 Hello! Hi! Am I? I'm on! Where's Tawn? Tawn is probably my favorite person on the planet. I am your biggest fan. I am Ian Hubert. I've been doing visual effects and filmmaking and kind of wacky stuff for like 25 years. In 2012, I had the crazy opportunity to work with some of the coolest people I've ever met on Tears of Steel. Recently, within the past couple of months, I've started making these little lazy tutorial things because what's cool about CG is when you learn a new thing, sometimes there's this feeling that you're leveling up. You're just like, oh, I can now simulate cloth itself. And you're just like, poof! I'm just trying to pack that in there into little bite-sized pieces. A lot of that involves camera mapping and image textures and stuff. Speaking of which, so this is a photo-real environment in Blender. Like, ha-ha, ha-ha-ha. Um... Still, though. Like, photos are photo-real because they're photos. And I love image textures. And obviously, it's not all the time lots of people are making beautiful animations or games with these cool styles. They're not trying to go for photorealism. They're not trying to do quick and dirty. But I work mostly in visual effects where that is absolutely the name of the game. And they're really common. Like, oh, yeah. All of those crazy cool iconic moments from 90CG usually involve some sort of... I think they call it photogrammetry at the time. Maybe they still... I call it camera projection mapping, all of that. But it's just where you use image textures to try to get a jumpstart and recreating something in the computer. And it's great because all the lighting and the textures and everything are actually baked in. They're not doing any crazy path tracing and like, look at that garbage can lid. It's just stuck on the wall. This thing is so low-poly. In fact, I modeled it. It's about 65 polygons. Same like the pod racing in Star Wars. They built the miniatures. They just put those pictures right on these low-poly little environments. Like this, obviously. Fight Club, so slick. The filmmaking and the craft is all so good. But any of you could easily do this on your laptop at this point from a technical aspect. And that's so cool. This is like the Windows screensaver maze with the little rat in it. And you can see places where it re-projected the jug back onto the jug kind of behind it if you frame by frame. Or like, there's this weird... Oh. Oh, it's showing me. Let's see. All right. Oh, here we go. Yeah. Or there's this place where this cable looks like it's kind of intersecting the floor. That's just a problem from the stitching, where they were stitching the different photos together. The whole thing. And this isn't bashing on it at all. You pause any CG shot from a movie and you can usually start to see the human scenes where it's like you look at any shot of a city and you'll see the duplicated assets everywhere. And yeah, I don't know what's up with this random blue ghost track. But yeah, this is all from the power of this image projection and UV unwrapping, which is so powerful. Unfortunately, there is this guy and he kept me away from UV unwrapping for literally 15 years because you take your psychedelic quilt and then you wrap that around the donut and you export that into Photoshop and you do your paint over and then you bring it back and you line it all up and you're like, oh, that's cool. You just take the thing and you just unwrap it. And this is CG 101. This is first aid. This is like, yeah. But that's why I love the import images as planes. In fact, is the person who created that here? Like, it's such an easy thing, but it's one face, it's one image. In fact, it's almost a finished wall because some philosophers have speculated that walls might be nothing more than just a single planar surface. All right, so we import it as a plane. We can extrude it a little bit. We can do it again. We can bring in a ground plane. I like to line up corners and edges because there's these microbiomes that are existing corners that are hard to do in CG. You get that for free with image textures. Add edge loops, extrude some stuff. Extrude some stuff. We're beveling. We're going to turn the lamp into a sun lamp. This is a plunder conference. You all know exactly how this goes. But this is a picture I took in my town doing the exact same thing, just extruding it out. Really low poly. Edge loops, extruding. I like to add extra emphasis on the windows just because they're going to be high-contrast areas. You can either make the windows glossy so they're reflecting back into the environment or set up an image texture behind it so it looks like it actually has some depth. I'm going to project this at a slight offset because if you project straight on, you get that shearing along that axis. Then you can just copy and paste because it's all on the computer. It's maybe wrong, but I've started stealing things from just places, coffee shops, and out on the street. You set it up as the camera background, model some stuff, project from view, and you just have it. It's easy to get carried away, so I'm going to make the shelf and just slap in that all together. Then there's the shearing. I'll just re-project that bit and line it up with this little bit of wood down there. This is maybe not great for a featured thing, but if it's a background, if you're trying to make a whole mall, that will totally cut it. Anything cubic is really easy to unwrap. You don't even have to do project from view sometimes. You just line up the initial vertices and then you can do edge loops and stuff just all match. Then you just have it and you can copy and paste it and you can use that on projects