 Welcome back lovely people it is time for another Q&A this is part four of my animation Q&A part four because there are a lot of questions questions yes a while back I posted a clip where I ask if anybody had any questions lots of people had questions there's a lot to go through so I want to go through that and just in case you're wondering channel what my name is JD I do a channel where I do animation lectures I do acting analysis clips I do rig reviews animation news post feedback I post product reviews Q&A's like I said lots of stuff so feel free to browse around and if that's of interest to you feel also free to subscribe so you don't miss any of my uploads but that's the pitch every time just in case you're wondering and you're here for the first time but let's go through and as always I'm gonna read through those questions so if you want to just listen to all of this you know what the questions are let's get to it I mean comfortable here it's gonna be usually a longer clip actually the mic it's on this time yes it is on then the first one is original Dan with a longer question here sort of follow up to a previous question a week ago do you spend much time pre-planning or do you more often jump right into poses blocking you've mentioned you visualize until it's clear in your mind so how often do you film find reference film slash find reference does the visualization process get easier with experience or should every level jump into it a similar way I found I'll visualize post blocks line polish only to change my mind much later and redo half the animation or over polish and ruin the whole thing uh good question and it's probably an answer you don't like where I would say it depends and I'm saying depends because if it really depends if I am doing something at home which always it's been a while or something at work and then at work it depends how much time you have are we doing is it early in the show where we have time is it something where I get on to a show where it's towards the end and it's just you kind of get the shot and get going do we have time schedule wise to pre-plan I think it really depends ideally yes you want to pre-plan the way I do it if I would average the process I definitely spend about half the time thinking about it and half the time that's not true the last couple shows it's been very vehicle-heavy it's kind of your Star Wars-y even that Marvel commercial it was it was a title schedule so it was not that much time to shoot reference so I say if I can shoot reference I do but if you have vehicles and Star Wars-y things you don't I just kind of you know you got me ships and stuff and then depending on some creatures like I remember Force Awakens had those raft cars those rolly things so I did some tests for that and then you kind of build the character on top of that but there wasn't really any reference for it so sometimes you just can't for Star Wars Squadrons there was an employee that shot mocap so we had that for reference we got the actual mocap data and then we got a close-up of the face and then you kind of pick and choose from that if it works and if it doesn't work sometimes you're gonna make it up so the close-ups that I did that was kind of me making it up because they just felt fast it was I had a clear idea of what I wanted to do the game which goes back to visualizing what do you want to do so if I can if it's something complicated I just want references to so I know what the process is if it's like fight scenes on on more fighty type movies or creatures that I know I don't know by heart in terms of how they move they look emotion just anatomy and how well how they do stuff but I find most of the times lately it's been just thinking about in my head and I mean it doesn't get easier it's just when you get something that's familiar then you can do it a bit faster but just as a as a check I don't know I feel like if it's something at work where it's a bit more high level and you know you're working for someone I just want to make sure that every box has been checked off in terms of I checked every reference I looked at everything I can do all the research I needed to then get into the shop if there is time obviously it's not always time for it but I don't want to just go like I'm gonna make something up here on the couple hundred million dollar movie type of thing blah blah blah not that I'm shouldering that response will be this responsibility and that the movie hinges on my shop not at all but still it's I treat it differently than if I am at home so if I do something with like some test here or something for someone at home I might potentially be a bit more relaxed depending what the end result is sort of a long answer but and you find that you re-visualize halfway through yeah I mean that's just different at work because you can't just change your mind and do something else and you also have your marching orders in terms of do this and that's your goal that's a story point you want to get across so it's also somewhat quote-unquote easier at work because you're given clear guidelines then if you just do something at home like as a student you make something up and then halfway through you might not like it and then you have to go and redo it it's just a bit different situation there as always I hope any of these answers help next up is uh Daven David Daven are we down hi JD I have a question how big is our chance to be able to work in a big studio if taking online classes compared to someone who is self-taught thank you that is a question I can't really answer because there's some people there's someone at work that is primarily self-taught and is a genius like it's so good and then some people do really well with online classes and some people do just as well with on-site classes where there's you know me as a teacher there and it's a class you get up and you act things out and you work together and it really that really depends on your ability to learn and what you prefer what you're learning ways are some people are very visual some people like to read some people learn best by doing um so it's not really I can't really say that the chances are ultimately is it comes down to your portfolio where that's where you