 Alright, it is Friday and that might mean FNA Friday, but today it's going to be a Q&A. It's going to be part 4 of Q&A Answers because people submitted some questions, so let's get straight to the questions and I will do my best to answer them and hopefully it will be helpful. And of course, if you have any more questions regarding the answers, let me know in the comments. Alright, let's move over here. So Zee is asking, hey JD, I hope you're having an awesome start to the year. It's been pretty awesome so far. My question is, how do you transition to a VFX animation studio after learning animation for studios like Disney or Sony that has stylized animation? That's a good question. I can't really answer that in terms of experience because I have stayed at a realistic studio for now 15 years. That being said, what you would have to do is you would have to prepare a reel that is fitting for that company. So you would have to find, obviously, exercises and ideas that fit that style. So like you said, something that's more stylized. But that also means that you're going to have to create a new reel that will fit that company and you have to go through exercises and kind of look at what is that company doing in terms of work. So is it performance heavy, which most of the times it is. So you'd have to look at something that covers body mechanics just to show that you can do body mechanics in a stylized fashion with the right timing. But then also just a lot of performance driven work, I would say. How important is having a separate creature animation reel with four or five shots as opposed to having one or two in your stylized animation reel? Well the thing is, if you have a stylized animation reel, I would be careful with creature animation if it's more on the realistic side because it's something that they might look at and go, well that's cool, I like this. But it's not what we do, so it's not really fitting. So if you do creature shots, I always tell my students, look at Ratatouille, where it's a lot of creature behavior, that the way the rats move is that you can tell that there's so much study behind it in terms of just the little features with the nose, the sniffing, the movements on four legs, but then it goes back onto two legs and then they are acting like humans. So it's an interesting mix of performance and creature observation and then putting in those skills into your shot. So if you say, how important is having a separate animation reel, I would say have a separate reel that is for realistic creature work, for realistic companies. And if you do a feature reel for, you know, Pixar Sony and all that good stuff, then you would have specific performance shots and everything is stylized. But you can add creatures to that reel and just have their performances be stylized. Or even if it's just a mechanics thing, I would just add some character to it. It's kind of a behavior, they're looking for something or, you know, there's some conflict they have to overcome, but everything in a stylized fashion. So, you know, you look at Cocoa and the dog, you can look up and there's the dog. I mean, there are many examples and obviously go to other companies and you have reel. There are so many companies that have shown stylized creature animation. So I would look at that for reference. All right. I think that is it. Thanks again. You're awesome. Well, thank you. You're awesome for reading and commenting. Let's go to the next question. Maurizio Bartok. Bartok. Bartok. Isn't that a Klingon and Deep Space Nine? Maybe next generation? Bartok. Sounds very familiar. Hi, Jean-Lenis. Are you able to work 24 frames per second at work? What kind of tricks you use to deal with slow rigs? So we are able, but we also have to because the work that we do at work is 24 frames per second. If it would change to 30 or 60 depending on the director's style or if it's maybe something that's more game related or VR or whatever it is, then we would just switch. We would have to do it depending on what the client is asking for. And what kind of tricks do you use to deal with slow rigs? It's a tricky thing. I'm sure there are tricks. Sometimes some rigs are so heavy that you can't screw up. You can't do anything. If you screw up, you could wait a couple seconds and then it updates and it gets very, very difficult to where you can't really proof watch your animation. You just have to make play blasts all the time. And then when that happens, then I take notes. Because I see the play blast in real time. The movement is in real time. And then I take notes to see this and this and this and this is not working. And then in order to animate it when you can't screw up and it's slow, I just go on specific frame numbers for posing. And then you just go to play blast and check the timing. It's not always that slow, but it can happen. And it's especially tricky when you have facial animation. So then I go to the graph editor because I can screw up. I can hear the sound. And then depending on what the line is, I just hit S for now, now, now, now, now, now, for when the jaw opens and kind of massage. It was after a while, after having done a couple of shots, you kind of recognize the curves in the graph and kind of know what it's going to look like. So you can do some pretty somewhat OK, crappy first pass. And then you can do the play blast. And then you look at it and you got to do this and got to do that. And you start putting in your eye blinks and facial shapes. And it's just very tedious. It's just very slow. So I don't know if there's a trick that deals with it. But for me, there are ways to get it still done. It's just slow, but there are just ways. Now, there's Maya 2019 that just came out that apparently caches animation. I haven't quite looked into this, but supposedly it's helpful. So I want to look into that. And I don't know if ILM, if the company is going to do that, I can't speak on the company's behalf. Plus, I would have to vet it through PR. So I'm not going to mention anything that we do in terms of tools and specific tricks. But that's kind of it. And thank you. Well, thank you, too. Thank you for commenting here. All right. Next up is Siva Shankar. Siva, Siva, Siva. My quest of this Eon is, will you ever show us all on how you do your blocking and take it to the final polishing stage of a shot? Yes. Can you show us how you do it? Yes. Practically, even if it's just opposed to post-transformation, it will really help us all goof balls. Yes, the answer is yes. And I will definitely go from beginning to the end, where you start with a bouncing ball, and then you start then with walks, and then body mechanics, performances. And it won't just be post-to-post. I do want to do a full pass. I'm going to try to, you know, have the shots not be too long. But what I'm going to do is I'm going to animate them. And I'm still debating if I should just record the whole thing, post it in real time, or slightly spit up. I'm not quite sure. Because I'm thinking about animating and then commenting and giving you a thought process, you know, like, oh, I'm doing this because of that, blah, blah, blah. It'll be very long and potentially very boring. But why not? Maybe someone wants to see the actual real-time process. But once that is done, I want to take that whole clip and then cut it up and just do bullet points and then show, this is what I did for this, then the end result and maybe a before and after and then with written bullet points. So I'm going to do something that's obviously much shorter where you just get the main lessons out of it. But if someone is interested in watching the whole progress and process in real time, I'm probably going to do that. But I see people post that and then it's kind of spit up maybe twice the normal speed or maybe three times faster and then also with text. So I'm still kind of debating. And maybe you can comment, maybe let me know what you prefer. Definitely the bullet point shorter version. But on the long version, do you want to see full on real time, slightly spit up with voice over? I don't know. I feel like if I do it real time and I comment exactly when I do something that it might be more helpful. Also, it would force me to be more economical and actually not hurry, but not noodle around and kind of watch a play blast for hours and hours and hours. So it might be a good thing for me as well to kind of be more streamlined and focus on that. Anyway, but that's kind of, that's the idea. So yes. All right, Lou main stream. Hey JD, so I'm not a new subscriber actually been here for a while but I'll still give you my questions. So that's okay, that's totally fine, of course. I've been teaching myself animation for a year now. I created two short films. One as an application movie for a university here in Europe. The second one for an exam that I had to take in the second round of said application exam. I'm trying it again in February. I've been busy for one and a half year creating short films for the university and have learned a lot for the footage. It ain't the best thing for a short while. By the way, I'm reading all this just in case people are watching, not watching, they're listening to this clip and not watching it. I'm reading it aloud. Now to my three questions. Let's say, God forbid, I will be rejected once again. How would you suggest that a self-taught animator should go about to get hired? Any tips, suggestions? It's a good question. Self-taught animator. I think the biggest thing