forever. I worked on that shot a little bit more and somebody asked me if I hand-painted the specular maps and it's like, no, that's just plugged into the roughness with a little clamp there so the darker values are reflected, which is, you know, it's not always the best way to do it, but a lot of times it can get you a surprising far way of the way. I took this photo on vacation and then later I wanted to make this environment so I just doubled a cube and kind of lined it all up from the camera view, re-projected, and then you can relight it and, yeah, had a little hell of an environment and check it out. My cable intersects with the ground just like David Fincher. Yeah. Relighting in post is one of the very coolest side effects of this process. Like right here, modeling, I used to be called Blam, but now it's fSpy. It's the standalone program that, like, lets you line up the camera and it's free. It's very cool. So you can recreate the environment. That's cool and it's pretty easy to deal with occlusions just by sliding stuff around, but the coolest part of this is now you can literally relight your images. But the even cooler thing is you can set that as an emission plane and put other CG objects in it and look, it's direction and specific lighting and reflections on CG objects. And if you do this sort of thing, that's hard to do, generally. And it's good for scenes like this where I wanted to add this grass in there, but you need every point of the room is going to have slightly different direction of lighting. And so you re-project the thing back on it. You set up, you try to match the original lighting, and then you can actually kind of do that. And this is the Blunder Guru Grass Essentials, which I am in love with. The same thing for this is a series my girlfriend's working on. It's kind of display spaces and kind of dream imagery. And so just set up, you know, basic room. Ignore that. You can also use it to generate shots from scratch. I was working on a gig where they never actually got any shots of this car driving, but they had a behind-the-scenes photo, so project that back on the car and then do a little bit of animation, lots of noise modifiers, and then you've got the car driving. And they were like, what? And I was like, what? It was really fun. I recently did a gig, or a gig, it's a personal project that's floating inside of a cabin. It's supposed to be floating over the tundra. So I actually had this real cabin that I'd filmed in, and I had all these behind-the-scene photos, so you use the whole blam thing to kind of just streamline lining up the camera. You don't need it, but mostly just putting stuff back on the cubes, sliding stuff around. Even when you don't really get it right, it still kind of looks right. Your brain, people's brains want the stuff to work. And so just mapped it, mapped it all back onto there. And I was able to put this whole thing together in a deceptive free time unit, which is the area between when I think I should go to bed and decide to just poke at one more thing and when I actually go to bed like three hours later. And that's when I get most of the work done in my life. Both personal, kind of like this, and professional. That's because it turns out people will totally pay you to do this, too. I recently had a gig I can't talk about, but it's for a fairly well-known show with a fairly iconic set that they had torn down. And they were like, we just need a couple more shots of this set. So I watched the whole show, took frame grabs at the exact same thing I was just talking about, rebuilt the set and was able to render it out. And now they have that set and people can't even tell CG, which is very cool. A gig I can talk a little bit about was supposed to take place at Ed Sheeran's south of the border, which I finished up like a week and a half ago. You guys should totally watch the music video. It's really fun. But it's supposed to have this underground spy bunker, kind of a Batcave-type situation. And so, yeah, I stayed up one night and I projected some electronics onto cubes, used some assets from that cabin, was able to, you know, those little drawers and things. And I put together this thing and I showed the director and the director was like, I hate it. It looks like the back of a grocery store. And I was like, ouch, okay. Let's add like a little brick arch and make the screens actually light up so it looks better. And he's like, oh, I love it. And I was like, oh, phew. So, yeah, most all of this stuff is just camera projected. Had to, you know, stitch and stuff together. The background is just a flat thing that I displaced within a depth map because that is actually a cool thing to be able to do. Lots of little replacements and things. This was using this add-on Car Rig Pro where it actually uses, you just make one curve and it handles all the physics and it snaps the wheels to the ground and it was like, oh, it was, I'm not doing it justice here. Yeah, that was a fun one. Honestly, a lot of the stuff we did for this one was just the director thinking, oh, I want to be able to rework how the audience experiences like this moment. And so can we change the wall? Can we emphasize this thing? Scale it bigger. And it's cool to be able to do that and post. So, I want to take a second. Is this cheating? I obviously do not know architecture. I did not lay any bricks. I didn't paint anything like that. I just kind of harvested. I took a picture and I was like, yeah, I did this now. This doesn't bother me because I'm not trying to make a CG building. I'm always just trying to make an image that happens to have a CG building in it. And I'm effectively making a photo