 Alright, it's time for another Q&A, and I got a lot of questions on my Spider-Verse digital code giveaway post. It's a post, it's a video uploader. So I'm gonna go through all those questions, it will be somewhat quick answers, typical Q&A style. But other ones are really good F&A materials, that will be a separate post as well, so it'll be a quick answer, then I'll say it will be an F&A. So, let's get into position, so now there's room here. So first question is by Yuri, he asks, Do you think it's important to have scenes with two or more characters in an animation reel to show that you can animate interaction? Absolutely, I think interaction is really hard to pull off, and I'm not talking interaction in terms of punching where it's like a one frame contact. So I think anything where someone is holding, pulling, pushing, lifting something, this could be another person, this could be also another object for that matter. But I think interaction is really hard to pull off, and if you wanna show off technical skills, and I think it's also interesting to animate, but I think yes, I think that would be, I wouldn't say it's the most important thing, I think thought process and character choices and just performances, believable performances with an interesting character, I think that would be at the top, but I think you can incorporate interaction between two characters into your scene. So yeah, I think that is important, and I think it's a cool showcase of your technical abilities, especially if you have something with creatures where, you know, they're biting and holding onto each other, or if you have a human fighting creatures, the Cameron Fielding's Two Rock Reel is a good example, it's a great example, not just good, of interaction between a human and the creature. Alright, next question, Barb Wired Life. I know both are extremely important, but if one had to chosen, I'm gonna read it the way it's written here, if one had to chosen as most important for an animation reel, would it be technical accuracy, top notch body, mechanics, perfect lip sync, et cetera, or entertainment value of each shots engaging has a little story. So I would say entertainment value, that being said, the technical accuracy needs to be top notch as well, to me kind of hand in hand, basically your basic level of animation needs to be really high from a technical point of view, unless you can start somewhere the company as an intern, where you can just showcase more your ideas and they'll teach you more their technique and their style of animation, and then you can kind of learn there on the go, and it's kind of part of the training, so where ideas in a reel are potentially more important, but I think other than that, I think if you're animating, let's say, for TV or movies, primarily I would say that the entertainment value is most important there for performance because you're watching something to be entertained, versus something with gameplay and responsiveness and transitions and all that stuff is a whole different aspect, and unless you're gameplay for cinematics and then entertainment value and storytelling will be more important. So I would say entertainment for sure, because you want to show thought process and through that have the viewer be entertained, but at the same time, body mechanics and lip syncing and all that stuff needs to be really high as well. If you just look at show reels of schools, that's kind of your top of the top. If you're going to compare yourself to other students, that's your minimum technical level that you should be striving for. That's an English sentence, I can remember what I even said. So that will be your minimum, but then on top of that everything should be packaged into something really entertaining. And by entertaining I mean it could be something really sad, really happy, really whatever the stories that you want to tell, even within a one shot thing. So entertainment doesn't have to be just gags and slapstick. Knee shunt green. As always, I apologize if I mispronounce. I'm going to try my best. What's the pros and cons between blocking and splocking? It's interesting. I haven't seen that word a lot online. When I see it, it's usually referred to starting your blocking already in spline mode. So if you're in Maya, you might not be stepped or linear whatever as your default. So you start right away splines. So the pros and cons, I think I will give my BS answer of it depends. For those that are my students, they know that's one of my favorite useless answers. It depends. So I would say it depends on your workflow. So it depends what works better for you. I have my default tangents to linear because we don't do step that work. So it's linear, but I right away change them to spline. And if you've watched my Q&As, I've probably said this many, many times that I should probably just default to spline right away and just change to some keys that I want to linear. So I don't know why I haven't done this yet. It's ridiculous after 15 years. But I just do everything linear and then my main is that foot steps and stuff like that is still hard. So it's not all spliny. And I feel like everything spliny will be too crazy. But at the same time, when I start linear, everything looks really bad. But I do it on purpose, also because of work. But to me, I like to get into the right timing right away and I want to see how horrible the animation looks right away. I don't want to be fooled by good-looking animation which sometimes step mode can fool you into thinking that's going to be okay. And then you spline it, then you go, what is this? So pros and cons, can't really say. It depends really on your workflow and what you prefer. So if you go blocking, meaning in steps, maybe for you, the pros are that everything is pose-based at the very beginning. And then you add more breakdowns in and between. Then you get more into the timing of it. So maybe for you, you prefer to start with very clear poses. Someone else might start with splocking if it's, again, all spliney and moving in a crazy way. Maybe the advantage for that person is that you have to get a grip of the right timing right away. Maybe