 All right, hello Thank you. So first of all, I'm terrified, but it's gonna be fine. I'm sure So welcome to this talk called very 3d the animation of noir I'm Piaric Pico, I'm the art director at atypic studio the studio working on the game noir And I'm also the lead rigor and animator because it's a small studio So you tend to do everything on your own. It's not the case, but I do most of the animations I'm also Blender content creator. I do educational content and they're the name P2 design and I released Some courses including the art of effective rigging and the alive course So if you don't buy if you don't have it just buy tons of copies so that I can get rich and that's cool So what is this talk about? It's about the animation of noir, but it's mostly about how we try to break the boundaries of Animation for games and gameplay animation so we'll go through this and I'll start by talking about how animators tend or try to trick their audience We'll go through some game animation constraints because there are constraints How we apply the principle of animation like the base principle of animation to improve those game animations and how we try to push our style further or those principle further to Let's say improve those animation and we'll get a little nerdy at the end of the talk nothing crazy So yeah, let's get started So Noir is a turn-based game But the big twist and hopefully the thing that will meet will make it stand out is that you can play during your open interns So it has some real-time features and it's pretty high-paced So that's the the cool thing about it. It's a character based game. That's why we have a lot of characters Where you have to kill and conquer so war never gets old when it comes to game design So we're just sticking to that We've been working on this for five years and I've been there for five years too And we do hold the reading and animation in blender But we also do a lot of modeling UVs Environment and stuff like that all of our cinematics in blender. So We are mostly all here because we do love 3d some of you may prefer Grip pencil and 2d, but that's perfectly fine But most of what we see is seen through a 2d screen. So in the end, it's flat It's not really the world really doesn't really exist in what we are seeing right now Especially there. Okay, or it's printed on canvas or whatnot. So at some point you can use like VR or stuff like that to really see stuff in 3d in a way, but most of the time it's 2d So when it comes to cinematics, whether you're using 2d or 3d as a tool the outcome is 2d Okay, so this allows the the animator to Trick their audience or at least to guide the eyes of the audience through composition whether it's using the character pose or Other stuff to lead you to a point of interest in the whole frame You can use the effects you can use camera motion. You can use focal length You can use environments to work on the composition. So here you can see a comparison between What you will actually see on the cinematics and how it's made in 3d So it's super different in the end. What is 3d and what you Currently see You can also use posing, you know to Like trick your audience. So from this point of view this pose I would say look pretty nice But if I just show you the true pose, it's a little weird, you know, but it does look good From the point of view I give you and not from the 3d point of view, but it does also looks nice So in most games you can control the camera or at least You barely control the camera yourself and the player will be controlling the camera So it's harder to use composition or to trick your audience this way because you never know What's the player is going to be looking at unless it's a game with a lot of camera control in Nora Most of the game or the main view is a top-down view, but you can still pan rotate you can zoom in it will change the camera angle and so We try to make first the animation to look straight from this angle But it can change and I don't want my animation to looks bad from any other angle. So that's a first step It's a character based game. Okay, so we have character animation set Generally, those are like state animation like idle being stunt big dead or locomotion running jumping and skill animation, okay When it comes to locomotion, that's not super complicated, I would say and Most of the time locomotion, it's is the very first animation we do for our characters because it's a good way to Bring a bit of personality to the character or at least try to frame this and it's not technically Complicated you just try to match the ground speed and whatever touched the ground you set it to linear Interpolation and you're more or less done. So you just try to make it look good and Fit those requirements but when it comes to skills or Animation that have a purpose for gameplay Like this throwing animation the game designer. We say, okay, you are like a third of a second to release Whatever we are throwing or whatever skill is happening on the screen. So as an animator That sucks, you know, you want to have as many frames as you want to make it look good But as a gameplay animator, you have to fit those requirements because gameplay is the most important thing And you may have played like not super good-looking games But that were just fun and it's not because of the animation is become the game is fun So that's the main thing So this happened also for attack animation for example where they will again See me you have a