 What is up, PopMakers? Welcome to HotMakes right here on PopMakes, HotMakes Live, all the things. We are live tonight everywhere, just like every week. I think we're on the Twitch. I'm pretty sure we're on Twitch still. We're on the YouTubes, on the Facebooks. What was that, Gary? I said, yeah, yeah, we're doing Twitch again. All right, we're on Twitch. I probably should pull that up and watch. I have no idea. I should check that out. I keep saying that, but I always forget. Don't forget. We have an amazing guest tonight. I am super pumped. We were talking in the background for a minute there, and I am just, I'm crazy excited about our guest, Nicholas from Lurecraft. I am just, just wait till you see the stuff that he does. It's crazy amazing. Also, we have some HotMakes tonight, so check the link out in the description below for all the HotMakes links that we show and more that we couldn't. And the last 113 episodes you'll find there too. What else we got? You wanna toss us some donation or something like that? Hit us up for the Oreo fund. There's a link in the description below for PayPal. It can be for Oreos, chips ahoy, filament, whatever you want it to be for. It could be for IRF. We're gonna be probably going to IRF. Just let you know right away. So that'll be a lot of fun. And then if there's anything else, let us know in the chat. We're pumped. We're gonna take some questions. Hopefully, Nick, Nicholas, Nick, I should ask him what he prefers. I totally forgot before the show, but anyways. I talk about him as much as you can without him. So he just sit there frustrated. That's my favorite part. I see him down like in our little production box and he's like, no, he's giving me a thumbs up. But yeah, if you have any questions, we're gonna take some questions. We're gonna have some fun, talk to him. Again, we're gonna have some hot makes. And towards the end of the episode, we have some news and some updates about future shows coming up. So that's gonna be a lot of fun. Anything else, Geary? Did I miss anything? No, I think you got it all. Let's just bring it. All right. Well, yeah, it's my pleasure. I'm gonna jump right into this and we're gonna introduce Nick, Nicholas, whatever, from Lorecroft, Nick. Nicholas, how you doing? Hey there. He's having a nice cup of coffee. Nicholas is fine, or Nick, whatever is easier. It's okay. Yeah, so you said you're having a cup of coffee? It's matcha, matcha, going Japanese. That sounds good. That sounds really good. So before we get too far into this, you are across, you're like in Europe somewhere, right? I'm in Scotland. You're in Scotland? Yeah, I had to throw on the plaid, you know? I love it. Well, that means it's about midnight your time right now, so we appreciate you staying up for us. And that explains why you're drinking the tea there, the matcha. I just finished my coffee, so I should be nice and amped for the show. But before we dive too much into everything, there's some amazing stuff behind you. We're gonna get to that. But right away, let's talk about who you are, what do you do, like where people can find you, and then we'll come back to that again at the end of the show, but let's hit it right away. So who are you, where are you from? What do you do, that kind of thing? Well, actually the story's a bit different, unusual. I mean, I was an academic for most of my life career. I was a neuroscience guy. I was in the middle of a PhD and I didn't, I was very disenchanted. It was a rough period actually, you know, a lot of bad things going on personally. I had a big block of clay and I thought, you know, I'm gonna get over there and put that on the table. I had a kitchen table that I didn't use. I wasn't having any guests. And I thought, you know, I can't work on the table because you know, you might have guests. And I said, it's my table, right? I can do what I want with it. So I transformed basically the entire apartment into this workshop. It was totally for fun. I started filming it and putting it up on YouTube. And that's the short story. But yeah, it just really took off in a way that I didn't expect. And I really enjoyed it. And I quit the PhD to pursue this full-time because it's, wow, vastly more satisfying. Enjoyed a hell of a lot more. Yeah. That's awesome. So, oops. So you were going for a PhD. You decided to grab some clay, dropped it on your kitchen table, which I gotta admit, most of us makers start somewhere in our kitchen, kitchen table, living room, living room table, something like that. Let us know in the comments if you think that's true in your house too. But I know what I definitely did. Tee in Scotland at midnight and Cee says yes. Yes. So what was, you know, that's kind of how you started, how you got into it. You're pursuing this full-time. It's taken off. Awesome YouTube channel, by the way. Thank you. Subscriber here. And I tell you, your videos are sick to watch. That's the best way to say it. It's kind of you to say. It's a lot of fun and a lot of work, right? It's always. Yeah, it's a tremendous amount of work. And I started out using air dry clay because it was all for fun. I didn't know how to make molds. I didn't know how to do any of that stuff. I knew that I had a target in mind. I wanted to get better and improved. So if you watch the channel from the earliest videos to the most current, it's actually me learning the whole time. Everything you see is like the first time I ever did it. Sure. So I did a standard that I wanted to improve the realism, get better and better. Yeah, there you go. At what I was doing, and it required me to adapt and start using newer materials and methods that I was unfamiliar with. And I think I had a moment. I had a moment because I was getting all this attention on YouTube and I started getting like, I think the Daily Mail put the Pennywise video up and things started getting all, it was Esquire did a thing on the Demogorgon, I think it was, and it was all this cool stuff. And I was like, well, this is great. I'm really good. And I managed to get ahold of Barry Gower because I bumped into the guys that did Game of Thrones, the showrunners, the showrunners at the gym. And I was like, yeah, this is what I do. And so they got me in touch with Barry and those are the ones who did the original Night King and Vecna and all that, BGFX. And I said this really enthusiastic email, being like, man, I can't wait to work with you or something like this, you know? And I was like, I use this, this and that. And I'm like, air dry clay and sticks and things. I was just so naive. I had no idea what I was talking about it. And he said, yeah, it'd be great to have you down for a visit sometime. And so I started looking at what they were doing and how they were doing it. And it was all platinum, silicone, hyperreal, expensive stuff. They would pressure cast their dental teeth and everything with actual acrylic, dental resins. Everything was just hyperreal. And here I am talking to the guy all enthusiastically with my air dry clay stuff. So I was just like, oh my gosh, I felt so embarrassed. So I went back to the drawing board and I started doing the work on how to properly mold and cast and film quality materials. And so that's pretty much where I'm at now. Nice. Yeah. So, you know, we could, let me, I'm gonna pop this up real quick. So if we look at some of the stuff you do, there you go. There's the, yeah. That's the most recent one, yeah. That is, I mean, your video shows it, which is really awesome. And this is just something, some crazy detail. Like you said, like hyperreal. So how do you, like you get this idea, I'm gonna do Vecna. How does your regression of thoughts go? Like, where do you start when you get an idea? Well, for that was like, I love the show. I've been a fan of that show since day one. Yeah, I did the Demogorgon earlier, the Demogorgon I did in Air Dry Clay and that one, it was very fragile. It's still in some guy's flat in Edinburgh somewhere. But yeah, I mean, I love the show. So that actually, I get a lot of questions about that. Like, why don't you make more of your own original stuff? And that actually leads into it. It's, you have to make things that, you know, hopefully you can make things you like to make. Sure. You know, ideally it's like, I want to do this because I