that, I mean, that's my pro aspect of it. Yeah, that's all I can kind of say. It's a good question though. I mean, I'm actually curious who does blocking with spline right away. So if that's something that you do who's watching this, maybe leave a comment and let me know why. Like, why are you doing this? What are your thoughts behind it and why you're doing this in terms of what are the benefits for you? So it's a good question. Don't really have a clear answer, so I do apologize. Hannah Novotny? I think that's it. How do you fix or combat knee pops in 3D animation? That's a pain. It really depends what you do. I mean, you might have stretchy legs. You might have a specific con that just kind of moves the knee around. A stretchy leg, I think the whole leg kind of stretches or it's a knee control that I kind of, you can pull the knee around which then elongates the leg. You can adjust the hips. There's like an overall, like root controller polishing. I think, you know, foot roll depends on the action, depends what you do, especially on walk cycles and there are a lot of separate tools and then it also kind of depends on the rig setup. So there might be ways on a really advanced rig and a rig that's really basic. You might just have to go with foot roll and hips and adjustment and changing your poses and again, not a great clear answer. It really depends on the tools and the type of animation. The tricky thing is when you have to go in there frame by frame because then you have to be really precise otherwise you get that little high frequency jitter and knee pops and stuff like that. So how do you fix it with a lot of pain depending on your setup? Avent. Avent. I had you as a student and I should remember how to pronounce your first name and I apologize for not knowing. I would say Avent. Avent. Sorry. Do you often reuse animation at ILM? No. That being said, there might be something in a MoCab library where you use that take, that MoCab take and you work from there. Like a lot of times, I think most of the times but anyways, most of the times. MoCab is being tweaked. It's so rare that you just get MoCab and go, oh, that's it. I mean, that never happens when you get MoCab and that's it. Part two. And then you change fingers and feet. But most of the times you got to tweak it because you get client notes and it's going to change anyway. So a lot of times you also use MoCab and then ends up being just reference. Like that's a good beginning but I got to do everything else from scratch. So that's kind of how it's supposed to look in a realistic way and then you still the whole thing keyframe and in terms of reuse, it would be reusing the takes, the MoCab takes. In terms of actual animation that you reuse, it would be something like a library, someone has like a wing flap on a creature or something that is the basis of something else. But straight up copy pasting, not really. It's always so dependent on the shot and you always make the shot work specifically to that camera or the camera, the shape to the plate or the actor in the plate. So how often you reuse maybe someone has and got away with it which is great because that saves time. In production you do want to save time but you ultimately still want to make it look like it has not been reused. So I would say how often, pretty much never. Khan! Khan! How does one stop the surging, sliding? By the way, if anybody listens to this and doesn't watch this, I say Khan because the username is Khan but I could just throw out random Star Trek moments. So Khan says how does one stop the surging and sliding effect when animating tentacles? You know, we had that for a while at work. It really depends on your setup where you might grab something and maybe grab the root or the hip or whatever the creature is and then how are your splines of form into the tentacle kind of slides back and forth. I'm assuming that's what you mean. But then we have a tool that does it sticky. So depending on your when your nodes the whole thing might be sticky or you have just sections that are sticky in the rest stretches. So how do you stop that? It really depends on the setup and the rig that you have or frame by frame. So much can be fixed by frame by frame process, but it's a pain and it gets jittery. So it's not like something I would recommend. Worst case scenario that's something you could do. So yeah. Arthur asks how you fix Elbow in VFX movie if you need to keep it at same position? I mean, most VFX rigs doesn't have options to control it itself and they are very limited. Sorry if this is unclear. It's not. It's basically fixing elbows. Again, we have tools that lock down knees and elbows. So it's just like before either you have a tool that does it or you do it frame by frame which again, there's a very high probability of high frequency jitter. So it could be a pain again. So there's always a technical question is always either you have a tool and then it's great or through a lot of painful work that takes time. So it's kind of my answer there. Andreon Becker, Andreon Andreon Becker as someone who has been able to set IELM for such a long time what do you think distinguishes you from other animators who were only kept on for one or two projects? What advice would you give to those looking to stick around? It's a tricky question especially in my case because I started as an intern and I was cheap. So the incentive to keep me around was I didn't cost a lot of money. Definitely more expensive now. So I'm trying to offset that with speed. I don't think I'm a slow animator in the shot. So I think speed is definitely good. I mean, price obviously is big things if you're super cheap they're going to keep you around. So the more you ask for raises, the more expensive you get you want to offset that obviously with more skills. So A, animation would be one thing. So obviously trying to be a good animator I'm not going to have a good animator. I work really hard to try to be and every now and then the shot looks okay. So I would say I just try to work so what advice would you give to those looking to stick around? There are multiple things workflow and speed and obviously