third of a second to hit the target But then I have a bit of freedom on the recover and the settle when the action is done since it's a turn-based game We can like make a bit longer animation and have this kind of freedom for a combo same Issue or same constraint. I need to hit every five frame from frame 15 for example So with this character that has very long tentacles and limbs, how do you get to? Properly read this animation or make it Appealing in a way. So that's pretty yeah pretty good constraint in here So to Tackle that we use the principle of animation So they might be some you know some some principle that will stick to stick cinematics or games that are But most of the time those are exactly the same So our animation needs to be fast so that you have a feel of Responsiveness whenever you're clicking on the target and you want it to suffer from an attack You don't want to wait for it. So depending on the Strength that the character will put in the attack or the damage Output the animation might be a little slower or a little longer than just a fast light attack for example to Make those animation as appealing and as readable as possible We rely as much as possible on anticipation the problem is that we have like Very few frames to anticipate our motion because it's gameplay animation So you do need strong poses for example here on the anticipation poses the character is getting like really really low to raise his big hammer and Then I would hold the next kind of anticipation where he's about to slam The hammer on the ground so that you clearly understand that is raising something heavy So next move won't be good for the guy in front of it. Okay, and to bring even more Impact or whatever I often use micro anticipation. So basically you take The last pose or the last couple of frames before the heat or before the release and you just extremely push the pose So when you you see it real time on the top left corner You just feel it like you just see this this kind of extension this kind of you know trigger in the in the shot So you don't really see it But it does bring a little more little something else to the animation I would say so that's the first very important thing is Make sure that you understand the base motion and what's going to happen Then there is directionality that's super important in a game where you can move in every direction to understand What's the orientation of the character? What is he doing and in which direction? So we try to design our poses so that every part of the character or every features point in the same direction So that whatever the point of view it will work. Okay, so that's yeah What they try to to show here hopefully it's pretty obvious What you shouldn't do so those are animation like on the right it Should be like the third animation I did for the game. I did some progress hopefully it shows I Was so I had no experience in game animation So a character is dying I was doing like a death animation like super dramatic animation So you may understand that those people are dying but in the game context Where you see those animation from afar? It doesn't work at all. That's super boring to see So now when I tackle death animation, I use like way more dynamic animation with More impact for sure brother motion And it's like super snappy the first frame is that you're dead So that when it comes to the gameplay situation it's satisfying to kill someone just Don't get this out of the context, please And sue me or whatever So yeah, well when when the character is receiving the fatal blow there is no like Doubt that it was a pretty hardcore for him and it feels good, you know, it will push you to To attack why it might not be the best move in the game, you know, but you know aggressivity is yeah part of human nature, I guess so that's the I would say that the from them that the base principle of animation apply to game and now Our philosophy I would say pretty intuously Is to try to to make it look 2d to push the animation further and try to forget about 3d And just to make it look good in a way so The most important thing as first is the silhouette of your character when you're working I mean even in 2d you watch any Talk about 2d animation about posing about anything silhouette is the key thing about good animation but in the 3d context is Will my silhouette looks good from back into view side view etc So what I generally try to do is to align the silhouette of the character with the motion path So that's whatever the point of view it will feels good You will have again this directionality and these directionality will Will come many many times in what I'm going to show you in in our animation design. I Made a custom Workspace with just you know an additional workspace with a few camera angles where I can double-check the animation I'm just switching and Mostly it helps me Sporting any any glitches sometimes you forget about maybe a hands that just pop and you don't see it because you're animating from the side view or from you and on the top view it might just appear and and what not so That's a way to check this and To build like this flow in the motion and in the silhouette of the character I do rely a lot on Blender's motion path. So it's one of my quick favorites I use it all the time and you can see here that the torso root of the character the main Car of the character its center of gravity is following the bounce We saw just before any silhouette does also follow this