like it, but you don't always have that luxury because well, just because you like it doesn't mean anyone else will. And if you're doing YouTube and your income is based on viewership and the audience is going to see it, they have to like it too. So every once in a while, I get a situation where I like it and everyone else does too. So Vecna is a perfect example of that. Since it's a hit show, awesome character, I thought it was great, everyone else thinks it's great. So it gives me the chance to pursue that and then hopefully be able to survive on some of the, you know, because I did manage to sell a couple of those. And it's just that, yeah, it's just they're so expensive to make. And that's another thing is, yeah, go ahead. Wow, I was gonna say, so you actually made more than one and you actually sell them? Yeah. Wow. That's really the only way to survive at this stage. So that's, yeah, when you look at sculptors on YouTube, they're bracketed into different categories. And it depends on, like Stephen Richter is somebody that does real effects work. He actually has his day job as effects work. And then he does his channel. And so he's got a vast array of skills that he already had. He could do 3D printing and all that other stuff. And he's really good at it. And he does resonant, but he does like half scale, you know, and it's easier for him to quickly produce stuff. And he has this other job to support his work. So he can do whatever he feels like doing. The other people are like Polymer Clay sculptors and they do these small things. And you can make something like that in a week. And that really helps with the YouTube algorithm so they can push stuff out regularly. I mean, one of those things you could do every few days and do a quick edit. And so you get in favor of the algorithm. Your audience also is more of a, oh, I like this. I could do that. I could try that. I can go to the art store in the corner and get some Polymer Clay and follow along. But when you do this stuff, it takes sometimes months because you're painstaking, careful, it's monster clay. And then there's the mold process, which I usually use silicones and the casting is usually silicone. So it's hundreds and hundreds of dollars just to be able to make one. So a month plus rent and everything. So then you really, you can't count and it's been so long since you posted on YouTube that lay algorithms no longer in favor or the people have kind of moved on to other channels. And so you have to sell. That's the only way you can really survive. No, that's super cool. Cause a lot of prop makers, a lot of character makers, anything like that. A lot of the people we talk to, they're like, no, I'm not selling anything. I got way too much time. It's going to cost way too much money to actually put my time into making stuff. So it's kind of cool to actually hear that you do because I mean, that's got to be pretty lucrative though when you do sell a few of these because like you said is several, probably a hundred of hours of time, right? I mean, it's not. Well, once the initial sculpt and mold is made, that's most of the work done. And then it's just you have to cast it and then paint it and cast and paint. And that takes, you know, you could do like the Vecna is going to take a couple of days of work, but that's, you know, after all the heavy lifting has been done or get the mold and everything. So I'm casting another one right now on the table for a client. And he's, yeah, he really wants to get that. So I've got to hurry up and finish that as quickly as I can. I was hoping to have it further along because I'd pull it up and show you guys. I do have the original sculpture up there. I can, I'll be able to show you, I'll move around. I think with the camera, I'll just take it off the mountain, walk about in a bit, but, but yeah, that's, it's, no, it's really expensive. And it's basically, I mean, you're using the same materials they use in the shows and they hire these guys on, they have like, you know, they might have a million dollar effects budget. So like the death, the Dobby death doll, for example, was probably 50 to $100,000 to make that professionally. That's what they charged, you know, and it's like, well, it's, yeah, and it's a silicone prop and, yeah, so, you know, yeah, you're bottlenecking, you know, the people that's like, yeah. Is that this one? No. Oh, that's creature. That's creature. That's creature, yeah, yeah. Yeah, let me see if I can, let's see, he's up there on the shelf. Let me, let me drop this. There you go. Oh, that one. Okay. Yeah. Nice. And, but yeah, that's, I mean, that's, that's one of my favorite pieces, really. Yeah. But I could, I could actually pull him down here and show you. Oh, geez. Now, Andrew, I appreciate Andrew. Andrew's chatting there too. Thank you so much for hooking Nick and I up because I appreciate that. Yeah, best Andrew. Yeah. Andrew's the man. He helps me out with all the 3D printing and design work. Andrew, yeah, he actually, yeah, he printed on it if you could see this. He did the name plate for me. Oh, sweet. For this character. Yeah. So I brought this one with me to Makers Central. People really liked it. Yeah, that is awesome. Man, that looks so real. It's, yeah, it's, it's the, it's the silicone. It really brings it to life because it's got that translucency and you can kind of look into the, into the piece. Yeah. So. So it looks like, like, like there's veins and everything is underneath kind of, I mean, you can kind of see where it looks like that. Is that something you plan for and paint in? Yes. I mean, that's one of the benefits of the silicone. The silicone, it's, it's semi-translucent. So you get the effect of looking into the flesh. Like real, real skin has that effect as well. So that's why. So you paint underneath it? Or do you? No, I don't. I mean, it looks that way. There are some people who do the reverse. They'll actually paint the layers into the mold. Wow. From underneath. Yeah, that has a really, I mean, you're talking much more time consuming. I can only imagine. And the eyes look crazy on those. Yeah, yeah, I worked with, so the, you know, fourth-seal studios, I don't know if you're familiar with those guys. They do FX eyes. Yeah, they do a lot of the FX eyes for, like I've got the gelfling up there deep and they make eyes now for most of the big FX productions. You know, they just, they're the go-to guys. They make the best eyes. And they, I got some of their kits and so I made these from one of their kits. Oh, that's cool. Yeah, as pressure cast resin, I polish them up. They pop out, you know, but when you're, yeah, when you're, you know, if you're gonna put the work in, that was my attitude. So if you're gonna put the work into something, and I was making these air-dry clay pieces and it took all the, you know, I'm like, get a shoulder pump, you know, my hands sore and I'm like, I had, so the thing that really convinced me was Groot. Groot got destroyed, you know, and that's a video that got like three million views or something. Sure. And I'm like, and then I only had the one and then it shatters because it's air-dry clay. And it's like, oh God, what a waste. So I had a phobia because I didn't, I didn't want to make molds because I knew it would probably destroy the originals. Right. And I just, after all that work, I didn't want to destroy the original. I still have some clay ones around because of that same feeling. But you, you have to get over it because, well, yeah, see that's broken. It's, I'll show you now. It's over there now. I have to go, I'd have to bring it out, but his head. He's still hanging out there. Yeah. I saved the head because I thought maybe I'll, you know, that's the shoulders broke off. It's over here. One second. I love that you walk away and you have a shelf full of characters just staring at us. There he is. This is so sad, isn't it? It's all broken. His head broke off. So depressing. But I figured, you know, he's mostly intact up here. If I ever wanted to make a mold, I could pour some hot clay in there and do it again, get another chance to make it again. That's how it started before the break. Yeah. Yeah. That's what it looked like before. What was that? Just rub it in. Yeah. The good one next to the broken one. Yeah. It's sad. I