All the Things we Make: Part 02

Speaker 0 00:00:01 Hi, I'm Aaron SK Speaker 1 00:00:03 And I'm Austin Shaw. Speaker 0 00:00:05 This is between the key frames. Speaker 1 00:00:18 What's up, Aaron, Speaker 0 00:00:19 You know, all the things we're here to talk about. Um, the rest of all the things, all the things we make Speaker 1 00:00:27 That's right. I mean, there's so many things we make that we had to break it into two episodes. Speaker 0 00:00:31 I think it's really cool. And then you can even break down what we're talking about here, and I'm sure, hopefully we get comments that you forgot about this, and you forgot about that. I think like the real point of this episode, um, or episodes topic is so that people really realize like the depth of our industry. It's no longer just making supers for commercials. This is like a fully immersive industry. And there are a lot of options to be generalized as an artist or very specialized as an artist. Speaker 1 00:01:02 That's right. That's right. Yeah. Like you said, there's, we could probably, and, and maybe we will spend some episodes in the future digging in and actually like yeah, really, really getting granular on, on particular niches and or genres of motion design. Speaker 0 00:01:20 Okay. So where we left off, we had just talked about branding, which is super fun and so cool, but there's also brand videos. So there's like internal rah videos that people play at conferences that don't even go outward facing to the wall, to the wall, to the world, Speaker 1 00:01:39 Which wall <laugh> Speaker 0 00:01:41 To that wall or that wall or that wall. Speaker 1 00:01:44 <laugh>, there's a lot of walls, all Speaker 0 00:01:45 The wall. So many walls. Oh, it's a Sunday morning. Yeah. What are, what are you gonna do? I only had a couple cup cups of coffee. <laugh> Speaker 1 00:01:55 It's cool. I've had like two I'm feeling pretty caffeinated. Speaker 0 00:01:59 Yeah. I should be. Cuz I have as well, but anyway, so there's brand videos, Speaker 1 00:02:04 You know, there's a BR there's a, there's a brand video. I, I, I really like there's one. You yeah, you all did for Caldrea. Oh, okay. Yeah. With a super, yeah. People really loved that illustrations and uh, really just nice integration of, uh, live action in motion. Speaker 0 00:02:21 Yeah. So that was, um, for the brand Caldrea they do home sense in like candles, like you'd expect, but also like counter spray and all sorts of, you know, luxurious home goods. And, you know, it was really fun to come up with this school collage style to really show up all the scent, flavors and notes and um, and also like the fashion look of the brand. So that was really fun. And then territory did one that I love is for Ford. Um, this Mustang video for, I think it was like the launchable thing. Let me look again. Yeah. It's just really beautiful. It's like particles, you see these streaks running through cities and landscapes and it turns obviously into the, the Mustang itself. So it's like a cool car piece, but it's also got this cool horse. It's like very CG and beautiful, Speaker 1 00:03:14 Right on another, I think another type of brand video looking at product and service launches at different conference events. And there's a classic one that designed by apple, you know, referenced all the time. I have, I have clients Speaker 0 00:03:28 Every time. Speaker 1 00:03:28 They're like, there's a, they're like this, this really minimal, just, just clean, elegant design. Yep. Speaker 0 00:03:37 Yeah. The original one of those was the girl effect. Remember the girl effect with the cool kinetic type Speaker 1 00:03:43 That was, uh, Matt Smithson did that. Yeah, Speaker 0 00:03:46 Really cool piece. But this designed by apple is like nothing, whenever you're on a kinetic type call and they're saying, Hey, here's some reference that is in there. Speaker 1 00:03:59 Right, right. The minimal minimal design plus type. Speaker 0 00:04:02 So super cool. And that was a conference launch. That was a big rah conference, but obviously it takes on a life of its own once it's out in the world. So, you know, 10 does a bunch of these. They have one case study that gets into windows 365 and it's just super cool. The work they do for, for Microsoft Speaker 1 00:04:27 Right on. Yeah. I like that, that whole, the way that it takes your kind of flat screen experience and brings it into dimension and the depth in the layers, um, just a cool way. Cool way of, um, showcasing that, making that world come alive. Speaker 0 00:04:44 That's interesting cuz we're talking about apple and Microsoft and such different approaches. It really, again, is a statement about who the brand is and where they're at and how they wanna be seen in the world. That's right. So I think that that's a really cool way of looking at a brand video. Sometimes they make art films though. Right? Sometimes they create a film that is all about like it's an extension, but there maybe isn't a bigger purpose other than, I don't know, I call them an art film cuz it seemed more art. Speaker 1 00:05:18 