is, well as you know as you're being self-taught, you gotta find ways to expand your skill sets. You gotta go through a list of exercises just to practice and just to get better and you go through the mechanics and gestures and facial stuff and performance and all that stuff. And I have an FNA, a previous kid that talks about exercises and people have commented as well with their ideas. So the tips would be, A, practice, keep practicing, which you're doing since you're self-taught. But then I would put them online, meaning Facebook groups, Facebook in general, Twitter, Instagram, wherever you can post something. And then forums also. I think I ask something about animation feedback in my tweets. I will post that tweet as well where people have commented with lots of places where you can post your reel. But my point is you post online so people see it. Because the thing is, if it's a good shot and my chair is creaking, I gotta get in the chair. If the shots are good, right? Stuff will spread, people will share it and people will see it. Maybe people in places where they can hire people will share it at their company and then that might get attention and you might get hired that way. So I mean, that's one way that could work. I'm not saying this is a surefire thing. But that's on top of just sending in your reel to all the companies, whether they post your hiring or not. Sometimes the hiring process is kind of overlapping. Maybe when they posted your hiring, they just found someone. So I mean, definitely pay attention when a company says you're hiring, but at the same time, just send it anyway. And every six months or so, I would just send something new. And I wouldn't send a reel that's like 80% the same and then just one more shot or two more shots are new. I would just really overhaul the reel and then resend it. So a self-taught animator to get hired, I mean, it all comes down to your reel. So keep practicing, make your reel better. Solicit feedback in those forms so that you get critiques so you don't just animate in the vacuum and then keep applying. So a lot of times, so many times, it's all about timing. You might have a great reel, but then the timing's off and they can't really hire you. So that would be my, those would be my suggestions. Two, so I've been already looking for jobs, but I found something called the game dev map, which is pretty useful for people that are trying to find places to get an internship job in the game industry, in the game industry. I was wondering if anybody heard from anything similar for animation studios. Oh, that's right. You're the one that asked that question that prompted my tweet with all those answers. So I'm gonna post that in the description. And I believe I posted it also in the comment section of the clip where I ask that you send me questions, but I will post it again in this clip just in case people missed that one. So people have responded with a lot of places. So for people watching and listening, check the description. It's in there. I'm gonna link to that tweet with those answers. Three, you keep giving some cool examples of scenes to animate to put in the show reel. Thank you. What are things that a noob should have or things to keep in mind to focus on? Well, in a reel, the reel to me needs to show variety. I mean, obviously your reel needs to be tailored towards the company. So, you know, if I need to just do all creature work and the reel is for a company that does performance, then, you know, that doesn't really apply. Generally, I would say, you obviously want to show that you can animate. So a full body mechanic shot that shows weight shifts and a walk and a tumble or something with weight. So weight and body mechanics need to be on there for sure. But I would do that on a full body so that you can see the whole thing. But then you can transition to pantomime. I would do a pantomime where you do acting and do performance, but not with the help of audio, right, so it's just pantomime. But that would also be full body and then you can get closer to, you know, maybe that type of framing of the way I'm framed here in this clip. And this could be within cuts. So you can have a sequence of multiple shots or the character is far away and it comes close to the camera. And then you can show a full body and more closer, close to acting. And then performance. So lip sync. I think every time I move now, my chair does a crack. So lip sync. And then you would show different types of emotions. So you can do a lip sync where the character's performance is, you know, very exaggerated and maybe very happy and very angry and very sad and a bit more subtle. So to me, that's just kind of the variety aspect of it. And then if possible, I know it's tricky and I want to actually post something soon about using creatures on your reel for cartoony purposes, but they're not that many, I'm not super aware but I need to do more research, but they're not as many creature reels online style as cartoony with really great facial setups compared to what's out there human wise in their rig. But I would try to have humans and creatures on your reel and definitely humans where they're old and young and bigger and skinnier, you know, and just, you know, male, female and whatever you want so that you show that you can apply your talents in your skills and your observations and your sense of human, everything that you can do as an animator, but you can apply this to different characters. Yeah, if you happen to have only one character rig, then I would try to really change up the shot so that each shot is a completely different character. So one, it's the same rig though, so one would be very arrogant, it's a stupid example, so someone would be very arrogant and the next shot would be the same rig but the character is very shy and introverted. And it's also interesting to show that even though it's the same rig, it's a completely different character and if you can show that off, that's also cool. So if you have multiple rigs and different rigs, cool variety, if you have only one and you're only used to one and for whatever reason you can only use one, then just focus on showcasing different characters, then it's also impressive to see because then you transcend the look of the rig and it's just all you, all your skills at this play. Hope that makes sense. And I'm so pumped for what you have coming up for 2019. Me too, I got plans. I've been waiting for some book recommendations. Yes, that's coming. Keep that good work up, well thank you. Happy new year, happy new year too and thank you for all of us for sharing these amazing pieces of information that bring us closer to our dream jobs. I hope, I hope I'm somewhat helpful in moving people forward and if not, I apologize for wasting your time but I'm trying my best. But yes, thank you, thank you for the submit here. All right, just Zeno, just Zeno, Zeno. How long did it take you to start working? Hold on, how long did it take you for start working on the industry? I don't know what you mean. From day one of animating your first animation to working on a company, actually replied to this specifying if it's the first time I animated in general or an actual exercise. And I say this because I've done at the academy, let's say as a kid, I did flip books, a little bit of pixel art type of animation type of thing but horrible obviously. And then nothing. And then I came to the academy and then I did a Star Warsy thing using Bryce and I think it's on my website, look at it. Then I took Maya one and two but that was just something that I did. The teacher wasn't really teaching animation, it was more here's how you model, this is how you rig as you do texturing. It wasn't really animation specific. The first class was Maya three with Lisa Mullins and that was the first class with actual exercises where she was explaining the principles and that's kind of what I'm looking at in terms of an answer. That's the first class what actually had an exercise, a proper exercise. And that was Fall 2002. Yes. And then I graduated in spring 2003. So two semesters basically of animation. So Fall 22 that would start in September. So Fall 2002, September usually starts. That's probably when, if you wanted specifically the dates or day one. So somewhere in September, then I graduated in May 2003. Did submit my reel, did some more stuff at home, did one more class in Fall and then got hired January 26th which is tomorrow. Tomorrow it's 15 years they've been animating. I'll do a clip about that. So from day one September 2002 I would say to January 26th 2004 that's when I started. So that's kind of, that's my timeline. Hope that makes sense. All right, thank you. Xavier Robertson. Hello JD. I have a question in animating in IKRFK. Majority of animators in industry I've spoken to say they use FK for everything and only us IK or use IK for when the hand needs to be still. But I've seen the workflow of a couple of animators and I think I remember you saying you only use IK. Kinda, yes and kind. And to add on to this the people that use IK don't really use the graph editor only, the Euler filter from time to time the majority of FK users swear by the graph editor. I'm not sure about you, I'll get to that. I know that the reason majority use FKs because or of arcs and more precision but I've seen the work produced by the IK animators. It is at the studio level of quality so they know what they're doing what is your take on IK versus FK. So I got a couple of tricks