felt terrible, but, but yeah, that tells you, you know, like, okay. Well, if you don't destroy your original, something else might. So get used to it. So I've lost. We'll go ahead. No, no, go ahead. Yeah. I mean, I sold the creature, the first creature, and I was sad to let him go. And then I made another one and it was okay. So I was like, all right, this works. You know? Nice. So what was the very first model you did, like transitioning from old method to new method from, from like the original clay? Yeah. Yeah. Yeah. I think it was the Demi guys from Fantastic Beasts. Yeah. I think it was the Demi guys. It's on the channel. You can see I switched because I think I did something like Michael Myers, which I wasn't really pleased with. Okay. Like the, how that turned out. It was tough because that one was like, you know, you're, you're painting or you're sculpting something that's supposed to look fake because it's a mask. Right. And I was like, it really threw me off. I'm like, I want to do really well and make it look real, but it's not real. It's fake. Yeah, but it's fake. Yeah. That's awesome. Oh man. So many, so many good things. What's your favorite piece? That's tough. Creature's up there. I think Deet. She's probably Deet and, well, I've got a couple I'm working on now. I'll show you those actually. Yeah, let's just check them out. The thing is, as I move, as I move that way, I lose signal. So I'm afraid I'll lose you. I'll start to cut up. But if I do, I'll just come back. Sure. I've got two things I just finished. I got one I just pulled the eyes out of. I don't think I can turn the camera around on this app. It doesn't let me switch, but I will just have to do it this way. It's this work area here. So this is, go ahead. I think it'll let me switch, but I don't know if I can do it for you. I'm sure it does, but I don't even know how. That's okay. Let's see, Cam, I won't mess with it. I don't understand anything else. Yeah, so this is the Vecna mold. I'm pouring a cast in there now. There's a layer in there. And that's where I do the sculpting. I've got a bunch of stuff on the windowsill, but I can't really get to it. I just finished this guy. I pulled the eyes out, so it looks kind of fake. It looks like that. It is awesome. I popped the eyes out, but he's just kind of, I put a post on Instagram before I tore the eyes out, but I needed those eyes out so I could do this, the Vecna. And there's another little goblin here. If you can see that. So there we go. So I'm making this guy. This is for a client. It's for a theme park on Sir Walter Scott in his fairy tales. Oh, can't really get any closer without losing signal there. Whoops. That goblin just crashed on the floor. Oh, no. I was gonna say, hopefully that's not a model. Yeah. I do try to save the clay originals as long as I can. I do reuse the clay, but I try to save them because, you know, you never know. So yeah, here's the Vecna up here. So. Oh, nice. That's the original clay. The bridge broke out of the center, but it's otherwise mostly fine. You could see some of the damage when it came out. It got cracked here in the back. Gotcha. But, you know, if something happens to that mold and it, you know, it tears, it breaks, something goes wrong with the mold, I'll still have this to make an extra. I can redo it, resculpt some stuff. That actually happened the first time. I lost the first mold and I ended up having to go back and rework the whole thing and make another mold. But that is one of those things, one of the hazards. Man, that's, and that's gotta be rough when you get all that work done and you're like, oh, I gotta do it again. But does it, when that happens though, do you have like, is it any faster because you kind of know where you're going with it then, the second time or, or maybe you're like, I did this once and now you can kind of add things that you may have done the first time. Well, yeah. I mean, if you're pulling the original clay piece out of the mold, it's gonna get damaged. It's gonna get damaged. And that's what happened. The head almost came off. I lost some of the neck vines. But it did give me a chance to go back and actually make some minor changes, add a little bit more detail in certain places. And so that, yeah, there is an advantage to it. And it's, you know, 90% done because, you know, it's all proportions. Most of it's there. So it sucks. You're like, oh, I lost all that work. I mean, it's a lot of money and time lost, but you, it's not a total disaster. The, but that's another benefit of like monster clay and oil and wax based clays because, you know, they're, they're soft they're more pliable. They don't shatter and you just, you apply the heat and then you can, you know, work them back together again. Whereas like Groot, I can't re-sculpt that. It's just dry, hard, it just breaks. So it just blew up. Yeah. Yeah. Nice. We have a couple of questions. So Ed, Cia is the first one. When did you know you could sculpt or when did you first start with clay? And I know you kind of talked about like the transition from your doctorate, I mean, to your kitchen table. But was that something you were just like, I can do this? Or was it like something you, like you said you learned on the floor, I kind of. Yeah. I mean, well, you know, there's, there's underlying desire and drive there. You know, of course I grew up watching things like, you know, creep show, American werewolf in London and legend was a big one, Rob Boteen's work. You know, so I saw this stuff and I thought this stuff's great. I love this stuff, you know? And I used to play with clay as a kid. I never did anything serious or I'm really great with it. It was just like, I'm a kid and playing with clay. A lot of us do that. And you know, big, big stick, sticky balls about it. It's fun. History buff, Greco Roman mythology. I love classical sculpture, you know, these tropes of medieval fantasy and you know, this, some of these styles and Hellenistic art as well. It's just amazing. And so I like, okay, I always had a desire to try to do things like that. I just didn't think that I could. Sure. And then I just basically got really depressed like I dumped and I was like, ah, my life sucks. And you get that dark energy and you don't know what to do with it. You could stare at the ceiling and just hate yourself. And it's like, so just take that raw emotion and dump it into something and construct it and I just start to work in the clay. And so I did the first one and it looked kind of shite. You know, you can look at it. It's like my first, it's my second, like the first video is me hitting this feedback but then there's the second video which is the first sculpt. And then that's, it wasn't very good. I didn't know what it was doing. I still, you know, I'm still learning as I go. Sure. Then I did this little baby dragon thing and I didn't even know how to properly edit the video so it wasn't resized, right? And then I think I did, darkness was the third. And it was just, I went from like this tiny little fun thing to I ended up like doing fiberglass. Oh, wow. The horns, like they were huge horns. You've seen legend with the character and massive horns and having to sand them away. And that took a month to make those and I was covered, the itchiness from fiberglass and there was some of that. Oh, I bet. It is horrible. And I was happy with that. I was surprised that I was able to get it as close as I did. I think when the question was, you know, when did I know that I could actually do this? It was the fourth one was the Night King. And it was a point when I was working it and I thought it looks okay. It was all right. And it was like, I call it the magic hour. Sure. And this is something I'll describe in a bit but there's a point when you're working through the piece and it starts to really just kind of, yeah, you'll see here. It's like, eh, it's all right. It's all right. And then you start to kind of zero in. So you'll see it. You'll see it. You're tech guys doing a great job at this. So it's like, oh, this is okay. This is okay. And then if you skip to right about there, you actually see the proportions of the face start to have been dialed in and it starts to look like an actual person. Right. And I was sitting there working it and I went, holy shit, like