collage. And also, I'm already cheating because I'm using this mind-meltingly powerful program that can like do 2D animation and simulate water and do characters. And I kind of disagree with Tom. This is like the best program I've ever used in my entire life. I can like reconstruct cathedrals and simulate molecules. And the fact that all of us are here is just a testament to the fact there's like these developers whose brains work in ways that I'll never be able to understand ever. And so this is this incredibly powerful tool and it's changed my life. So thank you to everybody who's ever worked on it. This is... So I'm stopping for an additional sec because some of this is a little bit of an oversimplification. Like, the technical stuff is not any harder than this. It really is. You can take stuff and just do stuff and give an impression of other things. But back in 2011, I did a talk kind of like this. Don't go look at it. But this guy came up to me afterwards and he was very angry. Okay, well, he was actually very friendly. But he was like... He said I was holding out. He said I didn't explain why stuff I did looked good. And I was kind of like... I walked through the entire thing. But that's because it isn't just putting stuff on stuff. It's an art. And let's see. Blender is this incredible tool but because it's a technical tool, it's very easy to confuse the craft with the technology. Yeah, just show me the buttons that you clicked in order to remake the thing that you made. Blender is a legit art medium. It's the most versatile art medium I've ever encountered. And art has very, very different rules. I can teach you all to draw just right now. You've got your paper. You've got your pencil. You click. I guess now it's a left click, isn't it? And you make a mark on the page. And that's you can draw. And it's understood then that you're going to spend the next couple of decades hating everything that you do as your brain tries to reprocess how you see the world where you turn 3D forms into 2G shapes, capturing texture, expressing it with singular lines and all of that. And as you work, you're actually rewiring your brain. It's exactly the same with CG even if you're assembling stuff with libraries. It's still passing through you. So, first of all, here's the biggest thing I've learned over the past 20 years of doing CG. This is a city I did in 2002. I modeled three buildings. And I was like, that's enough for a city? Yeah. And this was using Boolean. So this carport here is just like two cubes in there. And I was like, nope, never need anything more than that. And this is, oh, it's so arty. Look at this. Oh, you can heal birth. Look at the vignette. So there's an electrical box. I was very proud of that. But obviously those pipes don't really intersect with those other pipes, which do intersect with the drainage, which is probably not very good for an electrical meter. And that was such a big hit that I just had three more disconnected electrical boxes in this one. And that has nothing to do with the technical limitation. I just couldn't be bothered. Same with, like, right here. There's this three-way overpass that could go in this hole, but instead it smashes into the retaining wall at exactly 55 miles per hour, which two little speed limit signs mounted 20 feet from each other. I'll tell you. Electrical box up there on the ceiling again. Let's stick with the vignettes. But yeah, a whole room full of pipes, which obviously do not go anywhere above the ceiling. And I've learned things since then. Now if I do a city, it's going to use, you know, one, two. Well, that's a bad example. But if I do a room full of pipes, they're definitely going to terminate, you know, off-camera. That's not good. A lot of times when I teach people CG, they'll just, like, turn on Subsurf and start extruding stuff out and, like, tweaking with the things. And they're like, man, why doesn't this look as good as the thing that you made? And, like, first of all, you made, like, this chrome space starfish. This is the dopest thing I've seen in my entire life. But also, I spent, like, three days making the exact same thing. Like, you just don't be, don't get to the point where you think it's done yet. And that's honestly, that was the big thing that I had to learn. Like, same with this one. Like, I could have, you know, these are used boxes. I could have added some grease and stuff. I could have added a texture, the emission plane. It's implied that this thing is like a vending machine that gives these takeout boxes, but there's not a single hole on the front that would actually be big enough for those boxes. These are things I knew I just couldn't really be bothered, which leads me to World Building, which is the name of this talk, and so far it's all been, like, image textures. And I'm like, what's the difference? But World Building is the process where if you're working on a novel or a web series or a film or anything like that where you think through the rules of how that world operates. It's like, what's the government or the religion or the currency or the weather or the technology? And how do these things all kind of interplay? It turns out, as soon as you start this process of thinking through all of that, again, your brain begins to rewire. And the coolest part about all of it is that it means you just can be constantly engaged in everything because every single detail, everything people say, every little mannerism that they have, details of architecture, can all be clues. You can kind of just, like, harvest. In fact, it's usually the little inane things, like the dense on a doorknob or the patterns of wet footprints