about how to make IK look like FK because it's a common thing that animators at schools face where it just looks too much like an IK arm. So that's gonna be a separate clip for sure. That's gonna be an FNA in general. So my view is crack, crack my chair because at work, again, I can't say too much because it's work but we use rigs, I mean, I can switch between IK FK but at the very beginning there were heavy, heavy IK rigs and I studied at school FK but then the company was IK but the tools are really good and just the way it's set up in IK is really interesting also in terms of having minimal control but it's not like five spine controllers but you can rotate and transit at the same time but it takes the whole spine with it so you get a nice pose just using one controller which is really neat and then you still have an inner controller to make more changes without affecting arms. So the setup is just really good and that's why I fell into more the IK look of it not the process of it but sometimes it's better and faster it's definitely faster to pose things out it's definitely slower when you want arcs, it's a pain so you gotta track your arcs or use whatever tricks you can have or in this case you just switch between IK FK so there are ways. Now you're saying that they don't really use a graph editor I don't use it when the rig is heavy because this is something about the delay and I can't scrub where I'm faster looking at the render view and then posing my changes out and not changing the pose or the timing in the graph editor so my pose changes on specific frames will change the timing and I put offsets in there so I don't do offsets in a graph editor I put in the offset in the actual pose that's because the rig is slow if the rig is fast then I go to the graph editor but because most rigs are slow I mean they're not super slow but I'm just mostly posing it out but if it's something at home or something faster like I said then you just push play and then look at what's going on and they're gonna adjust in the graph editor and kind of compare so then I gravitate more towards the graph editor the Euler filter, I use that just because of Gimbal and doing crazy spinning and stuff where I wanna fix the arc so I wouldn't say IK only Euler I don't know, I mean I checked the Euler you know the flipping of curves and the Gimbal and stuff and then apply that filter but how do they make it work? I mean the thing is ultimately whatever you use FK or IK it's your 2D shot on flat surface you know the 2D visuals still has to be the same whether you use IK or FK so whatever tools you can have to track your arcs to make it look like I mean you're professional hopefully I'll work at higher because you're professional or you're good enough to be considered professional you will make it work so I wouldn't say if you're using only FK then you're professional and if you use a lot of IK you're not and you may like I don't know to me that the whole distinction between animators can do studio level quality well it doesn't matter what your tools are and how your process is the end result still has to be the same and you got higher because you have those skills so it just comes down to I would say personally it comes down to your workflow and your preferred process what is easier for you what you prefer but for me it's also what does the shot dictate so if a character is sitting and all they're doing is dangling their legs I'm gonna switch those legs to FK so that I can dang the legs because arcs like this and IK is a pain so it just all depends what the shot is asking for so if it's very you know small subtle things lots of arcs FK will be better but if it's holding onto things and fights and stuff like that where they're tumbling around then I will switch to IK to me that setup is easier I hope this answers the question I hope so as always let me know comment if I was an idiot and it's not clear I will answer again via a comment all right Yannif Nemet I hope that pronounced that correctly extremely excited for future content especially demos me too also with the demos I like it because since I'm gonna show it I'm not gonna be like a set noodling around it forces me to be a bit more professional and be more organized they definitely have shots where I just kind of fool around I mean it's mostly at home because I got time but I like this I like the pressure of doing a demo than showing it but anyway I have recently gone through an advanced body mechanics program similar to animation mentor before turning 18 good for you Yannif I'm now doing my best to improve my drawing skills in order to apply for animation college here's my question what is your view on animation bachelor degrees for someone who is certain he is going to pursue a 3D animation career interesting well it depends I used a bachelor I needed a bachelor because of my work visa getting a work visa in H1B at that point was better it was easier it was easier but the process was just helped by having a bachelor degree and it was even better to have a master's degree I mean these were the guidelines back then again it's like 15 years ago so it really depends if you don't need a degree wherever you know if you don't need to apply for work visa and you are a citizen there then I wouldn't say you need a bachelor's degree you just need a good reel and however you get to that reel is up to you you can go to a school you can use online schools or you can just be self taught it just depends on your do you have the money to pay for the schools but they're expensive so to me it's more of that where are you placed and where can you go to apply and you need to go to a different country and then you need to look at the work visa requirements and maybe a bachelor degrees is part of that and what animation college university schools you recommend the most for a 3D animator can study in the US since it's so expensive there you go so here's the one answer so you can study in the US so a brick and mortar animation thing like the Academy of Art where I teach or if you want to do without a degree but the animation collaborative which is awesome so that wouldn't work so you have to look at online schools but I know where you're from so a look at your schools where you're from where maybe they have something there or you go online and then you got animation mentor I teach there so that's what I'm mentioning at first but you have anim school anim squad I animate CGTarian I mean there's so many schools that are online it really depends on again the style like they might after a while there are some styles that kind of come out of certain schools so I would just look at their show reels so I would look at online schools their show reels and look at maybe you have a preference towards certain rigs because each school each school has different rigs too so maybe you're also drawn to that so look at the look look at what the students produce look at the type of class that are being taught look at the type of professionals that are teaching there maybe you prefer a certain company and there are a lot of schools that have a specific funneling of specific company employees so maybe you like that style more so it's a hard question to answer because it's very specific it's very personal to you so I would look at again the list of schools who's teaching there how much it costs how long the program is since you can't like since you said you can't come to the US shameless self plug if you can't afford a school for now maybe you got to save up at a later point I do offer the workshops I'm sure since you're watching as you're aware of my workshops but they are cheaper and I try to keep it low for that reason so that people can afford it so it's 500 bucks for 16 submissions so it's not 16 weeks submissions whenever you're ready so again shameless self plug but that's why I have it so you can't afford this so you have a different schedule or it's between semesters between online schools then you can take that workshop and you can always pause whenever you want and resume later so these would be my suggestions and this is very personal so you got to look at what works best for you right thanks alright next up we have Karim Karim Karim and sorry again pronouncing I hope it's all okay what if I need plan to do some body mechanics shots like the animation schools did do hold on what if I need plan to do some body mechanics shots like animation schools did do you have something like that in your workshops and 16 weeks enough for me to be advanced level in body mechanics or I need more for move to the next level to next level alright so let me unpack this and I already responded to this but it's for people who are seeing this for the first time so yes technically my workshop will cover whatever you want so if you are at a bouncing ball level and I will go through that if you are advanced acting I will go through that if you show me storyboards you want to plan out something for a short have done it as well if it's a demo real analysis and suggestions of what you need to make it better subjectively I can do that too now the 16 weeks is just most people submit once a week and that's why I say 16 weeks but you can submit you can submit twice a week and it's just 8 weeks you can submit once a week and then maybe it takes you 3 weeks to implement the updates and then you submit again then it only takes you one week and then it takes you 4 weeks it takes you 2 days you know what I mean so I'm looking at in