this is really like right there. You're like, that's like, that's that right there. That spot. You're like, holy shit. So the paint job was a mess on that. I didn't know how to do it because this is before silicone as well. And the Night King is a silicone prosthetic and it has semi-translucency. It's that ice effect. So you could see into it a bit. Sure. And that was something that was really helpful in making it more realistic. So this is air dry and I couldn't capture that same translucency with a shiny, icy look. Have you ever thought about going back and doing it? Silicone, no. I'd love to do that with a lot of them. I did Dobby and he looks cool. I'll show you here. See, I did Dobby and he'd be perfect. Because a creature, you saw, he's silicone. Same thing with Snoke. I'd love to do that in silicone. Sure. And there's the Night King here. Oh wow. Dobby's down here. And I just thought, you know, if I could do this again, I would in silicone. But as I said, it takes hundreds. Like this was air dry clay. Materials, this was probably 50 bucks in materials. No big deal. But to redo it in silicone is again, hundreds. And so you can't just go, well, I feel like doing this. It's like, well, who's paying for this? You know, you've got to have the funds to back it up. So I ended up having to switch into, you know, this more like, I get people saying, hey, will you make me this? I'm like, well, show me the money. And if they've got it, I do it. But that's pretty much, yeah, that's like, that's how people basically work, right? Yeah, no, that's awesome. It's kind of cool too that your original, you know, art, right, this is art essentially, right? Your original art, you're always thinking, man, if I could go back, I'm sure there's pieces on Dobby that you'd be like, I would do this a little bit different. I would add this now because it's so far after you started, right? Yes, exactly. Yeah. So the switch to Monster Clay and Chavont allowed for more skin detailing. So I could go in and do the fine, like pores and fine wrinkles. I started doing that on like Hellboy, but it was air dry clay and it was really kind of hard. It was almost like I was carving it. I had this ball bearing tip and I was like, hitting this surface really hard to make these, yeah, these indents to give it those pores. And it wasn't as good at it. I couldn't make those changes. I'd actually thought sometimes I'd go back to air dry clay and, you know, water-based stuff and try that again, just to see what I could do with it. Cause I've learned things, but yeah. So I, you know, Dobby, I look at Dobby and I didn't do it. I didn't do any skin pores on Dobby and I wish I could go back and do that. I actually painted on some of the wrinkling effects and yeah, it's just, it's a piece I'd love to revisit sometime and do properly. Well, it looks awesome. So we have another one. Have you ever worked on bringing concept art to life for productions? Like your sculpture was the first time the artists saw the character they created in a 3D space. If your sculpture was the first time the artist- So, like your- Yeah, so, well, I mean, these two that I'm doing now, the two goblins I just showed you, those are originals. They said, use your imagination, make us some goblins. And, you know, I'm sorry, I do some work on them. I send off a couple of pictures. They like it. They say, that looks great, okay. So I, luckily I'm gonna maintain copyright of them. So they're still, they belong to me. And I'm gonna write up a little story for them and things like that. Yeah, that's, I've been wanting to do more original work. And I get that question, like, why do you only do fan stuff? It's like, you have to eat. I love the pieces. And I try to avoid doing things I don't wanna do at all. I don't, I can't say that I've ever made anything I didn't want to, at least not. Yeah. But, yeah. Yeah, so- I think that takes the fun out of it, right? I mean, you, it really seems like you sit down and this is not only like fun and something you really enjoy because you have to to spend that much time on this. But it seems like it's therapeutic, right? For you. Oh, yeah. And I think that if it was something you didn't like, you would probably not, it wouldn't turn out as good as- Oh, sure. You can tell a passion piece, a passion piece versus something that you just had to go do. And that is a rut that I tell any other artists, you know, it does become a job. I don't wanna be a factory worker, you know? I don't wanna sit and make the same thing repeatedly. And unfortunately, that sometimes happens. Sure. So I'm at a spot where the piece I make is cost so much that I don't get many sales. So you make up for it, so I don't have to do the same one that many times. But if you wanted to make more money doing this, then you make them smaller or make them out of cheaper materials or both. And then you end up getting a hundred orders and then you're going, oh, God, no. Yeah. You know, I'm making this again. You know, like, I don't wanna do this anymore. Well, there's that balance, too, where, you know, I think something that's important to understand is that you put a ton of time into this and it shows. I mean, it shows even from the molds and the silicone, right? If you went to something smaller, something cheaper, anything like that, it wouldn't be as good as you are showing right now. Yeah. You have to have that priority. You wanna, if you're concerned about doing good work and you're like, I want this to look good and I wanna, you know. I mean, I've had some blunders. I even had a recent one where I just, I didn't produce the quality that I could have and it was just shame. I feel so, I was like, oh, I feel so awful about this. And that's something I never understood. I don't wanna like, you know, punch down on some other, you know, YouTube sculptors, but there's some, and I will not mention names. People get pissed at me anyway. They're like, hey, you should talk bad about it. It's just like, no. It's like, they make shit. There's some of them that make complete shit. And it's like, well, their audience is different. They're not concerned about producing. They're not trying to get into Hollywood. They're not trying to make something that's gonna blow people away. It's a different viewership, I think. Some of them, like, some of them they were garnered towards kids. And I don't know if you remember Kappa, that whole thing. They actually demonetized all children's content. It was like a couple of years ago, yeah. Yeah, yeah, because it was a real problem with this. And I knew one channel in particular, this guy was making hundreds of thousands of dollars by making ridiculous stuff. And there's a TED Talk. It's about how children are being affected by the YouTube fan. And I don't remember the name of it specifically. You look that up, it was shocking. There was like tens of millions of views on channels where this little kid was opening, it was videos of some guy opening chocolate surprise Kinder Eggs with the toys inside. Yeah, I remember that. Right, and these little kids would just watch this over and over and over again. And they didn't have this anti-monetization issue. These people were banking on this, because they'd say, well, the advertisers would say, who are you showing this to? Oh, we're showing it to 18 to 65. But it doesn't, these were parents and they created the YouTube account and their kids were using it. So all this advertising revenue was going to show ads on accounts from 18 to 65, but there were like six-year-old kids watching this thing over and over again. I have a two-year-old and he watches like certain channels on YouTube. Blippi is one of them. It's this guy that runs around and he does, it's all for kids. That's what it is, period. But the guys got millions of subscribers on a couple different accounts, different channels. He's got toys, he's got live productions now. He's like millionaire a couple of times, at least over, just from catering to kids, but he's always done it for kids. And so he didn't get, I don't think he got slammed that hard. And then there's the stuff where you just watch kids playing with toys. And it's like, wow. Yeah, no, I mean, right. I had to accept at some point that I was working towards, I was catering to an entirely different