have control over it you want to create something good that's on your reel then it's your interviews it's your personality and how you come across in that interviews that's somewhat where you are in control and then it's just outside factors like timing and budget and things and we're just you know or a pandemic where you have zero control of what's going on um so yeah I think I don't think the online classes versus self-taught is making a difference ultimately if your reel is good that's your first step to get in there we have socket malpani I have two questions one how should I approach to acting facial shots after being done enough with body mechanics okay two this one is kind of stupid and regarding job opportunities it's probably not stupid I want to know how do animators approach towards job opportunities do they send their show reel or portfolio to and every company or there is a website platform where we can post our show reel and various company recruiters can see it sorry for my bad English I hope you can I hope you are clear with I mean to say totally clear solely fine don't worry you speak multiple languages don't be sorry one so how should you approach the acting facial shots after being done enough with body mechanics the thing is the the classical way or the way I was taught was you do body mechanics first and then facial at the end everything has to go through your body mechanics as the attitude and the posing and everything and just the general body language and the facial stuff is just actually on the cake which to some degree I agree it's also depends if it's a full body or close-up then you have to have a bit of a different approach but what I would say is once you are done with your body mechanics and you add in the actual facial stuff what I see with the students and then something that's sometimes lacking in work is that you have to look at the amount of energy and force that the character is expelling if that's the word while they talk right so if you're whispering you're going it's going to be minimal shapes and minimal jaw that is probably not going to affect the head unless there's an intent of right so do you have specific accents that will tell us something more about the acting choice or the intent or maybe a subtext even but if you have more energy and the character goes hey what are you doing here get off my lawn type of thing you're going to have to join over the airplane you have a lot of shouting a lot of energy and you go so you have to make sure that like in your body acting you might not have that yelling in there because you haven't really thought about the lip sync yet it might just be your whatever steps sit down whatever you have and then make sure that you don't just do jaw and and the shapes here because otherwise it feels like you're yelling but you're doing this you're still going to have something in the jaw that's going to change the head inhale potentially depending if that if you have that in your shapes or how real your your shot is you know in terms of style but you're going to have you're going to have more things that go with the amount of yelling or energy or whatever you have in in the audio so I would just say the approach would be don't forget that they're linked to depending on what the person is saying and how they're saying it and also in terms of subtext like I always like to show that true blood clip where she goes I can I can depend on that she doesn't go I can depend on that right it's I can depend on that right just that head lift is turns the thing from a question to a command so I would just look at everything together do your body mechanics but just be mindful of what is the character the acting choice is what do you want to do with the lip sync it's a lip sync affecting the body as well and is there anything in your in the lip sync in terms of the acting that will change the body like the head up saying this so it goes from a question to command because a lot of times I see students who they do the acting but not the acting that's based on the lip sync and the intent it's more this is bodily what it's supposed to happen and then they do the lip sync and then it's just kind of it just feels separate where the body mechanics do one thing and then the lip sync and you know the audio says something else and this doesn't make sure that you can then go back and change your body mechanics a bit to potentially emphasize or add subtext or something to the performance if that makes sense so the question is here how do animators approach job opportunities so usually you send your reel to the company company has an online portal where you upload your reel you put a new cover letter your resume that's probably the first thing that you do I would also just post it on social media if you can for visibilities maybe that someone sees this and recommends that what they saw to someone else in the HR department or to a supervisor who then gets the machine rolling and going to hire that person but there is Zerpley I think that was the site there are a couple sites I don't remember all those different names but where they kind of collect where people can put their reels on there I don't know if recruiters go specifically on there so I know there are sites that focus on reels where you can post your stuff as a showcase area but I don't know if recruiters go there that's my ignorant answer so I don't know the process there the I mean don't ignore the the regular process of looking at the company website and seeing when they say we're looking for someone how to apply and doing everything on their site and uploading things that should be done 100% and then outside of that if again if you find a site that posts real why not post it there like why not post it real on LinkedIn because tons of professionals are there so I would do that second and then you know in Instagram and Twitter just for visibility and maybe it goes viral or not it doesn't matter but like the more visibility you have the more it might potentially increase the chance that someone sees it that has the right influence to show it to someone else that's going to decide if you want if you can get an interview maybe I don't know I've heard of someone more