terms of 16 submissions so if you do it once a week that's 16 weeks but if you have something and you implemented the notes in 2 days why wait more days to submit just because it's once a week so that's what I'm saying if you implemented the notes after 2 days we'll then submit the updates and then I will continue so it's generally 16 submissions now will you be advanced enough to get to the next level that's a hard question to answer because and this is for anybody that is considering applying I don't know how good you are I don't know what your level is even if you show me you're real I don't know how long it took you you know what I mean like people have shots are fantastic but then you hear took me 6 months well and that's even even that is not clear because it's 6 months nonstop and then you kind of potentially slow or is it 6 months you did an hour a week that's also you know there's a difference there so it just really all depends on your work for how fast you are how quickly you learn hopefully my teaching style or my notes will help you learn clear enough but then we're going to have a dialogue and then it's emails and then I don't consider that as a submission then we just email and see what's best for you so it's kind of tricky so for anybody listening considering this I can't promise that you're going to get to the next level I have people that submit the same shot for 16 weeks then I have people that submit multiple shots for 16 weeks or 16 submissions either because they're fast or they just have a different workflow I don't know it is really that's again a very personal situation so I can't really promise all I can promise I'm going to do my best to give you very honest notes and even if they're picky and I might just not final shops and very picky because I want to get you to the next or that's my goal to get you to the next level where I critique things based on kind of industry standards of that's the quality level I want you to be at now again this is up to you do you want to hear picky notes for 16 submissions I mean it is up to you but that's kind of my answer to you specifically and people who are considering applying to my workshop. All right Adam Gillespie what advice or exercises would you give for students who've recently completed an animation school like animation mentor and want to keep practicing or don't feel job ready yet what I would recommend is to take a look at all your shots make it real and then you have to submit that for feedback again send it to me or send it you know to those again I said that before I have a link to forums or I would just submit your real and say what do you guys think and then you can get feedback in terms of I have five shots in my reel but this shot doesn't quite cut it's just it's the worst out of all of them let me replace that one which could be a a performance shot or a weight shot and then make something better than put that in your reel so what I would recommend is just taking a look at what do you have what's the worst shot in your reel and then replace that and in terms of exercises like I said before body mechanics have to be really solid pantomime without the aid of audio are really solid performance with audio has to be really solid and then variety if your rigs are always you know what if you have only female rigs in the character looks like they're 20 years old and you have five shots like that that's kind of boring so add some some male rigs in there vice versa but if you have male and female well are they all the same like 20 to 30 years old is anybody like 80 years old that your mechanics and your acting is going to be totally different or do you have a kid that's let's say five obviously the behavior of a five year old is going to be totally different convert to someone that's 20 so I would look at that again variety so I would look at your real what's your variety level at and then see what you can do to supplement your shots in that aspect and specific exercises you know again lip sync mechanics main thing I would put in would be something where there's a thought process so it's not just movement but there are plenty of shots and if you are following me on Twitter when I retweet things I retweet a ton of shots that are purely mechanics and they're fantastic so I'm not saying then they're wrong but you got to be at that level you know I mean if it's just movement and the shot it's kind of then it's kind of overall but if it's just movement but the quality is super high obviously I'm stating the obvious there's a super cool shot but if you have thought process I don't to me there's something about seeing a character think and make choices that is also just really interesting and just to me this and the character comes alive so I can absolutely appreciate mechanics but if it's something that grabs me emotionally because of a character choice and an acting choice it's just something to it so I would at least have that balance right something with thought process something where the character has to make choices so they face a certain conflict but definitely supplemented with body mechanics and again this can be martial arts dancing which always kind of rant about but if they're really well done then obviously you can still show off the polish and the mechanics skills that you have this chair is killing me killing me so that would be my advice now again put that stuff online so you get feedback because you can't like say before animating a vacuum because you don't know how it's going to like you think it's great and then you can submit it for people feedback and then you get horrible feedback maybe I mean you can always submit it to 11 second cover you get feedback so do those different things look for a variety look at what your real has and doesn't have submit to forums so you actually get feedback right iterate on that on those comments and it's kind of it hope that helps all right one piece by Isobar Isobar Isobar I don't know hello sir how are you I am good thank you so much for all you do for us you're very welcome why don't you do the workshops workshop only by body mechanics and other one about acting it can be really nice God bless you continue I will continue thank you for your blessings and I'm not going to the workshop specifically I'm doing my workshop specifically tailored to the animated that so it's work so if someone needs help in just body mechanics I will help that person with that if someone needs help with performance I will try to do that but I'm not going to say here pay 500 bucks and all you do is body mechanics like I don't like there are schools for that that teach specific courses just for that and I want to do something where I help each animated specifically and if they want to switch it up between the workshop in the workshop between I want to make a tree it works for that animator specifically if that makes sense right so I'm no I'm not going to do that I just wanted to cover everything based on what the care what the the animator needs all right Martin P thank you mister looking forward to the year 12 oh yeah right crack me up that's a that's a long time so I'm not going to be that old but thank you though appreciate it there's no question yes I want to say thank you and thank you for commenting and that means you watch it so I want to say thank you all right Henry soaring I am curious about how much animation you did a day when you were a student how did you balance it with watching films and studying other filmmaking techniques I've heard before some animators aiming for 12 hours a day when they were in school you know that's a good question and it's very very specific to what you're able to do capable to do comfortable to do is so how much did I do I can't remember because I thought about this when you when you when you post that question when you commented there was I had other classes and I was also like the first two years at the academy mostly like most of the years I I graduated after I think three and a half years and my animation classes were basically fall and then spring and then I graduated but I did spring first Maya class and then summer so there was still like once that started than Maya I I worked a lot on that not that it was animation specifically but I did work a lot I don't know if it was 12 hours a day but I definitely was also out with friends and I was watching movies and I was out you know doing things so it's not just animation so it's a hard question to answer I can't really remember I do remember that towards the end I was definitely animating a lot I don't if it was 12 hours a day because you still have to go to class and get to walk to class and come back you still have lunch and dinner so I don't know that's a that's a long time I really don't remember I know I spent a lot of time animating towards the end for sure but even when I graduated and it was just animating at home maybe 12 hours is a long day I mean even at work I work really long hours at work when that's approved so overtime is approved I work as long as I get paid I know this sounds very arrogant but I don't want to work for free so if I provide my services I want to get compensated for that and I have no problem working a ton of hours as long as long as I'm getting paid for it and as long as I'm physically fit to do that and as long as it's not compromising my family and the quality of life so to me there's always a big balance between a lot of work and a lot of downtime and recovery and I do