walking away, diverging in a room or the buildup of oils on a door that 1,000 people have pressed. And then sometimes you feel just, like, so incredibly sad for no reason as you're looking at all of these things and you're like, why am I gathering all of these details? Why am I trying to store this in my head? What am I trying to, like, hold on to? What am I afraid of losing? And it means you just can't stop ever. And you're not the best boyfriend ever. You're not the worst boyfriend ever. And you start looking at, like, the people closest to you and you keep trying to hold them tighter and tighter. And you want to call it love, but you know secretly deep down, it's probably fear. You know what I'm saying? Um... 3D modelers experience, too. You start to model a thing and then you go outside and you start noticing all these tiny little details everywhere of this thing. You see it everywhere and you stockpiling this new thing. You go back, you look at your model and you're like, ah, fire hydrant, I have failed to capture your essence. You start to look it up on Wikipedia. Like, who first designed these things? Where was the first thing ever, ever... Where was the first fire hydrant? Can I buy one? Like, you might think I don't own a vending machine or a half-dozen beacons. You also might be mistaken. Um... Or like reader boards. I absolutely love reader boards because it's like these awkward businesses. It's their one direct channel for communicating with the public. I'm like, who's talking? Is it the business? Is it the owner? This one... Oh, and this asset is free on BlendSwap if anyone wants to play around with it because the only thing better than having a weird obsession is trying to share it to other people. Um... This one's in my town. It's said the exact same thing for four years and you just get to watch it phase in and out of relevance like an old friend. Um... This one's actually a little bit of a landmark in a nearby town. It's um... Oh, it's beautiful because it's like... That's the best thing about reader boards is they just return to dust. I did some Googling, going back in time. Like, what's a... What's an elio pen? Oh, a delio pen. They since now, they sell t-shirts with this design on it which has kind of, you know, made it a little bit too popular. Kind of ruined it for me a little bit. Um... But reader boards are a great way of expressing transition... or um... Exposition. Exposition is information that you think the viewer or the audience needs to know about your story. Um... Oh, yeah. Oops. Yeah, this is an inspired by unfortunate occlusions in Amsterdam, the weekday anal tours. Um... So, exposition. Yeah, it's information you think the audience should know and it can be, it can be like counterculture groups, spray painting, you know, obvious slogans on conveniently placed brick walls in the background. It could be news anchors talking about only crimes relevant directly to your protagonist or newspapers talking about, you know, exactly what's relevant to everything. Um... Which can be kind of on the nose. I like it when it's a little bit more subtle, where it's like the audience has to try a little bit harder to kind of feel out the vibe, the vibe of a thing. But yeah, you can start, you can start from world-building with anywhere, like with newspapers. Um... Like, you can make a personal wiki. You can go nuts. You can just keep thinking and adding all these little nose that are connected until you've planned out the entire world. And maybe it'll make your novel but it's also just kind of fun. Um... I like to go to coffee shops and do that. I've got a personal one on my website where I'm just like filling everything out. And um... And it's actually, it's good to get out and about. I like to go, you know, like listen to music and like carry a notepad and just kind of do doodles and stuff and like plan things out and then you come back and you work on it in Blunder, so you're using as much of your brain as possible. I always see such cool concept art and I always think, man, I want to have to make concept art because I think it's actually mocking stuff up in Blunder because you can just rotate, scale, flip, copy, paste and all of that instead of like committing ink into a page. Um... I just had, I draw a lot and I never have anything to do with it so I put them all here. Um... Okay, so I was the visual effects supervisor on this project called um... Prospect which is a short film. I think it's on Netflix in certain regions now. It's really fun and uh... whereas most projects I show up and like the day before our team shows up with four by eight wooden panels and they paint them and hot glue like motherboards on and like, it's a spaceship! These guys rented a warehouse and they spent like seven months designing everything from scratch. They designed all the sets on CAD programs cutting them out on CNC machines, put them together like these giant puzzles. Um... They designed their own fonts. They built like actual full-size spaceships and stuff. Um... Like, you're always looking through windows. You never get this God's-eye view of the entire thing. It's always like you're always trapped in there with the actors which makes it feel like when things go wrong you don't have an easy escape. Um... Which I thought was really cool. Uh... Hey! I didn't think that would work but that was a good old class. Um... I made this ship which is basically just a reference for a guy who built a four-foot miniature of it and then we filmed that just to make everything kind of more textural which is really cool. Um... This big old freighter which uh... lots of little lots of little grievels. Um... And they