making the shots look good. Trying to expand your skill set to go beyond animation looking ahead. So what would an animator do at their company being a lead or a soup and then looking at well do I need a little more about like simulations in terms of destroying things or creating tools or being better at camera work and creating movies from scratch. So you can do previous or post this work. Then it will be sharing your work. So if you have any tools or you have libraries or anything that helps the the project share it. So don't hold on like a vampire. I was going to say like a cape and you hide sharing and holding on vampire. That makes no sense. Never mind. So if you have anything that is useful to the team share it. So you don't want to make sure that other people can benefit from it which again will improve production workflow and speed and again speed equals less money spent. So that will be helpful. Also just your general attitude like don't if you're hard to work with it's a problem with crewing like you might still get picked because you're there but it's like dodge ball you get picked at the end or something. So basically if you get notes and they're tricky notes or they're annoying notes or notes that will destroy your shot happen you will still take those notes go okay and then just do them. If you are resisting notes or you know refusing to do notes that's a problem that slows down production that makes you kind of difficult to work with. So this is an aspect of being able to work within a team and respecting your position at the company. So if you're if you're an anime and you get notes you do the notes if you're an anime that creates more and better things you share with the team. So that would be that would be my my list. I'm sure there's more but and in terms of what distinguished me I think I mean I started my first movie with Star Wars and I'm a Star Wars fan so I think my fanboyism helped with being enthusiastic about the show I was picky about details and again I was cheap I was an intern so I think not complaining being driven enthusiastic and you know I was lucky that I was given good shots to learn where I've never done creature stuff never done camera work never done mocap so with Star Wars there's such a variety that I got a lot of shots to practice on in a way so I think that was I was very fortunate to have that and through that was like a nice slow learning curve I wasn't thrown into like Alberto and Jair there were two people from a mentor that started on Transformers 4 I believe and Transformers movies are tough in terms of different aspects and what you have to do so to have that as your first show holy moly so it's a trial by fire so I had much easier terms of how I started so starting on something else like Transformers movies might be much more difficult and tricky so I would say I was lucky I wouldn't say something distinguished me I was just pretty lucky in terms of what I got and then those are the things that I mentioned but I think being able to improve your skill set and looking ahead and seeing what benefits the team and the company and being you know a good team player the cliche thing to say just being easy to work with is also a big factor alright I think that should be it Daniel Pira Pira Pira do you think animators should learn and implement more technical things into their animation like dynamics and muscle simulation well that goes back into the other question previous question I would say yes not at the beginning I would say so if you're talking about students just primarily that's your thing and storytelling and character and performance later on you know once your animation is really good dynamics and muscle simulation for sure unless you want to be a generalist and you want to learn all this at the same time that's also a valid answer and if you are professional and you are animating at a company that is definitely something to look forward to in terms of expanding your skill set like I said in the like I answered in the previous question so do you think they should learn it I think in terms of animation I would say not yet just look at the principles and really master the basics and then go into what could you do to supplement your animation make things more interesting like dynamics and I mean you can do lots of destructions and muscle simulation creature stuff and camera work you can make some really cool looking shots but don't neglect the basics Elle asks should you consider paying the high tuition to go to an art school to learn computer animation or is it more money efficient to self teach or do online courses basically will you learn more be prepared more going to college or studying online that's a tricky question it really depends on your situation so A you have to look at the cost and there was a recent hubbub online about I think it was CalArts in terms of the tuition prices so if you can afford all of that stuff and you feel like the teacher is there and the course material is beneficial to you go for that if you're looking in terms of you know cost efficiency I mean online schools are cheaper for professionals it's a very streamlined focused education which also I teach at animation mentors I would recommend that because it does help and I see how the students improve so I think that would be very valuable also because if you're in a different country you can learn online easier to move somewhere and then all the cost involved with housing and everything and going to school and supplies and all that stuff at the same time art school I went to the general bachelor of fine arts education and that helped me in terms of just a general overview I didn't have all the art school classes and you know color and design all that stuff in high school or college in Switzerland so I think that as a general education I think I liked it it benefited me but at the same time being a foreigner I needed it to have the requirements to apply for a work visa so I don't know how it is now I'm not up to date it's been so long you needed a bachelor's or a master's so depends if you have the money and you feel like all the whole you know art school