than one where they got a job through social media so again that's why I'm always um adding that I wouldn't discount that null null curry curry curry hi JD I'm currently a 2d animator here in the Philippines I just want to ask what do you think is the future of cartoons will our industry be obsolete do I have to learn 3d if that happens ASAP can you give us some idea transitioning to 2d to 3d thank you additional question I only know how to animate doesn't animator should also know how to design his own character to animate good questions um and I'm gonna be very ignorant about the first one where I don't know the future of cartoons will the industry be obsolete no I don't think so and do I have to learn 3d if that happens ASAP let's put it this way there was a big shift from 2d to 3d so yes that happened where you should learn 3d blah blah blah blah but now as it continues 2d is some I won't say someone coming back but there's more work in 2d than it was before it's still not huge and the box office is not the same as 3d but then you also you're gonna have 2d in in tv that would be my again I'm not an expert on this so this is a very ignorant answer but like I'm watching Star Trek lore decks there is some 3d in there but it's also a lot of 2d mainly so I think depending on time and budget 2d is going to be better and faster and cheaper to some degree depending on the style you gotta keep it limited and I think that's why tv uses a lot too if you have a full cg show and tv yeah to me that seems again I have a zero insight but it seems it's very time consuming and expensive also really cool if they can do it but if you stay limited in 3d it can also look kind of cheap subjectively if it's like there's not enough movement and you have all that especially also if the texture and light it in a specific way you have all that 3d-ness and the tangible aspect of 3d models but then the animation is so limited to me that's kind of a clash and to me you can get away with more limited 2d animation so I don't think 2d is gonna go away but who knows like I don't again I have zero idea can you give us some ideas transitioning I can't because I don't know 2d I've done it in school like a class or two but that's all so I can't really tell you that I apologize but if anybody's watching this who's done 2d who's transitioned who has more knowledge with that feel free to comment and help know and in terms of anime do you need to know how to design a character yes and no I mean you can just animate and be successful quote unquote whatever success means to you but you can do that then some people also like to rig and some people also like to design or to storyboard so anything you know more than just animate is going to open up your skill set and it's gonna you know buy it in your your attractiveness to anybody who wants to hire you if that's your goal and if you are more an independent animator want to do your own things then it helps you because you can do more things on your own you have a bit more control or if someone else does it at least you have the knowledge you critique it in a proper way so if I will get something like if I would do something and I have I see designs I can only speak in terms of this is how I react to it and this is what I can imagine a character to be but I can't give very specific design notes in terms of how to design a character and do those notes so I think the more you know the easier it's going to be for you to understand what you see and get feedback but do you have to know no just depends if you want if you have the time if you have enough time to do animation really well and learn it really well while doing another thing also really well I think there's always going to be not enough time for anything that's on top of just animating but some people are really good at being generalists and to do fantastic work so it just comes down to how you learn do you have the time you have the financial means means and so on so it's kind of it's kind of an answer I don't know if I can answer this in a helpful way Badal? I don't know what are expectations of studio from a new animator well depends on the studio depends on the product depends on the style and where you are I mean I can't speak for other studios but I think the minimum would be that you're at least proficient in terms of body mechanics and polish where your animation looks correct within the confines of your style my super stylized versus photoreal like that gamut or whatever you do at games and VR and stuff but at least you want to look at work in Nako U there was a pop or there was a one frame direction change or the body mechanics were off the balance is off the way it's just too light all of those things need to work I would say that's probably the minimum and then you're going to look at creative choices if it's a studio that's heavily relying on performance where it's a lot of acting stuff then you're probably going to look at the acting first and hopefully body mechanics obviously is not a distracting thing that's wrong so what are the expectations that you can animate that sounds really stupid but by animate I mean again no pops they're nice arcs it's just technically looks you can animate that doesn't mean that you have good ideas or it's dramatic or funny or whatever that's obviously the next thing and then if that stands out very creative ideas of how to do either an acting piece or something else that's going to be the extra plus because the thing is ultimately everybody gets to a point where they can polish things well and that's kind of that's why to me it feels like that's the minimum line the other thing above that is what's important your creative ideas and choices and just your your sensibility of humor and timing and stuff like that but it needs to have at least no pops crazy arcs off-balance stuff and it's usually when you watch something within a second or so you can tell who that was off that's weird that's too stiff that's kind of too twin like there's just some there's a list of technical things that you you can see if they work or not within a second or two so but I'll is asking question again how to work as independent artist I don't know I'm not an independent artist