want to do a Q and a Q and a F and a about burnout there's a lot of people comment on burnout let's see burnout mentioned mainly because I'm really trying hard to have that balance where it's just super lazy and do nothing and just recharge or just watch a ton of movies and that to me is just relaxing and watch movies without observing them you know exercise and go play some sports and go on vacation I mean again it all depends on what you're able to do and financially able to do so I'm aware of that but I try to have a very very tough look at myself in terms of balance so I don't know I don't know if I worked that long balance in that aspect there wasn't as focus in self-aware enough but I was still not overworking myself to you know to get carpal tunnel and then just spend body problems with it because I do use a pen and then use a marble mask at work and now I got standing hold on here I have a desk that goes up and down to even at home this is a recent installation which is very expensive but so I try to be balanced in terms of health and work so maybe you need 12 hours a day like I don't know again this is one of those where I can't really answer this I remember someone at school asking me how many hours do they need to sleep in order to get an A in my class strange my answer was well you got to sleep until you're rested like don't sleep just two three hours because other people are doing that you need six to eight hours of sleep like people survive at 60 ideal is eight so they say I'm just you know maybe with six I won't go below six to be honest you need sleep you need to recover and if you're tired and you overworked you'll animate slower so your progress actually will be crappier so yeah trying to figure out an answer for this but I don't my balance was just basically I'm I don't drink coffee like I don't try to keep myself awake I don't just don't like coffee like the the smell of I don't like taste but when I'm tired I go to sleep so sometimes you would work late into the night but then I would sleep in you know me like I don't to me it was always kind of I was okay with the balance there was definitely balance between working and having a lot of fun and drinking and eating and stuff and now having a family I just work and then I stopped working and I just spent time with my six year old you know playing building Legos or sweetly when we went on a hike you know like I tried to do stuff where just don't do anything that being said I was on a hike and I took photos I'm still kind of doing something but that to me is relaxing and is the balance so I don't know I don't know if this is helpful at all I would just say when you when you hear other animators aiming for 12 hours just know that everybody has their own process their own workflow their own health issues or not and their own you know they're able to do certain things that you can or you better than others in some other areas just all very specific to yourself if you're tired and you overworked stop and then take take a break and don't force it you're going to hurt your eyes you're going to hurt your wrists your process will be slower anyway so my main answer to this is I don't quite remember I know I worked a lot but I know also did a lot of stuff outside of work as a student as well I do the same thing as a professional sensor again as as I'm working for a company I do the same thing and even when I do my shots at home the that pigeon shot that I did like five years ago I remember I think doing 9 to 10 hours a day like on the weekend I think I remember that mainly because I don't want to go 12 15 16 hours because I'm trying to stay within like a work day 9 to 10 hours and then it's relaxed again you need rest and then attack the shot the next day so even now I'm really old now really old now I'm just tired I wouldn't be able to do full and I don't want to you know I would do it if I'm alone at home it's if my if my family is out for whatever reason vacation by themselves and I'm here then I might consider 12 hours if I'm recording a them or something get really get into it and be in the groove other than that I would I'd take a lot of I take a lot of breaks I don't that's a very long answer I hope it's somewhat helpful all right now Kaushal Maguria again my good I hope that I pronounce this correctly I have a very academically inclined question so my question is I have finished character animation one character two and advanced character animation and even finished Pixar class so one class what should I do in the spring which is animation related any suggestions would do I already commented on that but for anybody listening and wondering what that I would just do anything that lets you animate this is very super super broad and useless question answer it's basically I'm a big proponent of practice makes perfect but if you can't take another class you know then do something that's animation related in terms of maybe it's a story morning class or animation history so you just kind of broader education but you can do into filmmaking or lighting like whatever it helps you as a filmmaker but then at home continue with exercises so what should I do in the spring which I animation related just animate right if you can't take a class take classes related to that field thing something that's just interesting to you and it's a mental break and you just you know you expand your skill set and and your interests but you can still animate at home so my main answer would be what should I do that's animation related just animate practice and then keep your shorts you can iterate on different things don't do a 20 second shout just keep something short and then just practice practice you know sit downs and get ups and throws and lifts and pushes and and I would just that's my main thing just go I feel like I got better because I'm animating every day because I might work and because I'm doing things all the time it's such a repetition aspect of it that it's just I know there's something like muscle memory in terms of animation muscle memory that's my take on it now does that work for you I don't know again all those questions are very specific to people so that's my suggestion try it if it doesn't work out you got to try some else obviously such a obvious answers and that's very class specific but I answered that in the comments so continuing on my to 501 sounds very star worthy Oh my God 2019 going to be huge I hope so I have plans so here's three questions question one I saw a video you told us how to pronounce your name but I forgot which video it is so can you tell me how to pronounce your name again technically it's there's a hyphen Jean-Denis my first name Haas is my last name it's not Jean so you can say JD Jean-Denis but it's not Jean do you have any recommendations to learn real acting like theater plays because I want to learn it theoretically to observe the natural behavior I don't so recommendations to real acting so the thing is there's a difference between theater acting movie acting and animation acting so I would look at if you want to if you want to learn this I would say take theater classes right so you can learn that aspect because how you act in front of the audience you know further way you project your voice your your moves or bigger it's just different different technique to it versus if you do movie where you have maybe a wide shot but you got to close up you got to kind of tone it down and be more subtle it's just another totally different techniques to it and then of course animation you go frame frame by frame against all different so recommendations to learn real acting quote unquote real acting it's just different techniques immerse yourself in that so theater plays you know just I don't know I'm not burst in theater play so you would have to find someone maybe that teaches that or attend theater and then maybe ask the actors there or the directors there the stage directors how they went about that so but you say you want to learn it theoretically see the thing is when I can someone I'm not it's in here but someone asked me about the books that are ready about animation I I have a list of things that are read but a thing is you can only read so much you got to do it you got to practice it's like reading about six packs you can't you can read about exercise as long as you want but you know kind of get fits right you got to do it so that's kind of my somewhat lame answer there I heard many great animators works are everything for animation I saw his movies then I told you love them but I can't describe why they are so good I can feel it though to me they're great just because his control over his body and the body acting and the storytelling that's so clear with his body gestures and moves in Buster Keaton and Mr. Bean I mean there's so many more but I love them just because there's there's no audio in terms of him saying something or explaining what he does it's all through his facial expressions and body behavior and body acting and pentamount that's why I love Keaton and chaplain Mr. Bean and all those that just they're so great but again that's that's why I like them your acting analysis videos are very important for me to study acting things but I don't they're great for acting it's very specific in terms of what I pick out though I still don't know how to analyze acting by myself is there any points to look at the acting how do you train your eyes to analyze it am I not talented enough maybe I don't think you're