group of people. And it upset me because I knew it was consequential because I'd see this guy and I'll name the subject matter that he made, I will not name him. But he made Granny or something like Granny from some game. And it looks like it was made out of taffy candy. It looks, it's just atrocious. So what I would make. And it had like 30 plus million views. And so I know, doing what I do, you might get a dollar per thousand views. So he made $30,000, making this atrocious looking Granny. And then I did Creature and I'm like, I wanna make this as good as I possibly can. And I might get like 60,000 views. So that's 60 bucks. I got 60 bucks and this other dude made bank and he was basically, it's clowning. He gets on and goes, hi, children. And I was like, I'm gonna lose my mind. Like I can't pay my bills. And I'm like, so I just, I live in a different universe when it comes to that stuff. Different world. And that kind of brings us like full circle around. Dude says, I'm privileged enough to own one of Nick's sculpts. They're really awesome. Feels like going to a movie prop. And. Oh, thank you, dude. And there you go. And what's cool about that is someone in the stream actually has one of your props. That's brilliant. Which one is it? I wonder. Let us know in the chat, dude, if you're still with us, which prop you have. Also, Caleb says, right behind you with the black hair, what, which character is that on, would be your right shoulder there. Yeah. That's Jeff the killer. Jeff the killer. I'll zoom in on that for you here. It's a fan favorite, that one. All right. What is that from? Cause I am not nerd enough to know. Let's see if I, is that good? You got a good view of it there. Yes, that's awesome. That is nightmare juice right there, baby. Yeah. This is a creepy pasta. Raw, raw, raw, raw, raw. Yes. I love it. In the, in the job moves. So. Yeah. They get a close up of him. If you want. Whoop. Dude says, I have Thrall and it's awesome. Oh, thank you. I, yeah. That is what a swell guy he was. He came to the makers convention, maker central in Birmingham. And I had been carrying that thrall around and he'd been on from shelf to shelf. And I was really hoping he'd have a good home. And that guy was, I'm so glad he got him. Very pleased. And I'm happy that he's happy with it. I'm so thrilled when that happens. And someone's like, I just, I don't care if I make a big loss financially on a piece if they like it that much. I like. That's awesome. It's on his shelf. It will be well taken care of. And I'm just like, thank, thank heavens for this. Someone really appreciates it. Well, it sounds like I need to travel to Scotland and find you at a maker fair is what I need to do. So, so I got to point out the obvious. No, no, um, accent. Where are you really from? I am from, well, I was born in Boston and raised in Florida. Nice. And about Scotland. I, yeah, I moved over this way. Yeah, I came over, I came over in 2008 to do a masters in Belfast. And then I moved to Edinburgh to do another masters. And then I was bouncing around. I was in the Hague and nice in Canada for a little bit. And then I went back to Belfast. And then I back in Edinburgh and now I'm in Glasgow. Oh, I've been there. Glasgow. Awesome. Yeah, this one, people, I sell quite a few of these, but you can imagine why. Yeah, it's so good. This one's, this one can be sent out tomorrow. If anyone out there will send out tomorrow. Do you, uh, I don't know if I can add, if you don't want to answer this, that's fine. What's the price on that if you send it out tomorrow? And if you don't answer, I'm good with that. Well, these, these usually go for about 450 and pounds, but I'd sell this one for like 375 and pounds. It's platinum silicone. I just give it a discount cause it's not perfect. It's got some casting imperfections and attached it. Scratch and dent model. Yeah. Yeah, it's glass eyes. Oh man. I wonder how much Lindsay would beat me. My wife would beat me if I, you know, the one just showed up in a couple of weeks. So that, that brings us, I'd see has a really good question here. Do you do this from memory or do you have a lot of pictures for reference like laying around you when you do this? You've got to have lots of pictures. Even if you're doing something from your own imagination, it helps to look at examples to help point. They're like, you know, they point you over there. It's a road sign. Try this, try that, especially with noses and ears and things. You just get some idea. Nice. But yeah, if it's, if it's a, especially, I mean, I've normally done a couple of portraits of real people and it's, that's where I'm the weakest. I like characters, monsters, creatures, elves, dwarves and monsters. Yeah, it's just so much easier for me. It's very natural. But when it comes to real person, it is the hard, like master sculptors, you know, have a tough time with that. What do you, would you say you put more? How would I say this? Would you find it harder because you're trying to make it more real to make it look like the actual person because you're doing a real person than Hellboy or something where you know it's, you know it's not a real person. It's a character, right? So it's, it's got so much stressed on that. Is that probably how to describe that? Well, I mean, you heard the uncanny valley, right? You know, if you were to look in the mirror tomorrow and something was a millimeter off, you'd go, something isn't right here. Something's not quite right. You know, like the body snatchers, you're going, right? Joe isn't quite himself. Something's not right. Something's amiss. We're so good at detecting faces, specifically human faces, that if there's anything amiss, you're my, it picks up and she'll say this something, that's why it's so real, it's just crazy hard. Now, if it's marble style, so if you cast in a, you know, polystone and white, like, you know, Greek style, you can get away with more because you don't have to worry about color. When it's a caricature and you're doing it, it's not a real person. So there's more room to play. And it still can be a rendition. So like the hellboy, I mean, it doesn't really look like David Harbour's hellboy very much or Ron Pernellman's hellboy. It's just, but you know, it's hellboy and it's okay because you know, it's your thing. But I can't go, I'm going to make Arnold Schwarzenegger, but my version of Arnold Schwarzenegger. And if I'm trying for pure realism and I don't quite do it, you'll go, well, I could see he was trying to make Schwarzenegger, but he failed. You fail if it doesn't look like the person. There's precision. Unless it was a, like, if it's spitting image, you know, spitting image of the puppets where it's all exaggerated, then you go like, oh, he made a puppet of this person and it's fine because it's supposed to be. Yeah, yeah. Exactly. I see that with tattoos too. Like, people get faces of people they love and you're like, I don't, I don't, that's not good. Yeah, that's a blunder when I have to see it. I watched a lot of those tattoo shows or just seeing those like failed tattoo sites. And it's like, man, that does not look like the person you're supposed to be like. I mean, unlike this right here, I mean, we got Grogu and that's Grogu, right? Yeah, yeah. No, I did that before. And I think you're missing a couple little hairs. No, I'm just joking. He's behind me, but that's one, that's one I looked, you know, I saw, I had what I had from the, yeah, I had that, I had what I had from the screenshots and things. And I knew that I had to make it fast because I was, they had that whole campaign of, you know, basically of silence. Right. You weren't, you know, it was a big surprise so they didn't make any toys. So everyone was scrambling to get one. Sure. And so that gave me the advantage of being one of the first people to make one available. Which so, that was a big thing for me. I made quite a, well, I didn't make that many. I mean, it was like, you know, it was, yeah, I made it, I made enough. And that actually kept me alive through the pandemic. That was the funds I made just, I survived for over a year. That is awesome. But it was because I was the only one to do it. But I saw a side show, as soon as side show did their pre-order for their version, which was, you know, it was plastic