Well, one of those I really like is P right. Master of stop motion, Honda paper where, um, it's just shows the process of concept development, design development, all over this kind of epic, continuous camera move. Yeah. Gorgeous Speaker 0 00:05:37 You. Yeah. You also, I mean that, that piece was referenced for years as well. Yeah. And we'll still occasionally be called out, but that was like that like shook things a bit, which is fun and cool. Then there's also Ariel Costa, you talk about him a lot, but like he has this piece for Marni that I think is also a really cool brand art film and Marni is a fashion brand. So, you know, it's just a really cool look and aesthetic. Speaker 1 00:06:04 Yeah, absolutely. And of course here's a classic, uh, books, metamorph metamorphosis for good books. That's another one of those I could probably cuz I've, I've shown it to students in classes so many times and talked about it that probably spent a whole episode talking about this, but just a, a really, um, you know, kind of, kind of a big statement in the industry said a lot of trends, I think kind of launched a lot of that, like, um, return to dizzy, sell into a lot and, and just cool fluid transitions back into motion. Speaker 0 00:06:40 Yeah. So, but brands also make other things, they make documentary films sometimes now, uh, territory. Again, they did this really cool piece for Adidas that I think is really special. You see a lot of this with uh, athletic brands cuz it's people, content, people are interested in <laugh>, you know, um, it's, it's not just athletic wear and fashion, but there's also sport and superstars involved. And you know, Falcon content is really big in that like Nike Jordan arena. So they have a thing called real talk. It's got a really cool case study. It really gets pretty deep, but nice. You can see that there's also like motion design and like our design aesthetic like built into the way that those docu films are created. You know, Speaker 1 00:07:36 You know, another category kind of a niche category is the explainer video that, you know, studios have built their whole business around. Right. And when I was, uh, teaching at SCD and we would bring studios in to do, uh, portfolio reviews, I got to know a couple, there was one, uh, demo duck and another one Epik and they just do these really robust and um, pretty comprehensive explainer videos. And, and it's across a range of styles. It can be flat graphics, it could be illustrative characters, it could be 3d, but there's literally just a kind of a never ending market for explainers Speaker 0 00:08:18 A hundred percent. Like we've done our fair share of explainer videos too. We just did an enormous campaign for, um, a major car brand. And we've done in the past for Verizon. We did a big broadcast thing, but then they also had this package of explainer videos that they wanted at the same production value and through the same aesthetics. So we took that on as well. Like how do you, you know, work with Alexa <laugh> or how do you kind of stream on your phone or something like that. So it is really, um, or just simply, how do you hook your cable modem up to the TV? Speaker 1 00:08:54 How do you, I, I have no idea. I get my wife to do that. Yeah, sure. <laugh> I'm just like, uh, the video for you, like the remote, the remote's not working <laugh> Speaker 0 00:09:03 Hello. Now you can just talk to your remote, which is also a video we did <laugh> how do you talk to your remote? But I mean, it's just like a never ending supply of that. Especially as things get more tech related, people need to know how to do it. Sometimes it's so simple that you just need a, a little video to be like, just push this button and start talking <laugh> but it's like, oh, okay. Yeah. I mean, I follow victims to that, but explainer videos are interesting too because there are studios that specialize in that, but then the larger studios, all of them do their fair share of them. Even the ones that are more, um, you know, sexy 3d shops, they especially do 3d visualizations. Like territory has this barleys beyond piece. You can see this like all this like medical stuff, like cells splitting and things like that. Like all of these companies need visualizations like that. And um, you know, who better than to make them than design CG company, it really makes the work look sexy, like a double helix or a cell splitting or, you know, all of that stuff could totally be handled by a motion design CG. Speaker 1 00:10:23 Well, you talk, you talk about pharma, right? And, and mm-hmm, <affirmative>, I've done recently a few projects. I mean, that seems like a, another one of these industries that constantly needs visualization, whether it's explainers, 3d, whatever it is. And, and uh, yeah, lots of work there. What about apps, apps and interactivity motion for different types of affordances, uh, whether it's integrating it into interactive or just working along. Right. So one, one of the, uh, companies I think does a lot of cool stuff here is gunner. They did a really cool thing for the Google home