not telling us because if you're not there yet it's because of practice you just haven't done it enough when I was watching movies as a kid I didn't look at that that way I just felt like or yay in terms of did I like the movie or not but the more you the more I learned about filmmaking in terms of composition color and edits and acting the more I learned the more understand I think I do maybe and then I look at what other people say about their craft and then I kind of learn through that it's definitely a lot of repetition where I start to see patterns and things where like all that school because they did that and someone else did that before that and so on so for me it's how do I train it's like I don't know if I'm good at it you mean like I post my acting analysis because this is stuff that I like some people comment I like it as well but I wouldn't say that I'm you know an acting teacher I'm still a massive student when it comes to that so how do you train I just watch a lot and like I respond to things that I like and then I try to research how do people prepare and is a master class online where they talk about that crap they're like I said couple books so I kind of look at what people are teaching and saying and I watch interviews with actors there is a there is a YouTube channel so I cut something up is that to look it up and it was boring for anybody to watch right but there is the off-camera show that's the channel and they have more on their on their on Netflix actually and on their site but it's it's it's there are a lot of interviews with actors and other creative you know minor people so they're talk about their craft and the aspect and their process of acting sometimes so I watch that for sure I used to watch inside the actor studio a lot before cable to talk about acting there so I mean to me I tried to just expose myself to that process and hopefully I learned something from it and then I apply that to my to my analysis clips and hopefully make sense I know sometimes I look at things you go oh this is really cool because of this and then you I talked to someone else about that Charlie like oh no I thought it was that and it's like a lot of things that I think are very subjective so I might interpret something that's totally different or totally wrong and not what the director actor intended so I don't know again it's one of the my rambling non-answers but that would be it I do also like to look at just the wide range of movies to get just different takes on acting and sometimes you like that was a bit broad I know it was bad acting I would say I can be better but maybe that was too broad for something that I would use in the shot but then maybe for that movie was appropriate and it was right so I don't know I would say watch a lot of things and read up where we can where people who do it explain their process and I do have a list of books and I'm going to post that in the description as well I replied that to that clip we're asking about question submits but I have certain books that I've read and I'm going to do actually reviews on these as well but yeah that's my long answer thank you for reading my bad English it's not bad at all you save me every time you upload videos that's very kind of you I hope you have a great ear me too thank you and you too I hope you have a great ear too be joy be yoy be yoy be joy pande again I apologize for butchering anything hey I have a question how are you doing have a great ear thank you this is a good question I'm actually great I'm just tired to be honest if you've watched my recent clip especially this year you can see that the rings under my eyes we're getting a certain comment that I look tired too I just I'm tired mainly because my six year had a few more nightmarish nights we just wakes up at night and of course it wakes me up and then help him and then I can't sleep or takes me a lot full of sleep but it's mainly when it's cold the dog that we have is very loud he wakes up and do those things and jumps into our bed and and we we try to create training when it was a puppy and it's just it never really where he's a beagle is a very just comfort like he nights in he likes to be around people and like his pack and we tried so many things and it just that anybody who has a beagle goes no you can train it's I know you could but right now we can't like it's this is the this is the current situation and when we put him in a different room or a candle or something and a crate then he just starts yapping was he just sad and the four five in the morning and it wakes me up and it wakes you know the kids up and so we've gone through process different things of having it in our room and it's it kind of works and it doesn't work works and doesn't work and they're gonna a lot better was he just sleeps but now it's cold and he wakes up and he's cold and he wants to get into our bed and he winds and just the last couple of months it's been tricky also my wife is going I know she honestly what she has to peel I know it's very very inappropriate but you know like I also wake up I have to go pee if I drink too much but I drink a lot of water when I try to exercise let's drink a lot of water so like one of us is going to wake up and then go to the bathroom that's going to wake someone else up and then the dog wakes up so last couple months been tricky to get a full night's sleep so I'm doing fine I just like I would like to sleep more uninterrupted so that's my long answer so if anybody's wondering why I look tired that's why and when I switch the guest room downstairs couple a couple days ago and I slept seven hours uninterrupted and it was great you feel so different obviously so lately it's been like four to five hours sometimes three hours and then I wake up and then go back to sleep so it's been tough so we're trying to find something I'm also getting older I have to say it's been a while since the exercise on a regular basis I've been eating a lot lately again that doesn't help right so I have ways and I got some ideas in terms of what can I do to you know be healthier and get back to proper sleep so thanks for asking and if anybody's wondering why I look tired that's why I love my dog though he's super cute all right let's move on Abdul Fahim to be a good animator thumbnail sketching is essential because and very very bad sketching is it necessary to sketch thumbnails or can we make thumbnails with pics or anything else or skip that part it's a good question my answer is always you can make it work without being able to draw that being said I think you'd be better if you can draw I can't and I think it would benefit a lot and I got a ton of drawing books back into my books of my reviews of books but that is painful because I've never actually used them but I would like to I would like to to go back into learning I used to be I wasn't good at school either but I I like it a lot like to draw as always in the Q&A is when I answer this I like to do it I'm just not good at it so I don't do thumbnails because my my drawing is confused me I don't know what I'm drawing here so for me the sketching aspect is I shoot reference or I shoot reference and then maybe select certain frames from that reference or just act things out so for me it's more acting it out on my own and then it's kind of the feel of it and kind of being aware of the movement and look at reference studying that so that's my process so I haven't been fired yet and I'm been laid off yet it's been 15 years tomorrow 15 years so I would say it's it's doable I know people who don't sketch and they're good animators and it works but but if I want to be honest with myself I would say I would be better I think I could be better if I do my drawings and I have better drawing skills and just for posing and then I could do a quick blocking in 2D grease pencil or whatever tool use I think I would benefit from it so it's possible you can do it but I think it's helpful if you can thumbnail so you can skip it if you if you're not able to do it I think you still have a great career as an animator but if you want to expand your skill set and get better I think I think being able to sketch even just like basic human forms would be a good idea but I'm telling that to myself alright Brandon Barry CG ooh question will your upcoming facial animation video cover a more in-depth look into eye and mouth shape in animation it's quite a tricky subject to find information on absolutely I have a ginormously long email that I sent students have just finished recently but I have more things I want to cover and also I want to make sure that if I bring up those examples that are in that email that I credit the artist and maybe I kind of replace it with my own animation and examples so there's a lot to do to make this YouTube ready to respect to kind of show it but yes I will definitely cover a lot because it's it's a heavenly heavily asked request thing here on the on YouTube but it's also something be covering class a lot like be mentored Academy and I wanted to compile that email for the students so they have something like a cheat sheet to go on so I will definitely convert that into something that is YouTube appropriate in terms of the visuals and blah blah but yes that is coming and it will be as detailed as possible All right Deepak Dubey Dubey Dubey I fear that if I don't animate for two months I will forget about everything animation is that for everyone you know um it really I don't this again it's a very subjective