how will we get work I don't know I'm not an artist how will we earn from it I don't know so basically this is all about independent artists what is most challenging to work as an independent artist or to work in a studio I don't know sorry what kind of challenges or difficulties you face when you work as an independent artist this is all about independent artists I don't know because I have been working at a studio for almost 17 years that is my bubble that's all I know I have not done freelance I haven't worked as an independent artist so unfortunately this whole section I don't know I would I would have some guesses but then I feel like they're just uninformed guesses that will waste everybody's time so any independent artist post in the comments if they have links if you have your experiences or tips and tricks I would look at the comments if possible José Pablo Granera hey Jerry do you have any tips regarding characters interacting with other characters or with props like maybe when to use parents or constraints or locators or just by key framing it's an interesting question I would say interacting with other characters I think it will all depend on the length of time of that interaction and by that I mean if you have someone that just kind of does like a head push I'm doing this because I'm sitting it's easier if I just do this I wouldn't use any constraints because it's it's just a couple frames of pushing so I would just go frame by frame and you can have this and the complexity the complexity of the fingers pushing the shape going in all depending on the style obviously if it's more stylized it will be simpler none of that squishiness here potentially so to me if it's something very short then I keyframe it to punch a shove or something or even even if like if I move I have a glass here so if I move that glass quickly or if I you know if this is on the on the floor and I do something like this to me this is all short and I would keyframe that if you hold something for a longer piece of a period of time constraints and then it depends on the extra control that I want to have so if I do this right I I will probably constrain this to the wrist I would have a hierarchy of multiple locators parented underneath and then all that grouped and then I would have that the phone within within that group and to me the the group would be parented to the hand so basically if I do this the phone will go with it but the problem is that if I now rotate my wrist the phone is going to stay put right so you have to make sure that it's constraints to the translates in the roads like a rotate so that if I move my wrist it's basically doing this it follows that but what you're missing if you just do a straight parent constraint or point order constraint like this is that you don't have any of this you don't have any the flexibility of changing the finger pose which then changes the phone so that's why you want multiple controls where you still have extra control where yes it follows it but you can still have a locator underneath where you can animate the phone independently so even if the fingers do nothing you can still do this with the phone so now you can start animating fingers and have the phone react to it so that it's that's kind of my my process in terms of handling um props and even if you if you have interaction with the character if you do a fight scene and someone holds this I don't want to just constrain it like this because then you you don't have the possibilities to do this you still want that hands to follow this arm but you might you know like this there's squishiness here so if I do like a girl like that I want that to again depending on the style but if it's more for the real you're gonna have compression here and then your skin and muscle and tendon and fat whatever depending on where you touch things it's going to move alongside the thing I'm holding I can still do all of this while I do this right so I want to have a setup that allows me a constraint to follow each other depending on what the action is and within that another at least one other controller where I can do still extra stuff to move the wrist or whatever you have and that's kind of that's kind of that because if it's a longer thing then you start keyframing things to me it takes way too long and also you might end up having a jitter because you're not you're not in the same spot and with a constraint you are in the same spot but then it looks constrained where it's way too clean so you want a bit of imperfection and changes so that's why I have that multiple hierarchy approach next question by debora hi JD could you please give advice on how to choose the area field in animation that you fit into the most as for how can you choose between pursuing 2d 3d or even modeling and rigging how did you find your own personal preference thank you for reading amazing channel by the way thank you so much that's very kind of you and I can't really answer that it's tricky because how do you find the the chosen field I mean I wanted to do um I wanted to do visual effects so that's the first class that I took at the academy and I don't think I even I might have even walked out of the class it's probably I sat in the class and once the class was done I realized too much scripting too much math and stuff and it's not hands-on so actually I wanted to special effects like in terms of computer special effects and that was then when I realized that doesn't work well let me just try animation character animation type stuff and that's kind of how I found my preference I kind of knew what I wanted but not really I was I was not I was very naive going into this and then it was kind of like a blind choice of well you know because I like I grew up you know I'm a child from the 80s meaning like I have star wars and star trek and yanna jones and ghostbusters and goonies and like just that's just a lot of ilm work but it's a lot of visual effects twisters and and lightsabers and lightning and stuff like that and I thought that was really cool I liked animation as well but I wasn't very smart and I lumped this all into one thing and once I realized that oh if you do those kind of effects with simulations and stuff it's