spent a ton of time trying to figure out like the exact way that the lighting would pass over all of this stuff. Um... The hardest part was actually the containers because they're all covered in these like in-world logos and things that you can barely even see. But um... But yeah, figuring out the lighting for this required a lot of planning. Um... We marked up little things. In the end we just kind of put a thing on an arm and like tried to kind of match it up Let's see. Oh yeah. One of the biggest references was an old Apollo imagery because that's how it actually looks. Like it turns out when you're exposed for daylight, you don't see a lot of stars. Um... That's only when you have like a long, a long exposure. Um... And this was like this wasn't Blunder but this was like 2000 shots of just adding this constant dust anytime they're out on a planet which uh... If you have a chance to put dust into like 2000 shots over the period when you're trying to wrap up, this is kind of a continuation of a Dynamo web series I've been working on since like forever but this is kind of a reboot type thing. Um... And some of it takes place in this market and I've just been like going nuts, lighting myself go crazy with like the little details and stuff. Um... I love designing maps that exist in the world because it's like somebody in the world built this map for other people that are also in the world and it's fun to kind of be able to exist in that zone. Hey, it's the tower Yeah, a lot. Just lots of little little bits. My friend Paul Spooner helped me make this subway map. Um... If you're working on a story it's actually really cool to start off with a map because then when a character goes from A to B you know like what that experience is like and it actually helps you kind of like tell the story. Um... And I love CG but also it's nice to be able to film something without having to spend months doing post work on it so we tried to build a full set studio thing which has been fun, a challenge. And um... So this was but it's got lots of room for building sets and wacky stuff like that and of course we mocked it up in Blender first and then it took pictures of that map that back onto 3D geometry so that I was able to do cuts like this is all real this is CG Um... And this is a very slow way to make a film but it's very it's very rewarding. Um... Okay, here's the green screen and if everything's messing enough you don't have to put up a lot of tracking markers they just start built in. And uh... This is just to show off this amazing shadow casting chicken nightmare. Oh, thank you. Um... This is fun because you'll notice we built the entire back of the set and that means we're able to film all of the close ups and stuff and 90% of the footage without any CG then we just back up and we're able to fill in that in between area after the fact I built this fake fire escape type thing going on right here and um... Yeah, and he barely includes any CG so we're able to do this like really quick. You can see behind his head there's still definitely reflection with some trees but I know a CG guy who's going to deal with that I just haven't wanted to do it yet. Uh... So making making these lazy tutorials has been Model a moth in a wings down position Moths are pure chaos and don't stress too much Add a base key and a new shake key and put the wings up and a noise modifier and the grav editor to make the wings just go nuts duplicate the moth offset the noise modifier and again exactly six times no, I don't care make the moths a new collection moths make an emitter object and give it a particle system have all the moths start on the first frame with a good lifetime have it render as a collection moths for physics select boids oh yes turn the mass way down look at that but can we teach them to love make a lamp in the void brain create only one rule follow the leader their leader is and shall always be lamp tweak a couple settings it's unavoidable mostly mass, max speed angular velocity and personal space oh yeah it's a pain but no one gets no moth wrangling for the adrenaline hey check it out they like the lamp now that you have this put them anywhere you can make a lazy scene and add moths and people will be like wow you even added moths and you'll be like yeah I did and I taught them to love moths add realism to anything so that's that's one of the like now that's been seen hundreds of thousands of times and all these people are like wow that makes the blender look really easy I'm gonna download it right now and it's like ah that's not exactly an introductory tutorial so I spend a lot of time in the YouTube comments just trying to kind of give tech support or direct over to like you know donut tutorials and things like that but like this this image right here it was kind of a throwaway image I just made it because I needed a demo for the for the end of the tutorial but like I had that lamp growing up and the reason it's like this is because I spent a lot of cool summer nights or you can see the Kiki's delivery service um because that's my girlfriend's favorite movie and we'll like we'll watch that and feel good and I normally add like camera shake to my shots but I was remembering the scene I filmed in grass with this cheap handmade dolly that like looked kind of like a million bucks even though it only cost 40 um and like the depth of field is shallow because like using old 2012 DSLRs DSLR YouTube look um and uh and from a technical sense if you're filming at night you need to open the aperture to get more light in there um I also uh sorry the slides are I also made a music video with this exact concept like four years ago drove across