and stiff, but it was so much better. It was so much better than mine. And it was like people, I stopped, ever since side show did the pre-order, I didn't get a single sale after that. Oh geez. So I was just, I was able, that's one of the things you can do, you can really monopolize and capitalize on a situation. If you can get it done first or early. Yeah, if you do it first and they don't have something ready to sell, you get in there and I can do a prototype really quick and make a mold and just spend a couple of weeks and bam, I'm ready to go. And that's the same with, you know, with YouTube videos too. I mean, 3D printers or anything really, if you can be the first one out and actually get it out to the viewers, you usually do pretty good. And then the third, fourth, fifth people who do the same printer review, whatever it is, is, you know, it's not exactly the same, but it also depends who you are, your thumbnails, your titles, all the fun stuff of YouTube. And that brings us to Caleb. So what do you, what do you shoot your videos on? The same, the same camera we're chatting with here. It's my phone. Oh wow, really? Yeah, I just use my phone, yeah. That's awesome. No, that's super cool. I know a lot of people that are very successful with phones and iPads and it just goes to show you. If you check out Nicholas's YouTube channel, it's in the description of the video, just go watch it. The quality is awesome of the videos and it goes to show you, you don't have to have the DSLR cameras, the movie cameras and all that stuff. You just need to get behind a camera and go if you're gonna do the YouTube stuff. Yeah, you can, you can get by with it. Quality is important. I just, yeah, if you're... I think I wanted to do all that in a video. Right. Well, I mean, that way is I'm doing time lapses. I just remix the audio I want anyway, so it doesn't really matter. But yeah, I mean, it is tough though. You're competing against very well funded competing channels these days and some of the channels that get multi-millions of subscribers, they've got a whole team of writers and editors, film editing, they got light set up and professional camera gear, rigs and everything. And so there's a whole team and you've got studio quality stuff being pushed out on YouTube and it is tough to break in these days. I got lucky with a few hits that just kind of slipped through the algorithm and put me on the map. I'm not gonna say, I don't think you got lucky. I think you put a lot of hard work into some of your models, especially. And I gotta tell you, it shows and you deserve the views and the subscribers and everything you get because, I mean, you're talking about hours and hours and hours for one video to make one model, right? And that's not lucky. That's hard work pays off. That's what that is. Oh, that's very kind of you to say. Thank you. And so John has a question. He says at the edge of tech, how does he use 3D printing in his work if he does? I personally don't do any of that. I don't know how to do ZBrush. It's all hand sculpting but I have a lovely friend, Andrew and he helps me with display bases. So I'll tell Andrew, I was like, I'm making this character like Jeff the Killer. He did the display base here for Jeff the Killer. He did it for the Annie Titan. He did a couple of them. He did a Vecto one for me. And I tell him what I'm making and he'll go into his ZBrush or whatever programming he does the design. He sends me a couple of pictures of the great. We keep it simple. We don't go really elaborate with it but I just having a sculpture on a display base really helps it pop and it makes it look much more official. Yeah. You did a nameplate. It helps. It really does make it look better. I want to, I mean, it's important to keep the sculpture itself being the centerpiece. So I didn't want to ever go too elaborate with all sorts of things going on. So I was like, no, let's just give it a theme. The theme of the show. Like the Vecto one has some vines on it and he put the clock. He put the grandfather clock kind of buried in the dirt, you know? And I said, brilliant, good enough, excellent. So we move on from that. And then we have one more. And then we're going to jump into some hot makes and hot makes are stuff that other people in the community are making and we're going to check them out too. Eddie Drake says, where's my cane sculpture? You did Resil, is it Resil? And Abe, which is another great piece. Okay. I knew, I expected a question from him. Yeah, no, I've gotten so many requests for cane and for majority of the, you know, it's probably comments per views, the engagement on the Raziel video or higher than anything else. They all want cane, but nobody was willing to fork over the cash. I'd always like, if you really want this, just if everybody that wanted this or watched this just gave, I think if everyone that watched it gave 10 cents, you know, I'd be like, I would have been able to make 10, 20 of them, but it's like, most people, I think they don't know how much it costs to do it. It's so expensive. But yeah, I want to do cane eventually. It's going to take a while, I think, because that'd be a really expensive project and I want to do it right. I have to get a dental acrylic teeth and everything is going to get those vampire fangs. Yeah, sorry, sorry, there, Eddie Drake, we'll have to get some, extend that patience. Oh man. It's awesome to hear feedback from comments you get on your videos from the people that are commenting, right? So like, you probably never really get to talk to people that are commenting on your videos like that, which is really fun. Yeah, well, yeah, truly. Sometimes not. I love it. So, yeah, let's jump into some hot makes. We have just a few towards the end of the show here. And we're going to see some stuff that the community is doing as well. Geary, let's let's roll the hot makes. So one of the cool things about the show is, you know, we're all based, it's all geared towards the community through all the different maker communities. So we get to show off some really cool stuff every week. We'll start with local maker Michigan smashed out some print and place models with a monster truck frame and wheels. I can't stop printing them. I need these models. You heard it. You heard it for me. I need these there. They're so cool. And my little guy would love these. So this is obviously 3D printed and it looks like there's a, I'm going to try to find one that has a good. Uh, let's see, we can see this one really nice. So it looks like it has, you know, just a base frame and the wheels and then the frame, the frame looks like it was designed to be like a spring that wears attaches to the wheels, kind of like the shocks of the monster. Yeah, it's all 3D printed. And then he looks like the bodies are interchangeable. And correct me if I'm wrong. I think he's in the chat. Correct me if I'm wrong. But I mean, what what's cool about this is like the total random stuff that people that are awesome to come up with. I mean, like, let's just print some monster trucks today. Here's a cab. People like Andrew, who who's awesome at doing that, too. The bus, there we go. So if you're in the chat, let us know. Is this like a frame and wheels and then like interchangeable bodies? Because I need to print some of these for my little guy. But nice work. What do we got next? Fix him, dude. Finally got a chance to print my my wand by Bugman 140. He did it in some silk filament. And let me let me pop this bad boy open here. I mean, yeah. There's so much of this stuff I can't do because I don't I do it's all it's clay. And whenever it's geometry, you'll notice I don't do the terminator. I love the terminator. I didn't do the terminator because you got to get in there with calipers and carefully it's right. You guys with a Z brush, you get you can get in there and perfect measurements where you can do reflect so you could it's don't have to worry about any of this stuff. So I I'm envious of you guys. That's why I'd love to have one of you people to collaborate with you guys more often. I'm lucky to have Andrew. Yeah, I can only imagine what doing a tube or a cylinder would be like in your world. Oh, God, yeah. Because I like I can't I can't model this. I'll print it all day. And the people that model it