motion path and Then I use quite a lot of space switching to unbind some of the bones from the character to be able to animate them in world space So basically here. I'm just animating some bouncing ball that goes in a random position I don't even care about the character at this point. I don't care about those Elements it just brings a bit of chaos into the animation So you can clearly see the base animation, but those add some extra details So it's an key we don't use like most of the time We don't use a fixes to do this kind of stuff and then it's baked back to the base animation So I talked about Silhouettes and motion flow So and directionality so the idea on most move It's to identify a simple shape that will fit so here It's a spinning attack. So a circle would be like the most obvious shape you will try to fit So whatever the point of view, I don't offer that many point of view here But trust me that the tentacles are perfectly aligned along this circle It was a pain because I had to totally reverse the torso chain through space switching So that it was driven by the contacting foot and then you can see that the spine Is not changing angle throughout the animation so that the The tentacles are not wobbling from frame to frame and it looks I would say pretty cool and then on top of this when Our VFX artist is like so what what kind of VFX should I add on top of that do a circle so that you you're just Supporting the current animation and the current motion and it makes kind of sense We use squash and stretch to an extreme So we you may know squash and straight because it's one of the first principle You may apply and you may learn when you're starting animation Here it's an octopus character with blades, so it's a pretty busy shape, but by using like super simple Squash and stress principle we make the animation a little more readable and again It gives directionality to the jump so beyond the the fact that it could be appealing etc You do understand that she's going to jump she's jumping and then she's just landing You will find this question stretch principle in most of the animation we do Because it allows to have a good anticipation which was one of the first point I Kind of point pointed out And when you add this question stretch effect to different part of the body It becomes very organic You know it becomes like super fleshy and again we have a good sense of directionality You do understand even though the character Fat characters are pretty hard to animate because it's hard to give a ball an orientation So I stretch the limbs so that you clearly understand where where he's attacking. Okay, so that's one of the move Finally we use a lot of stretching toward the targets So you've seen that I use stretching to give a directionality for an attack for example But I may also stretch my character to all the landing points so that it makes no doubts where the character is about to land and also it Generally contrast a lot with the next pose which is a recover pose or fall through pose where the character is Squashed so it should be a pinning and like convincing so One of the big problem with game animation and this fast motion even though the example you you saw were like Slowdown or breakdown. So it was readable. But when it's in the game context, it's like super fast You're not like focusing on the character that is currently attacking because you may play six characters at the same time So so it tends to breaks readability. So how can we fix fast motion? Readability, how can we improve that? in cinematics, so I took this I don't know where it comes from, but I Find it pretty pretty nice. I must say We use like what we call smears. So there are a lot of different kind of smears, but Basically, so I will just pause because I feel like it's not super readable when I do it this way if I can But basically if you see the the real-time motion first down Like you just felt that she was stopping but now if you watch it frame by frame some of the frame are just like Crazy deformed. I don't know if you got it, but I do believe you got it So I would advise you to watch fried sprites frame by frame. It's crazy good So you have this kind of deformation which has What we call smears. So basically you kind of stretch your character. You deform it to mimic motion blur Basically, that's the idea. Then there are multiples So I don't know if I will be able to stop on the frame But if you see the wooden bat there Like we can see Like multiple duplicate of the wooden bait So even though the character is switching from this post to this post you Kind of see the motion flow. Okay another type of smear, which is a little more like not Autistic not it's pretty common, but it might be a little harder to Think about are those broken joints where the limbs become like super like noodles And stuff like that. So It's like whips and we'll we'll see that a little later on so in cinematics since you are just like Focusing on what will be seen through the 2d screen and through the framing that you choose You can easily do that and I do believe that if we were to watch those seen from another angle that there probably are some very Dirty, you know poses or crazy poses that are involved to get this nice result on screen You can do this kind of things too into the games because it's gonna be flat So this is an example. I came across it on Twitter. This is a team. I'm pulling team 18k They are doing this game shattered. They have one animator