the whole thing might help you package wise the whole thing would be great I would say go for it but again it costs and you have to look at logistics you have to move there versus online schools are cheaper it's easier to access obviously easier but like I said if you're a foreigner you might have to go there because of work visa issues Ryan Olson asks what's the greatest aha moment you've had while working at ILM that took your animation to a whole other level that's a good question and to be honest I don't know there are so many multiple things that happened where you pick something up but I think aha moment it's a tricky question I think it was more just the exposure to all the work seeing that in dailies having animation meetings people explain their tools in their process having you know specialized training when I started Star Trek I got more you know a bigger education and training in terms of camera work which I've never done so to me like an aha moment for a very specific aspect that show was big for cameras and I love doing camera animation when I was never exposed to that type of thing at school so I think that was it wasn't like an aha moment in terms of general animation but it was something where oh that's specifically that's cool now I get it but then you have shows that push certain elements where creature-wise or mechanics-wise are you know the aha moment so I think the greatest I can't really answer that the greatest aha moment maybe piggybacking on the previous thing I think the biggest aha moment was not in terms of making animation better but seeing seeing how the whole thing works like behind the scenes the curtain kind of curtain type of thing of oh this is what you do for this type of movie this type of shots this is what you need to present this is how you work with clients this is how you have to act in dailies and in meetings and I think the aha moment was just starting there as in oh this is what it is to be an animator versus a student also seeing all the making ofs and now seeing how it's done oh that making of a stage this is not really true that article kind of sugarcoats this process so I think I think it's a whole combination of multiple things but I'm gonna hold on to that question potentially do something specific I gotta think about that longer so it's just animation related in terms of technique and what did I get that made it better I think that I'm gonna ponder that longer and then do something separate one day hopefully maybe hope that was somewhat of a okay answer 13 R&O R Aaron Rodriguez sorry it was a long username there as an animator looking for the first gig what is an optimal way to approach an animation test for a studio are there even universal approaches approaches to animatests so that was on Twitter and I kind of responded with the question my thing was maybe game in indie studios type of thing that was the discussion that we had there they demand tests the only test that I know of was Blue Sky way back by someone who asked me about it who did the test for it I don't know about ILM doing tests or asking for tests I don't know about other companies so this might be a whole feature company no some exceptions maybe and then maybe game companies yes so I think in general it's if you have the test I think the biggest thing would be read the requirements and follow those requirements don't try to do more I think they want to see can you do what we ask you to do within a certain time limit I think that's a big test so my lack of experience with those informs this answer so meaning I don't really know but if I had to say something general it would be look at the requirements for the test make sure everything is answering those questions in terms of your animation however whatever the questions are and that would be it Vanessa is asking how do you switch between IK FK when there isn't a seamless switch built into the rig well the couple ways you can gradually switch so you don't feel the pop so you have your IK switch over a couple frames and then it's more like you know you move and then goes into whatever you want to grab hold on to or you're leaning on something and getting off of it and that could be over a slow progression or you hide it through something fast so if you go and you hold on to something that might be the switch over here and over one frame so that you don't see the pop because it's hidden in that quick move a quick action whatever the you know the thing is that you're animating so to me it would be a slow gradual things it kind of hides the pop or you just mask the pop by something fast where the move itself has a pop in it in a way so to speak but then you know didn't always have some rigs that have a really good IK FK switcher and an FK match and stuff like that so as always kind of depends on the tool but if you don't have the tool like the question here I would say those are the two things that I can think of that's a crazy username uh somix da slum god sorry this is a crazy name but that person asked what programs do you mainly use to animate and that's a quick answer it is Maya we use Maya or can I use Maya at home and that's all I know Ross Brown what classic animated films are still a go-to for new animators to watch and absorb the techniques that's a great question that's something I should probably do as an FNA in terms of like inspirations and that's something you should potentially watch so I'm not going to I want to ponder again this is another question I want to ponder but generally it kind of depends on your style obviously if you do stuff in CG I would look at CG movies in general see kind of the history and see where it goes but at the same time I would still go back to the classics and maybe that's also something where it's your personal preference to me I mean all the old Disney classic movies and Dalmatians and Cinderella and Snow White and Jungle Book and Aladdin and I mean there's so many that I think in terms of appeal and movement and performance are so good but then at the same time I would look at you know classics like go all the way back to Toy Story Toy Story 2 monsters saying I could love all those