app. And it's just about kind of prototyping and visualizing a lot of how, how these apps will work and then often working with developers. Right. Mm-hmm <affirmative> to actually get this stuff to move via code code driven animation. Yeah. Speaker 0 00:11:20 Well, I mean, we don't do a ton of this, so I don't know really a lot about it, but I know that you do Speaker 1 00:11:26 Well, I don't do a ton either. <laugh> yeah, but Speaker 0 00:11:29 I mean like you do teach, so Speaker 1 00:11:31 That's, I enough to talk about it a little bit. Speaker 0 00:11:34 Um, yeah, but I mean like even just in us developing our website, there was this kind of component of it for like, well, let's show the developer how we want this to move for a transition or something like that. Cause all of that stuff says something about you and your brand. Does it ease in, does it kind of bounce in like there's also another, uh, St. Studios did this really cool, Speaker 1 00:12:00 Um, like sting studios. They do Speaker 0 00:12:02 Work. Yeah. They do really cool work. It's called 20, 21. Cool down. And it's rep PLO, Tom, and it's just like really cool. They designed all these icons and how they come on and go off and the type animation. And it's really a very beautiful system that they got going there. Nice. I think it's really neat. Yeah. What Speaker 1 00:12:26 About, what about future? Oh, I do. I Speaker 0 00:12:29 Do. Yeah. You were. I mean they do really cool work. Oh, I like Speaker 1 00:12:32 How they, about that one spot. The S one Speaker 0 00:12:34 You can talk about S Speaker 1 00:12:35 Yeah. Talk about S Speaker 0 00:12:37 Talk about S Speaker 1 00:12:38 <laugh>. Speaker 0 00:12:39 You can talk about whatever you want. There are these Speaker 1 00:12:41 Two, two S <laugh>. Speaker 0 00:12:43 Oh my God. Speaker 1 00:12:46 No, there is one spot that I do like to show from, uh, St. Studios they did for Ys, this kind of couture, I guess they sell these like one off couture things and they're all done in these YouTube. Pre-rolls it's a few years old, but I think it's a good example. When I, when I introduce the topic of motion and design for social to students, cuz one of the, one of what this, this project does is it's very engaging, right? Mm-hmm <affirmative> like it's visually and, uh, thematically narrative narratively engaging because it's all these, this kind of rub Goldberg, stylized, 3d, where it's, um, all the products are being destroyed. You only have a, a, a limited amount of time to make, make a bid or make a buy. I mean, which kind of, you know, hits the, the fear strings a little bit. But I think it's, it's just a clever, yeah, it's a little FOMO, but it's just a very clever design driven system that works, um, somewhat in this interactive space, you know? And, and it's like, and I think about that a lot with, even some of the stuff I've been doing recently with the, uh, an agency that we do a lot of stuff for, uh, Instagram stories, uh, feed, but a lot of it it's, it's like very simple interaction. It's like, even if it's like clicking to advance the story right. But things are connected. Right. So like very simple interactive affordances, but it's still there. You still gotta think about it and kind of design and, and plan your motion around it. Speaker 0 00:14:13 Well, what was interesting to me about when you were talking me through that project the other day was, uh, how they used AI to change out the products. I just think that's really fascinating. Okay. The next topic is future tech. Now future tech is really a big industry Speaker 1 00:14:35 Technology of the future. <laugh> Speaker 0 00:14:38 Figuring out what it's gonna look like and all of that. And I think, you know, when I curated some examples, I went, you know, to territory and looked at like ghost in the shell, cuz I thought, I just remember seeing that and that being like really beautiful with the holograms and that there are so many companies that like perception and that, that do that in a really beautiful way. But if you look at territory studio reel, you'll see. And even perceptions, like you'll see that they also do this for brands. So brands are coming to companies that do this for film and television and saying, Hey, do that for Ford and for Cadillac. And help me figure out what my dash should look like and my next version of the car. And so I think that's a really fascinating industry cuz you don't have to be a car designer. You just have to be a designer. And you know, when you work on these films, you're certainly not designing spaceships <laugh> in the year. Right. Like God knows what. So it is a really interesting assignment for, you know, a motion designer specifically working on inter you know, pre-visualization for interfaces Speaker 1 00:15:54 And things like that UX. Right. It's starting to prototype for UX and um, I guess even sort of service design too, you can, it's all these overlaps. Yeah. I'm gonna talk about video games. <laugh> Speaker 0 00:16:10 I'm probably not gonna talk about video games cause I don't really know much