working on the project. He does crazy animation When you see those meals, I asked him, how do you design that and I'm just transitioning from one frame to the other? Yeah, okay, but how do you? How do you came across those shapes? I mean this one that's well, that's crazy and when it's spring real time Now you know the odd smell so you you may spot them But honestly, you just feel like it's super smooth and it makes you like like it's so cool But how would you do that in 3d in in the 3d game? That's a little harder to achieve so In no hour one of our philosophy or I mean we are not like doing groundbreaking stuff But we're just trying to push the deformation as far as possible to match this kind of stuff So we're trying to create smears But in the context of animation that can be seen from any angles and this is where it becomes a little tricky Sometimes it can be pretty subtle. So on the left the blades are curving So it just support the flow of the tentacles. Okay, and it adds some femininity I don't know if you will it looks more feminine which she's the queen like she's super like Super feminine on the right. That's still fine But it kind of blinks a bit, you know, you you you have a little harder time to track the blades So not like a big improvement, but still a little improvement On other animation though, this one is by Adam War is one of our animator a young guy like he is a killer and Such a nice dude. So it's a pleasure to work with him That being said we do use those smears and we also do use exaggeration so the character is beating is opponent to to and when he does that he hit part of it and Cure himself in a way. So we do need the viewer to understand the move At least we are trying to do so. So when you see it like frame by frame on the right You can really see how we Changed totally the size and shape of the head so that on the left you just get this Beating motion at some point you you feel like yeah a mouth is opening and and and and kind of you know closing onto the target So how do we create those smears like what's the workflow in a way I? Mainly use stretching toward the previous frame to create a trail effect. So as you do with the other in a way that's the same philosophy and I do and I use a lot of crazy bending to create a weeping motion for the limbs the body whatever So That's not what I'm going to say is not our like I don't always do that this way But generally we do the base motion and we create the smears like almost frame by frame During the polishing stage so I would have my base motion and from that I would work on the smears So how would I push this motion further or this animation further to get a nice result? So this is why I just need to relaunch The thing okay So this is Shaksha. She's a Wild character in the game and our main skill is a range attack animation where she throws a couple of big boomerangs Here they are So this is where I use the whip motion of the the noodle limbs so you can see on the very left very anticipation pose and then when she's throwing the The boomerangs how I break the joints of the limbs and I also add more Kind of joints to the limbs to create a shape that more look like whip than a current limb And I'm also deforming those crystal boomerangs that should not deform just to support this shape and then you have like almost the opposite shape like a couple of frames later so that you really have this Whipping motion that you would see like if you would watch Indiana Jones so in the end From the top view or from the game point of view you almost can't see that but maybe you can feel it and It will look a little better and then as I explained before she will stretch our limbs Toward the the landing target in a way so that you understand like she's in the air She's doing her stuff and where she's going to land So if you have to click the item the square space where she's going to be to control her That you already know where it is So that's yeah, that should help you Get that right in a way This is Moxie She's one of the latest character. I worked on she's she's like super grumpy She was actually inspired by the grandmother of one of my colleague So yeah, I am he's really happy about the results of that. That's cool So I want to show you when she did her heat animation So when basically your character is receiving damages, you know, you don't hit it We will play this heat animation and I really wanted to to push the These animation as far as possible so that we totally forget it's made with 3d or whatever and it is as appealing as possible and The design is simply a heat shape. That's I mean Yeah, obvious now, but yeah that that was the idea. So I just stretched the limbs To create some kind of star shape It may not read as well from the pure side point of view We can't fix everything for sure, but still it does look pretty neat, I guess and Since she's bold and she doesn't want people to see that this was a good opportunity to Like bring more personality to the to the character and also more deformation or appeal just in the motion Or you can see her like she's recovering and she's all I need to get my head back on my head And she's just like stretching your limbs to get it back on her head basically so Hopefully this kind of breaks the usual stiffness that we do see in most games I mean there are like games that really goes way beyond what we're doing there But I'm trying to catch up basically so Here I'm applying so that the smears or I'm trying to