are fantastic. Nice work there. Fix some dude also. Thanks again. Oh, I didn't bring it over here. If you watch today's video, you saw actually the thumbnail is fix some dudes model that he sent over to me. So check that out. If you didn't see today's video on my channel, 3D print Bunny. Nicholas, I think this is going to this might blow your mind. So 3D print Bunny, phenomenal maker in our community. She has been printing things like this that use bridging. So essentially what bridging is, is you have like your frame or whatever your print is. And then the piece from one side to the other with no support, it bridges as it prints, it prints the bridge across by itself. So no supports. It's floating in the air while it prints. So she has found a way to print this kind of stuff where they don't overlap and they don't collide and you get all this geometry and bridging. And then in this particular one, she printed it in protopost as iron composite PLA, which you can which you can rust. Normally you would do it with some solutions. Yeah, brush that kind of thing. In this case, you can't brush that because it would just tear up. It would just break. So she left it out in the weather and came back to it. And this is what we have. It's rusted. It looks like industrial and cool. Yeah, so good. I ticker with some of these powdered metals. And yes, I know you can do that. So I figured it makes sense. I think some of you guys use wood in the filmets as well. There's wood. Yeah, you can you can sand and stain it. In this case, this is a this is a composite iron. Yes. And, you know, you can actually rust it like you see here. What's super cool about this is those bridges are so small, like and they don't overlap while they're printing, which blows my mind. Her stuff is crazy. What else we got? First layer, Richard over at the first layer. I think this is Richard took some time to to to do pictures of my BD-1 mainly printed in PLA. There you go for your Star Wars fans. I love it. So a whole bunch of parts. And I know he's got like a bunch of pictures of the parts being printed and there's a dog. But yeah, nice work there, Richard. You got to love anything Star Wars, right? It's huge. Oh, yeah, sure. I just not many opportunities for me to capitalize on it because you're a whole geometry thing. It's very different. Hand sculpting, you know, you're working with your hands and it's desirable to have some asymmetry as a chaos in the piece because if you look, nobody's face is actually perfectly symmetrical. So when you you're just doing free movement and motion, it looks better that it's not perfectly symmetrical. But if you're trying to do robotics, it is so goddamn hard to do that by hand. I know you can. I see they'll they'll actually like roll clay out with with a rolling pin, make it flat, and then they'll cut it and get strips. And I've seen them do like, you know, leather armor like that and stuff. There's ways to pull that off, but it's just unbelievably difficult and you have to be so patient. And if you screw up and you're sitting there just like, it's just so goddamn anyway. But you huge advantage. I mean, because I'd like to make things like that. I love that stuff. Yeah, I'm big into that as well. I'm a huge appreciator of those those those pieces and that sort of the artistry. It's just I haven't had the chance to go ahead. Yeah, I was going to say, and it's one of the cool benefits of 3D printing because yes, someone models it and then you can replicate it on your printer and it comes out like you said. I mean, you don't have to bend your clay. You don't have to make it perfectly symmetrical. What do we got next? Joel Telling sent us this one. He says, Hot Makes for Sure. This is Tim Ellis, 250,000 plus pounds of thrust on the 3D printed Aeon Aeon our chamber newest iteration. Nice. That must be a space like an engine and it's 3D printed. That's sick. It's going to be a beast of an engineer. There you go. I need to see this work. That's my that's where my brain goes, but it looks like let's see if I can zoom in a little bit here. There you go. 250,000 plus pounds of thrust will go through this. It sounds like and that's 3D printed. Printed out of what? What kind of? It's prime metal. Let's see if it tells us. Um, so the the the plastic in it is acting as the binding. I don't I don't even know if it's plastic. So they you can they they have printers now that will print. Metal period, like it prints metal. What is but how to like if it's not hot, you know, I mean, that's casting metal casting, but they're doing it out. What's binding the metal if it's cold? Hit us up in the chat, but let's see. What's the best way I'm trying to find information, but it's not. Yeah, not that big a thing. I think I mean, there's definitely layer lines in this. I mean, you can see layers. Maybe I'm maybe I'm just seeing layers because I see layers, right? Andres, this is titanium alloy. But I think they actually they print this from printers. They actually is a metal metal printers printing metal. So it's not what it's not the answer you were looking for. But I just threw a link in the private chat of this engine or nozzle or whatever you would call it actually working. Whoa, I'll have a look at it. Well, we got to see this. There we go. Looks like the same one or similar. Yeah, let's see. Can I? Oh, that's all I can zoom in. So it looks like they have it all connected here. Right here. And then there's actually thrust going through it, which is awesome. I know Adam Savage had an Ironman Foley metal 3D printed. I don't know if you saw that. And it was they actually made it fly in everything, which is really cool. They bake it at 2000 degrees C. There you go. Is it is it centering? There we go. So they use a metal powder and the laser binds it together. And then they bake it. Yeah, they center it. Sick. OK, all I know is it's it's crazy what's possible now. So so like there's a binder to have it hold its shape and then they bake it. And it's like it's almost like ceramic. It's basically right similar. Yeah, yeah. Yeah, the powder. I think the laser shoots into the powder and it creates the object. Right. And then when you're done, you have that powder in the object. And then they take that object and then they bake it. Yeah. Gotcha. Shit, that's amazing. Crazy. All right. What do we got next? A Steven pool. I had to show this one because the Chelsea and Garrett Chaos Core Tech last week or something came up with the the pooping 3D printing 3D printed balloon dog. And this is the 3D printed balloon Buddha, I believe. It's it's just hilarious. So they basically made a balloon animal, right? At a made it Buddha, essentially. But they actually made a dog last week that had a little like balloon poop that you print with it. It's yeah, too funny. Steven pool. Yes, that was definitely yours. So good, by the way. It just makes me laugh. All right, Andrew Sink. This is amazing. So Pooch used to be a co-host here on the show. He helped me start the show. And Andrew met up with him in San Jose and actually 3D scanned him. So now maybe if we ask Andrew nice enough, he'll hook us up with this STL of the 3D scanned Pooch because we could do some fun things with this. But this is yeah, Pooch 3D scanned and this is where I go obsolete right here. You get a scan, you print that up. I'm like, it would take me so long to do that. And it would probably be a little bit off because I know a lot of companies do that now. Big ones, they'll get 3D scans of actors or some licensed product of like, you know, Iron Man or Captain America or who knows something like that. They'll have the actual actors face and head exactly. And they can print it at any size and they can cast it in silicones. I'm like, oh, that's the end of my job. I'm over. I'm done. So a lot of people when they're doing cosplay, they'll make either their full body or if they're doing helmets and stuff, they'll they'll scan their head and actually print it at 100 percent. And will that to model your helmets or masks? Yeah, like life cast, yeah, life casting. We do that. Well, if you remember Willow creative scanned her entire body and printed like a mannequin of herself so that she could make costumes around it. Willow is ridiculous. If you haven't checked out Willow creative, that's what