not the hands-on thing that I was wanting to do I'm sure there's a way to do it hands-on as well but it just at that point it's like that's not what I want to do let me just switch to character animation and thankfully I liked it and and you know the rest you know what I would say the rest is history it sounds arrogant but that's where I am now like I'm doing character animation but we are doing other things at ilm where it's not just character it's also vehicles and all kinds of things it's different stuff which I like a lot so that's kind of how I found it the reason why I'm saying I can't really answer is because I don't know your preferences I don't know your your affinity to certain areas or your quote-unquote talent so I don't know I don't know if you want to do 2d or 3d it depends what do you really like and then it depends on what are the opportunities maybe you're really like 2d over your city-wise there's no industry that supports 2d so you might have to move somewhere is that something that you can do in a form I don't know maybe you have to go to a different country that's even trickier so it I know like you want to do modeling or rigging that depends 100% up to you in terms of your initial you know initiative I want to do this and then it depends can you do this in terms of location financially are there is there any schooling around do you prefer as we talked about before do you prefer on-site schooling is it okay to do online I think there's many many factors that are very specific to you that I can't really answer so yeah I can only answer my personal preference next up Don Newman my question is a follow-up to the effort video how do you catch yourself when you are over tweaking I need to move on I think at work there is no over tweaking this going to sound really weird just because you have you have your specific goals and things you need to do and you have a specific deadline and that deadline is always going to be there and depending on maybe some factors it might get pushed to some degree but that deadline is there so I can't really over tweak but to me over tweaking sounds like I have too much time and I never really have too much time when it comes to work stuff so there's always there's always a looming deadline you always know that I gotta get this done by then and I always wish I had more time so I think it will have to be something if I do something at home where I have an open deadline it's my own deadline the way I was gonna spend a while but the over tweaking to be honest it's hard to answer because it's I I set very specific self-imposed deadlines like even like the last clip with the pigeon that I was referring to the last clip that I did I did that over the weekend two days and I wanted it a because I wanted to show it to the students next week and also don't want to spend more time animating which is more time away at home from my family so to me it was I have whatever nine hour block a 10 hour block during the day and at the end of those two days I'm done even if it's not great I'm not going to touch this anymore and I did the same thing with other clips that I worked at at home where I had kind of a I'm going to work on this for a couple of days and that's it I probably should have spent more time to really finish it more but I know I always had the I know for me it was always a work it's always been a work-life balance even as the students even though I worked a lot more as a student like long hours getting my work done and you know for class and stuff and we're having a reel that looks good but so quickly after that I just like to sleep and I like to be healthy and I just I don't work well if I'm tired or sick obviously so to me it's always it doesn't matter what's going on I'm always going to force myself to stop so I can rest spend time with family or right now exercise where just there's always a balance where I don't always constantly work because physical deterioration and you also get tunnel vision you don't have enough perspective where if you always there and looking at your work after a while you kind of lose track of what's going on and I need to have a little break so you can come back with fresh eyes so that's why that's why I have to be honest I have a hard time answering that question because I'm not I never really over tweak because the over tweak at work is there's also a deadline someone's going to go hey where's the shop so you can't do too much and then at home I have my own deadlines where I just wanted I don't want to over tweak let's pretend I'm over tweaking how do I catch myself I think there comes a point where you will have to realize it and that would be my ignorant answer to a hypothetical situation where I go if I'm constantly watching this and then I go oh three hours have passed maybe I should stop looping my shot I look at things that's when I catch myself in me like that's I think it's when I when I realize based on time maybe that's an answer where I go where did the time go I haven't done anything I don't know but I just have also very rigorous kind of work flow where I look at the things that I need to do and I make a list either mentally if it's a long list and I write it down and then as I fix my stuff I go through that I think this is this okay not continue on I think the only thing where I it's not that I over tweak but where I spend time it's just I sit and watch it and I go over and over and I go is the root working is the chest working is the head working arm so I want to make sure that everything has nice arcs no pops and then you gotta take a step back and then look at does it work as a whole now let me check elbows for ours does it work as a whole that I would say it's not an over tweaking but I just have a have that list that I go through so that maybe that helps me not over tweak this is such a rambly answer Don's going this was useless useless answer oh all right abram abram the shame the shame the shame almost me over shashank redemption there I have a very very important question that demands the utmost attention my question is what's up how are you doing yeah I couldn't think of anything at the top of my head well a ram abram uh I'm doing well I'm doing well I'm going to end