to create smears using her face using the cloth and using her fingers and The way we do design our smears So what when you are doing it on screen you're just taking point a point B and you're trying to make the link Favourizing point a or point B so that you get the arcs of motion. We just do exactly the same I would use the motion path or whatever tool I have to Track the hands and then I will shape the fingers and the cloth along the this path So it I do believe pretentiously that it does look cool from the front view But also from the top view you clearly identify the rotation of the character when she will be spinning just now You will see the circle whatever the point of view you you're watching the animation from so you Do understand even though that's a super fast animation that she's rotating to to throw those needles This is the King Acre Andy So he's the king of the the main character at the moments in the game you really don't want to mess with that guy is pretty big and This is in his main attack animation you already saw before So what I want to show you here is that if we want we can break physics We don't care. So even though his hammer is made of stone and glass. I Will make a smear out of it, you know, I will Stretch it just that you can clearly read the arc of motion before it touched the ground And I'm squashing it and making it like a bit bouncy to bring more impact to the animation So yeah, that's That's the idea. So let's get the key. I Guess some of you will be really really disappointed about what you're going to see because it's absolutely not technical at all we're using the game engine unity to do our game and our Animation state machine is like the most Like basic stuff you could do we don't use Blending of different part of the body. We don't use body mask We don't blame different anim state Basically, we're dealing with our animation as you will do in an image sequencer If you will and we are just triggering like the attack animation It ends it goes back to the idle pose and the idle animation will stop That's the way we deal with our animation The cool thing about that is that we can use flat hierarchy. So basically This is the deformation rig the ones that is in the game engine You don't export your control ring. This is yeah all the animation is built on that And even though you are seeing some chains like on the boomerangs on the limbs or whatever Those bones are not parent in one to the other. They are just doing their stuff like independently So the cool stuff about that is that we can use non uniform scaling which is a big problem with game engines Game engines don't like that if we want we can stretch a bone for example It won't affect the children because there is no children in the end The problem with that technique You could use it But if you want to transition from between two animation that are very contrasted in the pose It's a bit like trying to achieve a rotation with a shape key It's impossible because they are just moving like in a linear fashion, you know, they are not rotating It's the same here. You can see the bones going from point A to B independently so the character bodies the boomerang are just like Getting totally like wrecked or whatever and then she will recover But we don't do this kind of transition We generally have an animation that does the transition So we do have transition for sure in the game, but they are like super Minimalistic so you won't notice that it's bugging or whatever We do have a lot of bones on our characters, but we don't use like super complicated mechanism We do have a lot of bones because as you saw we like to deform our character to an extreme and there is no like Magic beyond that you just need to have a lot of control points to do that All of our rig are custom made Because first we have a lot of creature and like strange looking characters so it's hard to find an automated solution and Also, it's a way to learn rigging and to improve rigging when you are pretending to teach people how to rig that's a good thing to do and It allows us to have a nice range of motion. Also if there's a bug I know where's the bug is for example, so I don't need to go through a rig. I haven't built myself for example So those yeah rigs we had some controllers to like get shapes or Deformation that you know will fit the animation that we have planned We also allow to as you you see before to deform any art surfaces or stuff that you didn't deform and We have a bit of facial animation So it may not make sense in the top-down game point of view especially on some kind of MOBA because Most of time you won't be seeing the face But now just think about marketing and stuff. We do use the same character for our cinematics We don't have like tons of different characters So if you came across some of our cinematic content, it was made with the game characters basically and If you were to pay for three for a free game, sorry You will buy skins and stuff like that. So you want to be attached to those characters So we need to bring personality to them and we can do it through those facial animation Also those are cool Easter eggs, especially when he's getting drunk when he's drinking like that He has a hat so you will hardly see this, you know, but it's that for Our official animation so they are not as polished as the one we will do with cinematics So we rely a lot on the action constraints and the action man Action man Adam currently I need to talk to the