movies they're so great so to me it would be you can almost go superficially in terms of what I could go online and check the top 10 animated movies and that's always a great list but then you also go into like a secret of them like some other movies where there might not be the classic Disney thing where it's more Dom Bluth you know The American Tale I don't know there's so many others then you can look at more the European parts where it's just a different style and then anime and I mean there's so much you can look at so it kind of again depends on your style like what kind of animation are you interested in and you look at that and then look at the history of that and look into that research so it kind of depends on your preferences but I think in general it's good to look at all kinds of techniques and styles and movies from different countries just to get you just an overall animation education in terms of what has been done so classic animated films I would say all of them the big ones from the big companies and studio Ghibli Ghibli how do you pronounce it so there's so many good ones so if you press for time you could look at what are the considered to be the top 10 and go from there and if you have more time expand it's a long answer but I think it would be an interesting F&A to look at specific movies classic movies and pick out specific scenes which again is very subjective but where I feel like that's a cool moment like to me like Jungle Book where Mowgli's on the tree and has the holding on and then the legs kind of go up and he stretches his legs to go back up like there's some scenes like this that are so cool but Dalmatians comes to mind there there's a lot of like cloth interaction in terms of craftsmanship of how a person does something with like a general like a natural move while performing I don't know there's so many good moments so long long answer I would say I'm gonna do an F&A and look at classics and then pick out certain scenes that to me subjectively are of value if that makes sense okay Numaco 999 ask how do you plan your breakdowns for short and wide spacing same timing I think because I'm so used to the workflow at work where you know sometimes the research is a bit heavier and basically I go through everything through the view port as in the render view I don't really manipulate that much through the graph editor unless the scene is light and the rig is light so to me how do you apply my breakdowns I mean I look acting things out shooting reference potentially just running things down not really thumb nailing because I'm really not good at it so planning my breakdowns I just go it's a tricky question because with the short and wide spacing same timing basically maybe to hopefully that answers but I do keying the full character every four frames with general timing so it's kind of okay and then I move the ticks in the timeline Maya to really adjust the timing to be more specific and it works better and then I do layer controller controls or root chest head and extremities and stuff so that's kind of that's kind of how I plan my breakdowns I have the main keys and then I look at it's more mentally and based on my reference and the acting out okay this breakdown is based on this acting choice and this movement and this timing so then I'm going to put you know the breakdown that tells the story best in terms of how slow you get out of the pose or specific pose or whatever you have and that's kind of how I go about and that will be generally timed and then I re-jiggle the timing and then go control by controller I think that answers maybe how do you plan your breakdowns for short and wide spacing to be honest maybe I'm just too stupid and I don't understand the question so I don't know hopefully this answers probably not so maybe ask me again I should have probably I should have responded with a how would you really mean so anyway this is my general answer and hopefully answers the question if you know ask me again in the comments and we can go through it and I can answer again Armando Carrillo that's hyper-nouncing when working on a feature film with many animators working at once what do you have to keep in mind when animating to stay consistent with the other animation work even if guided to do something differently well you basically look at the sequence look at the shots before and after depending if there's a whole sequence available so you kind of do your own prep and homework where you're like oh this is what people did those acting choices or the movements or the weight or the creature behavior and then at the same time if you're an animator you're gonna have a lead that's gonna take care of that you're gonna have a supervisor that takes care of that and hopefully the client takes care of that too so I think there are a lot of fail-safe mechanisms in place to make that work every now and then I guess you know there could be time constraints where you just gotta do something and then you just gotta go for movement and just that animation that needs to work and then that's it and then you know the shot can slip through where it's not quite in character but that's basically the approach at least that we have which means I can't really reply in terms of future animations since I haven't worked there but I saw a presentation once from was it Moana? I think it was Moana where they had a storyboard with a like an emotional beat tracker type of thing where it just showed this is her headspace at any given time in the sequence so you know where she's hopeful and angry and desperate and happy and the graph or something like that where it shows where she's at so if you do get a new shot you see exactly what her state of mind is and that's really cool so as always my BS entropy depends on where you work what the company is and their flow but I think there's always someone there helping you and if not then it's just something that you have to do and you have to take notes and look at the whole sequence if you have not to see how a character behaves and hopefully make it fit Sam Bowen asks do you plan your timing ahead of a shot as they would on a dope sheet or do