this is what seven minutes into my second taping so it's going to be like a 40 minutes Q&A how about we end it with that I'm doing well I'm slightly tired because I got up and I did the Q&A right when I got up so I'm not tired of anything I'm just kind of sleepy and I need to get dressed this is kind of like my shirt that I put on that I found let's put on a hat blah blah blah but yeah I'm good thank you and it's a good it's a good question to answer because it's kind of goes back into maybe over tweaking I'm going to end this Q&A with make sure that you do have a system in place where you catch yourself where you just you have a bit of a a like I said a list to go through what to pay attention to you know is clarity there are the poses clear it does the timing work the mechanics wise did you go through like do you work layered where like I work layered in terms of I look at the root and the chest and the head you're all built on top of each other then you take a step back does it work as a whole but sometimes you tweak something and you work on the root and you think this is all smooth then you look at the whole thing go oh but that changed the feeling and the timing of the general thing that I wanted to do and you kind of mess it up so you have that always kind of I always go back and forth but yeah I would say just try to find a system so you don't over tweak find a system that is so you don't overwork yourself make sure you take breaks I always find like I just find that I'm faster and better when I take frequent breaks and that break can just be a couple minutes where you just kind of get up and move around a bit maybe go downstairs I always have either glass of water or my bottle somewhere bottles downstairs and I just refill it just forces me to get up stretch a bit and I come back and I look at something hopefully fresh eyes like oh okay let me tweak this I didn't see this before every now and then of course you are in some form of flow or something in some groove where you just really want to finish this and then you then I push things where I go I should probably take a break I got the reminders on my watch everywhere like you should get up and stand up and stretch your legs and I go no no no no I ignore this I want to finish this moment yes that happens I definitely have moments where I just overdo it where I just two three hours straight eyes are red and do this but I just really want to get to that moment because you have that inspiration or you're just in that nice groove of finishing and then I take a longer break because again I don't want to I still want to get in a situation where I compromise myself physically either my eyes my back my my shoulders my fingers because then that's going to force me to not work right so and then I can't which means I can't finish the project I have to take time off what if I don't have any time off left then it's unpaid that creates problem with bills and so on and so on it's there's a you know repercussion things of if you just physically not able to animate so I just put a big emphasis on staying healthy quote unquote and then my students know how much chocolate I eat and and sometimes with the crap that I eat and it's just not healthy so I'm not you know I'm not 100% great here in terms of staying healthy but yeah that will be the answer to how are you doing I'm doing well yeah I'm ended at that again I don't know if that's helpful at all but I'll leave it with I hope you're doing well all of you that are watching this I hope that anything that I'm saying here was helpful because you spend time and I hope it wasn't a waste of your time you can still post questions if you want in the comments I'm still going through the main post and there are some questions every now and then come up so I'm going to pull that into another part and that's kind of that take care of yourself make sure that you take care of yourself and your loved ones and stay healthy definitely work if you can animate have have a good process and workflow to get there in a good and efficient way and find something that you can latch on to that you love about what you're doing right now so that you have the energy to continue through moments where you are doubting yourself or the feedback that comes in that makes you doubt yourself and I'm rambling so I'm going to leave it at that that's it so thanks for watching and you know the usual pitch like and subscribe that's what you say on YouTube but I've seen people subscribing more than lately I don't know why it was kind of reduced some of my posts so thank you thank you for subscribing I saw a lot of people commenting on my woody that sounds really weird my woody clip my toy story clip of the toy attached to the car that I filmed 10 years ago I don't remember it's a long time ago some reason that clip is back in rotation I don't know what's going on there anyway it's fun it's fun to do the channel it's fun to see what people react to and the fact that people are tuning in and watching and subscribing still blows my mind I think I just crossed 22 000 subscribers I am confused but I'm very grateful and I hope that whatever I'm putting on the channel is of help and entertaining and just something where you don't feel like this is a massive waste of time speak of time I'm going to find some more time I have some schedule changes coming up so there's going to be a bit of a change in the channel I can get back to my regular output because I have a lot that I want to do I got some packages from sponsors that I want to open up unbox in my review closet and review and have so much I want to do so I'm going to reschedule stuff a little bit so that I can find the time to do it anyway rambling is still going on so I'm going to say stop it 15 minutes this is probably a 45 minute Q&A so thank you thanks for watching I will see you next week I might post a critique tomorrow I know it's a Saturday but it's going to keep I have so many critiques I want to post as well so the posting continues feel free to comment like and subscribe if you want to recommend the channel to people who you think might like this and that might benefit from it anyway that's it and I'll see you next week or maybe tomorrow and thank you