about it Speaker 1 00:16:14 Other than well I'll, I'll talk a little bit. I like games. Yeah. I've been, I've been kind of playing video games since I was a kid and, and, and I've observed some more design driven games. There's a lot of them out there, just a few that, that really stuck in my mind a game like limbo, super cool, really, uh, kind of new graphic style mm-hmm <affirmative> um, kind of has that naive aesthetic, but it's kind of a dark game. So there's like tension there. It's got nice para and depth of field. Cool. Just a gorgeous game puzzle platformer. Another one I really like is gr that is just more like illustration, like moving illustration, watercolor really nice. Um, frame by frame. Did you sell kind of Sprite? Animations? I mean, there's so many another one I spent like a summer playing was red, dead redemption too, which is just gorgeous. Right? Like the, the environ, I mean I would just sit there, I'd be playing, but then I'd also just stop and I'd just move the camera around and look at the scenery. And it was just, I unbelievably epic in the detail and it's, it's kind of mind blowing. Right. And I've seen, I've been at like conferences where people, you know, academics and scholars are doing things like hacking the cameras of some of these games and like taking photography in these worlds or, I mean, it, it's crazy. It's pretty neat. Yeah. It's really cool. Yeah. Speaker 0 00:17:41 I love that. Well, I remember, you know, more just cuz I'm pretty focused on the brand side of things like a company called north kingdom, they've done some like some definitely just video game, video games, but they also do stuff for brands. And I remember there was this one cool thing they did for like McDonald's and happy meal. I think it's called slope stars where you kind of turn that happy meal box into like a video display and it's really kind of neat. Like, so there is crossover into brand territory there. Okay. So what else about video games? You talked about two dots to me once. What's Speaker 1 00:18:16 That? Oh yeah. Two dots. So like there's a lot of really cool games. There's things I play on the phone. Two dots is a great one. Like it's just a puzzle, but it's it's design driven. Right. It's really pretty. Okay. Um, so it's engaging in that way. I mean there's a lot, there's a lot of um, yeah. IOS or just Android type games. Mm-hmm <affirmative> for sure. Speaker 0 00:18:37 Very cool. Okay. So now we move into experiential. Yeah. Experiential is like video games, but like in the real world. So like Speaker 1 00:18:50 In the real world, Speaker 0 00:18:51 How do we move through a space? How does that space affect us? Like what has motion designers are we doing to that space? You know, historically our work has been on screen. So you have like the piece that brand new school did for make Google do it where they did, you know, some billboards, times square style. We talked a bit about the moment factory. They make a lot of cool shit. Speaker 1 00:19:15 They do like cool stuff. Yeah. And I'd say they do, they, they hit the, like you have the more, uh, like digital billboards, the nine by 16 sizes, like in store, in a subway, in a bus shelter. Mm-hmm, <affirmative>, that's a pretty standard type of, uh, experiential, uh, deliverable. Yeah. Or space, but moment factory I'd say hits the more experimental or just the nontraditional. Like we need you to projection map on a cathedral or we need like, like the really epic, um, hasn't been done before or just like really out there. Yeah, Speaker 0 00:19:52 Totally. But like from a brand perspective they've done, um, like the national arts centers and there's like a whole like the facade of the building. It like works with the architecture in a really beautiful way, but they've done stuff for Microsoft, their flagship store. They've done stuff for Sony. Hey like, so these are like experiences in store that are just like next, next level. So that's really cool. Speaker 1 00:20:18 What about live performance Speaker 0 00:20:20 Live performance? Yeah. Speaker 1 00:20:22 So halftime shows, Speaker 0 00:20:24 Halftime shows graphics for those. You also have just like you going to see your favorite band and you know, there's stuff there. Like moment factory did, um, some stuff for Halsey that was really cool. I've really loved the studio Marose. They do a lot of stuff for like the MTV music awards, which is also that gets into whole, a whole brand for the, the thing. But they, but they also do these like really cool, like just experiential things for really RA bands that I've never heard of. <laugh> Speaker 1 00:20:57 Nice. Speaker 0 00:20:58 Nice. Just very European too. So I don't, which means that it like doesn't have to mean anything Speaker 1 00:21:06 <laugh> they're not hitting you over the head with like, oh, logo and they're afraid you're not gonna understand it. Right. Speaker 0 00:21:11 Yeah. Well musicality, it's just supposed to reflect whatever the vision of that artist is. Speaker 1 00:21:17 You know what like experiential and AR like AR augmented