question it depends how for how long you've been animating if I would just start school and then not animate for two months yes I'll probably forget things and it would be tricky to keep going you would feel very insecure about your skills for me now if I don't animate for two months it would be fantastic what what a break a mental break and I don't think I would have problems getting back it might be rusty the first week of you know but I don't like if you do it for for years it's not something so I think the longer you animate long breaks would be really problem but I can see that if you're just starting out it might be it might be tricky even two months um so I can't really answer that people who this chair people who I've gone through this I mean might as well comment and let him know um I don't think it would be a problem and sometimes you gotta I can say you got to take a break to just recover from things um just keep going and it's going to be like riding a bike if you ride a bike uh it just it might be wobbly at the beginning but you get back on it would be fine Adalberto Nivar first question where is it it's coming just kidding let's build some good questions by the way happy new year Jean is Jonny or JD um but thank you thank you for watching I just wanted to post that just because that person common and took time to comment so thank you um and I believe that is the last one here Trevor Masagia Hey JD you mentioned in a previous video that when you were starting out your goals was to get hired at either ILM or Pixar while both studios create top-quality animation work this thousand very different my question is has there ever been a point where you wanted to switch to feature animation like Pixar what has kept you in VFX for over 10 years or is it 15 yet it is 15 tomorrow thanks and love the channel thank you for watching it um that's a great question and I mean my goal was to get hired wherever so ILM Pixar were the dream companies but obviously any company is fine because you need a job and and so many other companies do great work so it wasn't it wasn't like I'm not going to accept the job anywhere unless it's those two it wasn't that but I think it's important to have goals and you want to work towards those goals and then those goals are very subjective so you know so many people have different companies in mind or different styles or whatever it is right so but yes those were the ones mainly because ILM was I'm a kid from the 80s I'm born in the 70s so all the you know Indiana Jones and Star Wars and back to the future and Ghostbusters and I don't like there's so many movies with the effects done by ILM that shaped my childhood and especially my viewing habits that I would have loved to work at ILM and I'm very happy that I got that chance that I'm still there so that was always my big thing but then as you grow older and for me I realizing that I'm not a master draftsman I'm not going to be you know a 2d animator at Disney so way back then 2d was still there I never really thought I can draw well enough to be a 2d animator but then when Pixar came along like oh computer animation maybe that's easier like I have no idea right maybe that's easier and good movie especially Toy Story 2 which I love actually 3 as well they're all really good I love those characters so to me it was just oh you can do this you don't have to draw even though I just said before a thumb nailing would be helpful that I should learn to draw that that's why I had ILM Pixar so many other companies were great but that was just the first one to really bring that movie out with Toy Story so for me that was just oh that's the company now since then there are the companies obviously but way back then when CG just came out it was Pixar so that's why it was ILM Pixar my question is has there ever been a point where you wanted to switch yes because every now and then the industry goes up up and down especially with VFX the summer is slow in terms of work because all the blockbusters come out May April May something like that right so it's a bit tricky having enough work so you always kind of go through ups and downs and then you worry you worry about getting laid off because there's no work so I always had my eyes open looking at other companies just in case I'm a big proponent of plan B's you never know what's going to happen I've been a bit too relaxed lately because I don't have a real I got my ILM real which I don't have a real have the shots but I never edit a real together and I definitely don't have a cartoony shot real performance real like for cartoony companies so I got to get back into that but because of that because of the the idea of you got to be prepared just in case something happens I was definitely looking because you never know now would I like to switch this in general yes for sure I love performance and I love acting and I love cartoony animation so having the chance to work at a feature company would be fantastic now after 15 years that ILM it's tricky because a I have zero experience in terms of feature animation professional experience of I've gone through a full project so resume wise that's a problem so if you have 15 years of the effects and you plan cartoony animation it's a bit of a problem also after 15 years I'm not cheap there I say right and especially compared to other people like other people make more money than me but I think given what I have what I spend and what you know with the family and the house I'm not poor and I I do really well so with my 15 years there comes a price right so if I would apply now for cartoony company a zero experience it would all be at home clips that I need to do now I need to start there's certain price tag with me applying somewhere and also if they would give me less money I may or may not be able to to accept it not because how dare they not compensate for my skill set says no I'm also locked this is my fault into a certain you know I got to pay my bills so if I can't pay my bills that's a problem like obviously those are my problems and I decided to do this and have a house and the bills go up so I'm not going to say I want more money because I mean like this it's not it's not their fault that I have bills but that's my pragmatic look at it like if if I apply somewhere and they don't pay me enough and I can't pay my bills well that doesn't work even though I might like the offer and I might like the company I got to pay my bills this comes down to to that right so use of experience or lack of experience right so the real would have nothing professional that's a problem and then the the price and then I have to look at most of because I'm old I might apply somewhere let's pretend I would apply somewhere that's cartooning they actually would like me and would pay me and accept me I look at things also like commute right if if I have to go somewhere it's awesome but the commute is two hours that's a problem now you might say well you know get the fuck out of here you you suck it up and you just do that because you got that chance to work there I totally understand but you know is that commute time taking away so much time from the family so I end up just commuting and working and I never home with my family like I don't want to do this now if you're young and you're single that might be totally different and you there's certain things that you can accept in terms of sacrifice this is very dramatic but you might be able to do that for me personally at this point that I'm 41 I don't want to do that I don't want to commute for two three hours so I would have to look at well then we need to move so that commute is shorter so I still have the work life balance and I can be home enough right so but then you would have to sell the house find a new house there's just a lot of stuff that comes with those decisions and the longer you work at a company the older you get and the more money you make and the less of a different real you have like the less choices I have basically so would I want to switch yes but it just but it comes down to a lot of factors now that being said I've also been at ILM because I love it I love the company the feed the like sometimes you have project there might not be as cool sure but then the people you work with are fantastic and that's my main thing why stay there at first it was it's ILM it's great Star Wars it's great and it was very project-based but then after a while realized but I had so much fun being with this group of people that I want to be with the animators there like I like the animators there so then it's not about the project it's about I want to be with those people and then that's kind of how it involved where I just like being around the people at ILM just a lot of fun and I laugh every day there like I always say when I talk about work on the channel here I just laugh every day it's great now they're up and downs in terms of project right sometimes you work more sometimes you work less sometimes they're scarce about layoffs so just never know there's always a certain you know uncertainty with the effects companies but I love the people and that's mainly why I stayed there that being said I have applied multiple companies when I graduated right and then six months after working at ILM actually story time I got an email from Pixar saying Pixar checking I still remember that and they they were interested I'm assuming at least talking to me it didn't say you want to hire said Pixar checking in because they saw