emitter or test is Adam because he did an improved version of it So it must be like super cool. So basically you just pose the face of your character And then Using all the control bones and then you just use a master controller that goes from pay Sorry from pose a to pose B That's just it and we use it to create like those high-opening poses some phonemes or mouth shape, but then we also have like Controller controllers for all the bones all the joints of the face so that we can fine tweak official pose if we want to and this is the kind of like Label of control we do have on most of our character like we have like those tweaker bone All over the body so that we can clearly Shape them as we want. You can generally do that in Cinematic streaks because there are a lot of bones or you may use like Laticis or stuff like that to reach like crazy deformation We just make sure that we can control every joint of our character and the game Since we're using flat hierarchy. I don't care if the game engine. We like it or not. That's gonna be fine Though if you were to do this and keep the hierarchy of your character You can achieve like super decent results by replacing the stretch to constant by a damp track constant You won't get the like the big scaling Difference, but it does work So I tested it not with no arrest character But with another character that has a lot of stretch to constant and stuff like that replaced everything with a damp track and It worked really well like I could achieve pretty crazy poses Without having like the food going underground or the strange rotation and stuff like that So we can discuss that later on if you want Um finally We try to plan our animation, which is yeah generally better, but you know, we're in these studios or sometimes ideas Come faster than production and we change a lot of stuff But we just use as much custom properties as we want just to for example swap the position of an item on the character or I did New I didn't know that I wanted to make this smashing animation. So I read the hammer accordingly With those extra bones that howl me to to create those me as for example, so hopefully our flexible rigs and The cartoon influence I may have and then our philosophy to forget that it's 3d and just make it looks good as will a 2d cartoon will Make our animation like a little Different or a little better than usual game animation There are tons of people behind the game So those are just a part of the artistic team I worked with on the game, but we do have developers people that manage like everything for sure Super cool CEO that has given me like a lot of freedom in the way In the art directing from the game. So that's super super cool And that's it. That's the end of my thought So just one last thing so game development is a super bumpy road Okay, we've been doing this game for five years and we are reopening the servers in three weeks and You should test this newer version of the game. It's the best we ever did so Like the 18th of November you will be able to play the game. It's a free game So just be a lose like one hour of your life trying our game and then maybe you you'll get stick to it And now we're going to ask the first question. We have like 10 minutes. I think yeah, cool Don't be shy. Okay So the the question is That's our phase three are always symmetrical in most case Yes, but if I was to work on a monster or whatever and I you know, the design is not symmetrical You must fit so yeah It's less of a pain when you are when you can symmetrize a rig but beyond facial rig I mean even a character with Non-symmetrical limbs. That's a pain people tend to like focus a lot on on facial ring thinking that it's more complex That means or a spine, but that's not necessarily the case. There is a lot of bone on the small surface But if you can yeah, I do just symmetrical design you concept artists, please. Oh There is still interpolation, you know, so We don't yeah, yeah, yeah, yeah, yeah, yeah, yeah, yes I would say so basically we don't use like I Think our animation that I'm it's a bit to take it for me because I don't know but we don't simplify The curve at the export so I guess our name animation that is pretty dense You almost have like a keeper frame because everything is baked since all the bone are independent and constrained by the contrary So then when you have interpolation within the game It's in most case over one frame and over a short distance. So Probably if we were to watch it frame by frame, you know, we would spot like some issues But you can't really like spot them like for real in real time So for tentacle character, I tried I Failed oh it depends so So that's I guess, I mean a big problem for a lot of animators where you're teaching something you need to use reference And you don't do it after one Sometimes I do some sometimes I don't where I do use most of the time reference. It's for creatures so for example, I animated Big, I don't know to say it in English like stuff on the high slender Like that are super big you have the seals. Thank you It was a sea lion actually Watch watch a sea lion running. That's surprising. That's not like doing this stuff They are currently running like a dog will do that's super strange. I feel like super strange So yeah, sometimes it's better to watch so I would say yes and no it depends it depends But yeah, yeah, that's you should always Yeah, yeah, yeah, so the the website I don't know if they release the latest version, but