she goes by. You if you check out her stuff, you're going to be like, what am I doing? I was just watching Willow the movie there. Just just I got on here. Yeah, is it a show or a movie that they're coming out with? I think the new one that they're doing, I think it's a series on Disney, Disney plus, I think. Yeah, yep. Yep. I can't wait to see what you go from that. Yes. For me, I have to see. I was looking at the monster. I remember its name in the original movie, the thing with two heads that comes up out of the water and starts eating people. I like I'd like to do that sometimes. Two head molds, that'd be crazy. All right, what we got? I know we're running a little bit over here on time. Lightspeed, Steven, I present the world with the world's largest Flexi Rex, three hundred eighty percent from nose to tail. It's two kilograms of filament. And there you go. That's the it's a giant Flexi Rex right there. I wish we had a banana for scale, but but seven hundred millimeters from nose to tail. That's pretty good distance. I mean, that's you say we need a banana for scale. It's sitting on a it's sitting on a mat that has a ruler on it. Hey, that's not the same. I mean, there's a lotion bottle for scale. All right. Nice work, Steven. All right, Sam Prentiss, one of the coolest things. He's posted this week. And this is a hot he said, hot makes for sure. This is it only cost a few squid. He says, but this is a squid he was making. This was him finishing it. And he kind of painted it all up. And this is what it looks like after painting. But he actually put it on his wall. And I saw that today, so I had to show that. So that's what it looks like currently. Super cool, Sam. And I love it. I might have to count like where these tentacles would be coming from, because I think you have an extra one in here. But I'll give Sam a hard time about that. I think I said, oh, yeah, he said, captured some people are capturing this. And I said, I've been trying to reach you about your expired car warranty. I don't know if you guys get that out there. Do you, Nicholas, like the crazy robo calls? Yeah, no, I mean, of course, it seems to be universal in Western countries. I've always wondered, is it because does this exist in China? Did Soviet Russia have cold calling when I don't know? Is it just something we invented? Is it a capitalist thing? I don't know. I don't know. But the popular one is like they call you a bajillion times and they say your car warranty is going to expire or expired and they want you to buy one. And so it's kind of a running joke. All right, what do we got? Let's go down here and make me then. Let's at least the IT crowd. Some photos taken at. I'm going with Wales, Comic-Con David Stapley. This is what is this Johnny five? Yeah. Yeah, that's was it short circuit, isn't it? Yep, Johnny five. That's great. This is awesome. If I remember right, this is the one that actually moves drives the head turns that has audio. We've showed this a few times on the show. But to be able to use controlling it behind him with that remote control there, it would be super cool to see this thing in person, though. Any of the animatronic stuff? Yeah. There you go. We need to get your animatronic heads like you make something and then someone makes it animatronic. I'd love to do that. I'd love to do that. We're connected with it. Yeah, it's film. You're on movie sets at that point. That's where the money you have to have the money from productions to do that sort of thing. Because I love to. But then it's like then what? And it's just sit there. And I you know, it's just really complicated, super valuable thing that my shelf behind me and it just turns and looks around. And I was like, OK, we should be it should be film. Yeah, it should be this stuff should be on film. And that's why that's why it cost so damn much. I think we should we should hook you up with one of like the popular animatronic makers and then like that would not be a lot of fun. That would be a lot of fun. And that's all of it is making a he's been working on the animatronic Grogu and he's working on a E.T. right now and he's having all the electronics and stuff himself. No, that would be awesome. E.T. a grumpy creature up there kind of going. I love it. Well, that, you know, like I said, we're a little bit over. But that's that was the hot makes for today. Thank you guys so much for tagging us. Hit us up on the Twitter's hashtag hot makes. If you find something cool, you make something cool, you see something cool, anything you want to show us. We do have a couple of announcements about shows coming up next week. No, yeah, next week is the fifth. We're not going to have a show for Labor Day. Hang out with the families, have fun, barbecue and all that good stuff. On the 12th, that's my birthday. So we'll we'll do a stream. I didn't tell Lindsay we're streaming yet, but we're going to stream on my birthday. So we'll be back here on the 12th. Not sure about a guest. I'm working on that part. The 19th, David Hewlett will be back with us. So if you like the Stargate, some of his newer shows, anything like that. Come come check it out. David is an awesome guy and the stories that come out of him and the energy that comes out of David is ridiculous. John, for proper printing the 26th, Sam Prentiss and Nick from Polymaker. Two different people, Nick is from Polymaker. Sam Prentiss just did the octopus there. They'll be with us on October 3rd, and we may or may not have a show on the 10th. I believe I'll be at IRF. So if I'm at IRF, I may not be back in time to have a show on October 10th. We'll see. Time will tell. So bear with us. And then I'm working on a couple of bookings for the couple of weeks after that, too. So hang out with us. We've got an awesome run of shows coming. But before we end the night, Nicholas, one more time, like, who are you? Where can people find your work? And if they want to order one of your masterpieces, that kind of stuff, where can we do that? Well, I have a website. It's www.lore-craft.com. It's up there. There's the way to contact me. Email is on there. I'm on Instagram and I think, yeah, YouTube is probably the best place to see my work. I do post a lot of pics on Instagram as I'm kind of going through a process. But I'm not as I don't post as often as a lot of other people do on social media. But yeah, I mean, YouTube website there that you've got up and Instagram, I would suppose. Yeah. Awesome. Well, hang out right there. We'll be right back with you. Everybody else. Thank you so much for hanging out with us for this Monday, 6 o'clock. Thank you for having me. Thank you for having me very much. It was great to be on here. You guys are fantastic. This is awesome. It's super awesome to hear about the process from someone that does it as well as you do. I mean, like, seriously, I would have a stick figure in clay. That's about as far as I go with that. But everybody else hang out or I'm sorry, Nicholas, hang out. Everybody else. Thank you so much for being here. Hopefully you guys enjoyed the show. Share this thing. Let's get this out there a little further after tonight and check out one more channel to one more thing to anybody that's still still watching. I didn't know I could do this and I'm actually quite certain that there's a lot more people that could if they try. So if you if you've ever wanted to try doing this, give it a shot. There's a point where you're like, oh, this looks awful. You have to push through that point and then you'll be surprised that what you can accomplish. So give it a shot, guys. It's a lot of fun. It's incredibly therapeutic. It's very rewarding at the very end. You know, you might have something that looks like shit, but hey, you tried. You gave it your best and that says a lot about you, too. That that's the best way to end the show, man. That was super positive and it's super true. You can't you can't even try. You can't do something you never try or try to do, right? So thank you for that. And now we're all going to go watch your first video and try to copy what you do and make it look a quarter as good. I love it. Thank you, guys. Have a great night, Nicholas. I'll be right back with you. You stay stay right there. Everybody else have a great night. We'll see you next week. See you.