where your shortcomings are and be honest with yourself And then you can you need to write things now, whatever your process is But it's just kind of a learning process and how to manage it to me. It's just it's a it's a mixture of Analyzing yourself and knowing your strengths and limits Observing yourself and writing things down or just being aware of what how fast you are what you're doing Um, and then it's also a matter of experience and patience where you just sometimes you You just get better the more you work on this because of repetition and familiarity and experience Um to complete in it in the deadlines. Yeah, I mean it's the same thing again. You just You know, like if you might get a shot and then you just have to be honest with yourself that you can do this When you say, oh here's a shot You're thinking you can do this in 10 days, you know, don't go like, oh, yeah, I can do this Knowing full well that you can't just because you want to impress someone and then you're not going to make it And that's bad for the deadline and bad for the shop. So just be honest with yourself Um, but it is also part of experience and time Um I hope that answers it in some way. I feel like it's kind of vague How much of your own acting reference matters more? It really depends You might have great storyboards or previous to work with. Um, so there's nothing and you have to do your own acting Maybe you're bad at acting and maybe you just ask a buddy and then he or she will film it for you Or you can film them and then use that acting. So whatever you need, but it depends on the shop Sometimes your own acting is super important and sometimes it's not And as a fresher we get frustrated when things go wrong. What should we do for that? Get over it. Sorry. Um, you're going to get frustrated. Just Just don't don't worry about it. Don't don't don't have it define your Define your life. This is so ridiculous. I'm saying that You're going to get frustrated, but that's the process You know, it's that's going to be work. You're going to be frustrated with all kinds of things Just I'm not saying don't don't pay attention pay attention in terms of learn from it Try to fix it and don't make the same mistakes again But it there's always going to be something that's frustrating So you can also choose to just not worry about it as much like, all right. Well, I know this is coming I know this is this type of show with whatever type of creatures or that type of Personality that works with whatever you're going to work with or the story points or whatever And after a while, you know, this is these are the things that are going to happen on the show So you're already mentally prepared and then it's kind of up to you Are you going to pay attention to that and really and get Get upset or you can choose not to be upset like, uh, whatever and let's do your thing You know, this kind of depends on how pragmatic you are Um, but again, it's also experience. You just after a while you just you learn how to deal with it That you might ask well, how do you learn with it? Uh, maybe you have to ask other people you have to ask other people like on your team I'm not saying, you know, but you're asking me right now I'm just saying you ask other people who are dealing with the same things So that they can tell you how they deal with it because again It all depends on who you are as a person and what you're dealing with that frustrates you So me pontificating about things doesn't really help you because it's my experience and my situation So you have to look at are there other people that deal with the same things and then you can ask them So they can give you pointers with a similar situation Hope that makes sense. Hope that helps And I think that's it question 31 31. There you go. Uh, yeah, so that's it I'm gonna look at or if there are any remaining questions for a part 10 was it's been a while I gotta look at all that stuff. This might be the end. Um, but that's it. I'm gonna leave it there That's another what is this potentially half an hour 40 minutes of questions and answers as always if you do have Questions based on my answers or new questions comments are open You can ask one kind of questions and I can do a new q&a. Of course, this doesn't have to be a answers only, you know questions thing And again, this has been long. So if you're still watching this or listening to it, thank you so much Thank you for listening. I appreciate it. Thank you for watching, of course And I'm gonna post more so as always if you want to be updated and notified of all that stuff Subscribe and hit that bell button because you want to get all the notifications If you're interested in that so and that's it. I'm gonna leave it at that. Thank you and until the next q&a or until the next clip