my real but that was six months into working at ILM where they have my work visa and it was in the middle of Star Wars so I said no because I can't just abandon the project halfway through they pay for my work visa which is way too complicated and I liked it there and I said sorry I can't I can't switch I'm hired there and this is my contract length and so on and so on and they said no problem just let us know is after I was done and then said hey I'm ready time has passed so then the real was not good anymore you mean like as time goes on reels get better and better so my quality when back then was okay it wasn't good enough to then you know I submit something new so then for actually couple years I tried to do my shots at home and I actually reapply couple times and it was always kind of playing catch up where I didn't have because you work you do your own shots it's tricky and again because work like balance so I personally think I never put in enough time now that's my excuse but I might also not be good enough to work a Pixar so it was always kind of this catch up where the real was never really good enough until one point I think through an internal referral they I got an interview there and I was shocked because the real was very unfinished there's a lot of working progress stuff and actually I had star stuff in it like where it's character animation but it's not cartoonies I was I was surprised that they wanted to see it and when I went through the interview process most comments were this is a short reel which it was it was really short and it was not really cartoony enough especially especially variety wise and it had the ILM stuff in it so again I very surprised but it was very interesting experience and it was some interesting things were not naming names but it's I remember one person staying in the back look at me all the time like this and after like half an hour something was out of me like 10 minutes or so that person said do you think you can do this and it's cracked me up so for anybody asking questions I have gone through some interviews at work where I interview people to get hired it's a funny question come on when you say can you do this either you say no I can't and then you go well why you're here or you say yes I think I can do this and then you you sound but kind of diplomatic thing was and it's that was an honest answers like yes I think I can do this but it's going to take me some time to acclimate to a different style and I might not be as good as other people and not might be I'm definitely as good as other people so there will be a transitional periods and then it's up to you know people the company to evaluate me to see if I'm actually good enough to stay on the projects and at the company it's a funny question to ask but anyway I think I had no idea why I was there I wasn't told this is for this in this project so I my when I went in I thought it was going to be for a movie so when at the very end I think it was like an hour long interview and I don't know if I'm supposed to say this but I'm to say it anyway this is the end of the Q&A who no one's listening anyway right at the very end I think it was like five minutes for the end someone asked me do you know why you're here and I said no I don't know I was just asked to come and they say oh you're here to do animation for a finding Nemo ride and it's three months project only and then you're not going to stay you're going to get laid off and then that's it and the moment I heard that it was over for me mainly because I would have to quit ILM and during three months I can't work on a real during three months because I want to concentrate on on working there so to me was already I can do this because if I'm laid off after three months which that what that's what they say was the three months thing I don't really have a real to apply somewhere else and I believe back then I was still on a work visa now I don't know but thinking back it's been it's been some time like I definitely had issues with well if I get laid off will I find another job and then can I pay my bills I don't remember again if I was married already that I had a green card I really can't remember I need to check but those type of questions went right into my brain and I reacted to this and what you wanted to hear while though that's not what you expected to hear wanted to hear and I was just honest and I was probably too honest that no that's not I thought this is going to be for a movie and that I would get hired but my thought was well on a movie it's probably six months or longer which gives me more time to work on a real so when I'm once I'm laid off I can reapply somewhere else but I think the way I said it came across as yeah I expected to be hired right away staff to work on a movie I don't that's I don't know like who knows what they thought but that was my my thought process and when I when I said it I immediately thought oh my God I said this this sounds so arrogant and then after it was over it was basically it was basically that now that being said everybody did comment that the the real short they did like the subtleties of what I had in in the in the shop but personally I don't think there was enough there to to convince people that I was Pixar material so my big surprise was that I had an interview at all but my reaction to the three months and project was so obvious like oh fuck I can't do this and I think to me personally my answer of what I said about feature might have been interpreted as in an arrogant way of yeah why wouldn't you hire me full-time and I'm staffed I would love to know what they thought I think generally my real just wasn't good enough to be honest and it would have been a miracle to get hired my answer certainly didn't help and then after that I reapplied again couple years later but then then it became the point where just my shots weren't good enough to be honest looking at my my shots are just not they might have been okay maybe for as a junior but I was too old and too advanced to apply for an internship I couldn't really apply like I thought about applying I think I did as a background animator but maybe that was seen as all you're just trying to get into a lower position to then become an animator I don't know but I think the effects people that get hired there are hired as background animators and then they're there as as fixers or background animators maybe after a couple years they become a full-time animator so I don't know but to me it was always kind of a catch-up thing and it was never it was never really good enough to be honest looking back at my shots I can see why they said listen no we got students from the Academy or whatever they are like 10 times cheaper and they're doing better work so it was massive disappointing and I really kicked myself for that interview and how I screwed up looking back now objectively look at my shots after years of distance you're like yeah I guess I mean that's okay but that's not good and that's not quality you know that they had so so it goes disappointing but I totally understand but I would definitely switch if it's possible right it has to be a good offer that works in terms of being able to pay the bills and the commute and it's the family life so it's it's a very complicated answer and what's the word consideration at this point so I need to do my own shots at home to actually have a full cartoony real and it's to be really really really good to convince people to not hire someone else that's younger you know with less family responsibilities where I just go home and I can't stay late or don't want to stay late the price is cheaper they have more experience going through an actual feature animation pipeline and show so a lot of things against me if I'm whiny right but I think it's still doable I still think I can do it this sounds very arrogant but I think I'm I like animating I like performance I like cartoony stuff so I do want to create a real that's cartoony that's really really good it might take me years but I do want to do this especially as a plan because the countries where I don't know how it is in the states in terms of longevity and you see layoffs and see all that stuff so bit tricky I really really need to work on a plan B that being said if anybody's still watching I do have a plan B in minds that I may or may not hear about soon this is super vague and how dare I mention this but there's something that might come up surprise surprise we shall see about that but that will be there for a different upload and I think that's it I think that is the last question this is a very very long Q and a who will watch the whole thing so whoever watch this you'll get my little insight into a an interview that I screwed up royally and that's about it so yeah any questions about this any questions about my answers or my my confusing answers I'd always you can comment and I will comment in the comment section so for more clarifications and then probably 6 months a year or something I know I got so many questions especially from the previous Q&A that I want to do F&A's about so I mean people can always comment and I can just write that down and I have a massive folder of questions from people so I will get to all of them so the Q&A will come again 6 months or a year maybe earlier and it depends how it goes right but for now let's let it be thank you for all of you that submitted questions they're great questions thank you for watching and that's it thank you