it's all translating We'll publish a video presentation of the game in English with English subtitles and stuff So yeah, the the froggy part of the of Nora will be slowly Removed in a way, but yeah, the game isn't like I don't know but it's translated in multiple language like in Dutch and maybe in Chinese I don't remember so all the translation might not be up to date, but at least the English one should be not paid So Found raising mostly so that I mean so I will give you a quick story about the game So the CEO is Kind of a genius and in work on this IP for 18 years and at some point He was used to be a pro player on Starcraft Broodwall at the time where being a pro player was having free coffee to the, you know Network Center and maybe like get a free keyboard from razor or aces or whatever He's a hardcore gamer and At some point he was like, yeah, I have this idea of an IP was writing a book The first one is already out by the way and probably translated in English. I'm not sure about that And it was a let's do a game and he just sacrificed everything to do that So I won't go into detail, but that was pretty rough for him and then he was calm like he was able to convince a lot of people to help us with the game and You know fast and found Finding investors and stuff like that. So all the artists that worked on the game were paid and there were Like hopefully correctly paid at least they were happy to be there. That's I mean a first step and yeah Yeah, I mean In the direct team team, that's a bit different. We make sacrifices, but that's a cool project So and yeah one one thing I was sharing with a lot of people is that I'm able to show you five years of work While the project is now is public But you know along the way I was able to share this so as a content creator That was like already a big salary to be able to use my everyday work For myself in a way for p2design on for for my own thing at the Blender conference So yeah, that's cool. Yeah, because I don't know how to script So I And I know like like absolutely I absolutely don't know how I just sometimes copy part of script and try to you Know change stuff to have a better UI, but that's about it. So but yeah, ultimately in my learning path I would love to be able to kind of create Some kind of meta rigs based based on what I do with Nora that would be awesome Yeah, but I don't know how to Okay. Oh, yeah. Yeah, I need to oh, thank you. Yeah Yeah so Tom will not answer but we have a common friend that is the guy developing it He's like super busy, so we've been working on on these two like for almost two years Like intensely I was hoping it will be released this year to be honest at the moment He hasn't like made like big updates on it It's it's a crazy good addon and I using a lot. I know that there are some Blender devs here, so I don't know how you could like get to be known that has made Like more or less Addons that are quite similar, you know, like the rig on the fly addon for example There are other solution to basically be able to Create constraint on the fly bake the motion that are something and change it to world space or whatever So I don't know basically. I don't know he was supposed to be there. He's not there We are really sad about this. He sent me a message just to root for me and you know But yeah, that's that's life, you know when you're doing blender stuff on the side. It's always complicated to Yeah Any other question? Yeah, I Don't know if maybe some like more clever people would answer But I don't know if there's like a limitation on the number of bones in unity It seemed that unity and those like many bones pretty well. We tried to display like 60 characters animated on the same computer with like a shitty laptops and it was fine So that will be my answer you can add a lot of bone to a scene and it's fine Now when it comes maybe to animation state, you know where you're blending all tons of different animation I don't know if it will work that well here is just reading You know bone position through time and that's it is not trying to to make crazy stuff with it So I don't really know and it's on PC. It's not on mobile on mobile That will be painful for sure So Yeah Not that much Why are you laughing at there? So so we had a conversation we've run regarding this I need to update my tutorial about exporting Canada So basically you just create At least that's for me the best way to do it You just create a Strip in the NRA pair action you want to export and then you don't click all action But NRA strip the lower action in the stack will be read as being the default action So generally I use a t-pose or a rest post for the character and then you just stack those strips and you source an action The cool thing about that is that during the exports The actions that will be in unity or in your fbx will have the name of the strip Not the name of the action So you could say it's attack one and it's gonna be attack one in unity But you can swap the action into it if you make an update or a modification in blender and my workflow is that Maybe it's a shitty workflow. I don't know I just update the fbx and I just override it in unity and the meta Just update and everything is there. Okay one last question. Okay one last question Yes, no, no, no, no, that's that's it. I think Okay, then oh, yeah one 30 Yeah, 30 print per second and I made some cinematic this way. That was a very bad choice. I won't do this anymore So, yeah, thank you very much