the town jumped around doing that um the grass I was obsessed with grass I was like I'm gonna try I'm gonna try the grass I have to capture its grassy essence and then blender guru released the the grass essentials and my soul was like I am at peace and I was like no but I I was like I I kind of wanted to do it though and my soul was like look kid this thing is wild rye uncut learn your place and I was like alright um the beacons in the background are uh are something I filmed at like my best friend's brother's wedding and like when I was a kid my dad worked in radio and he took me out to the transmitter buildings and I'd wait in the van so the radiation from the transmitter site wouldn't like fry my brain and I'd sit there and I'd just look up at all these beacons and all of that all goes into who we are and how we how we process everything you are a giant neural network and that's why I get the excited whenever anybody's saying they're going to make a film or art or anything because they're going to be making something that only they can make um so what if you've never done anything like this what if you've never done CG or world building or anything like that is it I like to get kind of pretentious and be like yes I've spent three decades observing um and it's true like most of us when we think of when we think of a house or a plane or a car we have this kind of cartoonish version and so then when we try to translate into a medium we try to draw or do in 3D we end up with something we're not entirely proud of and that's because it's an accurate representation of an inaccurate mental concept reference straight up bypasses that and like I know I know that the translation from observation to mental concept to personal or I've ever heard but there's no reason you can't try to to help improve and make more accurate that mental concept um and once you start this process like once you start thinking in terms of breaking things down in CG for Blender it starts to kind of take over like nature's great for this because it's it's random straight random following very organized rules and um I've started getting into procedural textures and it turns out Blender has like great tools for simulating and getting into procedural textures you start to see this stuff absolutely everywhere like yeah oh yeah yeah that's a yeah oh pine cone yeah we can do that oh look that's actually the same pattern on the grass and both the dappled sunlight oh Voronoi yeah um yeah and you start seeing it's just the same kind of patterns overlapped over each other and it's just it becomes kind of kind of addicting or you know straightforward to reproduce uh procedurally and so as I was in the middle of doing this presentation I went out to eat and started pouring rain in the parking lot and I'm like that's I think we can I think we can do that I knew there was a texture node that kind of looked like Swiss cheese it turns out it's Voronoi and I was like alright those Swiss cheese holes are passing through a plane and we use that cross section to power displacement maybe that would look like ripples kind of the essence of that thing and this is nothing compared to actual procedural artists this is like a fraction of a percent but it's like I'm just getting into it and I'm really excited so that's a I've shown it to you um on the same note traffic you know as long as everything's moving out the same speed it's really easy but like I was like alright let's I got this so I tried to do a physics sim and it was oh so many casualties everybody was getting angry and then I was like oh wait a second I've simulated traffic too well I actually had better luck with this dark spaghetti where I did this and then I just took this boolean to the little cross section there just for trying to capture the essence and it turns out it doesn't look the concept's kind of fun and once you start kind of thinking fourth dimensionally you actually the whole traffic thing kind of makes sense that one doesn't have a successful representation yet because I haven't actually figured it out traffic I mean technologically complex on a mass scale you can kind of abstract that and then people like oh that looks like it does a thing like the outside of a star destroyer covered in all the little doobly bits normally I make all of my own stuff but I saw some NASA models for sale and I was like oh look that's just a Grebel cube with a rocket coming out of it oh I love it and like that obviously the rockets you know I UV and wrap no I didn't used to swear by back in my last talk in 2011 would know where the where the boundaries are so don't listen to anything I say because that's that's don't do that um so that's that's basically it you know observe the world use reference don't be afraid to overthink have fun not too much fun if you're just trying to make a thing use photos photo scans which I didn't talk about but you guys know photo scans don't reinvent the wheel you have three minutes yeah alright this is a thing it's um good it isn't playing yet because this is so not done and you'll see it like the audio is just stuff I dumped on there get together disclaimer and so don't yeah yeah I'm going to talk over actually this is going to be birds this doesn't have cg I was just really proud of this little zebras so little sparkly bits I use sandpaper and I just scraped under that maybe wasn't a good idea yet merchant no forehead wants to see come on yeah there's going to be dialogue and stuff but yeah I cut it because I'm not showing any plot but yeah so that's all that's all just done in in like a garage with like like this amazing like software so that's that's my talk thank you