you get into posing first and then find the timing as you move into breakdowns it's a good question and again I'm going to do an FNA in terms of just my workflow but again in general I don't really plan the timing ahead of a shot I think to me it's more general posing but I like to make the poses better once it's all there it's basically very rough idea in terms of timing it's more about the storytelling poses and what you want to do in terms of acting choices or creature movement and then once I have that in place then I refine the timing and once the timing works whatever you're doing then I go and really polish the poses so I know this is the timing this is how it's supposed to move okay but at this point let's push this pose to really drive home the point of that story point where it is and that's kind of my approach kind of like chiseling away on a big block of animation slowly again making it better I'm not the type that goes into here's my pose and it's a perfect pose here's the next pose perfect pose now I think about the breakdowns in between and then about the timing so to me it's more general timing but everything is somewhat clear in terms of story then I adjust the timing so it looks and feels right and then posing so let's push this where you can but sometimes you have fast movements where stuff is blurry and things are moving around where you could slave away on a pose but you're not going to see it anyway because it's blurred it's fast or whatever and then there are moments where the shop slows down or your animation slows down and that's a good moment where the blur is reduced and then you want to push your poses so to me that's kind of the approach I want to see how things move how fast and where they are depending on the camera and the sets and everything and then I have a better overview bigger overview in terms of these are the moments where I can push the pose versus putting in poses and then later on realizing that we don't see that so I want to get an overview of where the character is in relationship to the set the camera and the movement and the speed and the motion blur and everything and then push my pose that makes sense random comments that's the username that starts me saying this is that a galaxy adventures t-shirt can we get a better look it looks really cool that's right I wore this so there's a one one here's the acting to camera not knowing at the screen here what I'm doing so here's get up here there you go that was a better look at it he also has a question um or she I don't know is a random comments how why does one decide the range of colors to use in a project obviously things are usually either black and white or full color but there are shades which seem to define a film sometimes and probably shades which aren't present particularly since spider verse is such a bright and colorful film and has so many competing styles to bled together blends together um can't really answer that I think the general thing would be obviously the director has an overall vision of what to do there's you got your your concept artists and you got your storyboarders you got your production designers I mean everybody has a bit of a you know an idea of what to do but then you have the cinematographer that might also have certain ideas in terms of coloring but you're going to have color keys and there's an artist responsible for that you get the general mood and then the concept designer with the creatures or the humans or whatever characters you got production designers in terms of the sets I mean it all comes in from many many places and ultimately hopefully the director or someone has a singular vision to then decide that and at the end when your whole movie is done there's you still go into color correction and then you do your DI and then you do your tweaking on the shop by shop basis looking at the flow of the sequence and obviously this whole process of color correction or fully animated so lots of answers I'm not involved in that process hence my wish you watch the answer there I'm not in that position to decide on colors the only time would be you know if we create a shot from scratch be it previous or post-vis where you know you do something and you add specific elements but that's just to me I think of color then in terms of silhouette and guiding the eye to something but I don't want to tell the person downstream in terms of lighting and then texturing compositing what to do like that's their feel I want to step on their toes so to me if I do anything in terms of color it's just to make the shop look clean and clear for presentation and as a general indication where what is if I create something from scratch but most of the times either we have a plate or if it's something that CG it's all based on concept work and I just replicate the colors from there and so on and so on that's kind of all right well that is it for another part I have so many more questions that were based on that spider-verse giveaway post so this should be shorter ish probably I don't know this could be half an hour 40 minutes maybe so the next one is going to be probably much longer might have to do two more but there are so many questions so this might be multi-part thing and I'm probably going to post this either over the weekends or during the week and have it not part of a Thursday, Friday acting analysis FNA release in terms of animation technique so look forward to more of those Q&A answers so if your question has been answered yet it's coming it's going to come during the week and not on the Thursday, Friday blocks and that is it so this is obviously a longer clip so if you watch this whole thing you know my spiel and I do mean it I do mean it that I am grateful that you watched the whole thing if you have any questions about these you need more clarification so you won't follow up questions or you were the one that asked this question and the answer was ridiculous and you want to ask again feel free if this was helpful and you liked it you know the spiel like, subscribe hit that bell button all that good stuff that people ask you to do on YouTube and that is it thank you for watching