reality. Uh, well did a super cool thing. Industry city mural. Um, I mean, and then of course there's also just all kinds of affordances, whether it's just on the phone, right. Like so many things we can do where you're just like face filters. Right. Um, totally. We bug out with the snap camera sometimes and just turn ourselves into, uh, bananas or, you know, <laugh>. Speaker 0 00:21:45 Yeah. Um, well then there's also interactive installations, like you were talking about with brand new school back in the day, walking and things following you, but you love to talk about drone shows. Speaker 1 00:21:57 Oh, that's right, right. That's another one of my alums, uh, by Eddie, Eddie Nito at hops. Right. And, and I believe you worked on these, these drone shows and, and I've seen a lots of different case studies of them, but where you basically are programming drone drones to create motion graphics, uh, in the sky, right. At like a massive scale. Speaker 0 00:22:20 So what do you, do you create it all in like cinema or Speaker 1 00:22:22 Whatever I'd imagine. Yeah. Something that you're prototyping it in. And then I guess you gotta program the drones, I guess you send the camera information to the drone and each drone knows its path and you know, the colors. Yeah. I mean, it's, it's pretty wild. Yeah. Back to being 3d meshes. We are 3d meshes. Speaker 0 00:22:44 I mean, it's fascinating. It's all fascinating. Um, you talked about projecting mapping with the cathedral. I think, you know, moment factory does a good job with that too, but well, you know, our friends at met also do a bunch of that stuff. That's Speaker 1 00:22:59 Right. It's a fun project that G monk did. Uh, I think we in China and yeah, Peter, Peter Clark worked on it with them, the ISO project. Um, all kinds of cool examples for projection. Um, my buddy, John, uh, my coauthor John Colette. Yeah. He just did a, a projection mapping project in the museum in Savannah, the Epson center. That's really, so that really cool. Yeah. Yeah. Speaker 0 00:23:22 That's really cool. It's just an opportunity to like, get your workout in the world in a very different way. That's not necessarily in a screen in front of your face, you know, that like puts you in an environment and that environment then has a transformative quality. It's really kind of a special <laugh> thing. You know, it's just Speaker 1 00:23:42 Different also. I mean, part of it too, a lot, I mean, a lot with everything we're just talking about too, is, is the affordance of the technology. Like the, the prices of projectors coming way down and more powerful projectors for less. Um, so that's made it more accessible. Speaker 0 00:23:59 Yeah. Could be talking about unreal in any one of these categories. Like I feel like motion designers have to know that that's coming. And just like we were just saying like the price of the technology, like you have video walls, like L E D walls that are becoming much more accessible and they're being built. So what's gonna happen is there's gonna be a lot more filming where the post is done in advance and that's gonna be very much done, Speaker 1 00:24:29 Like XR type stuff. Speaker 0 00:24:31 Well, it's, what's XR explain Speaker 1 00:24:34 That extended reality. So like what they're doing with, like, I know the, um, what was the show? The Mandalorian, the star war. Speaker 0 00:24:40 Yes, exactly like Speaker 1 00:24:40 That. Right. Where they have the stage. I Speaker 0 00:24:42 Didn't know that was called XR, but like where people would normally be on green they're now in the environment. And like the only area that's a little funky now is with feet and building the landscape and, you know, getting that to mesh. But, Speaker 1 00:24:54 Um, and if they need to, what all they'll do is they'll just pop green on the screen behind them. If it's like, okay, we need a shot or a moment in the green. So we can comp it later, like Speaker 0 00:25:03 Easy. Right. It's really, it's just like an absolutely incredible technology to be able to do all that or to say like you're onset and you're filming. And you're like, actually, if the sky was a little gloomier, that would be great. And then the sky is blue mirror. Speaker 1 00:25:21 Right. Speaker 0 00:25:22 Come on. Speaker 1 00:25:23 That's all game engine stuff. Is that all unreal? Speaker 0 00:25:26 It's unreal. And, and others. Yeah. But like, I mean, I say unreal cuz I think Unreal's future, but I, you know, there's a lot of stuff that has to get worked out too, especially for the commercial world to, uh, adopt it because things on the commercial world, we're not world builders because we are shop makers <laugh>. And so when you're making the shot, you're not worried about all this other shit. But like when you're making a film you're world building, you're like, okay, let me build this out. Let me build that out. So you can point your camera in any direction and you're in the world and same thing with video games and things like that. So Speaker 1 00:26:02 Right. And because the game Speaker 0 00:26:03 It's just different Speaker 1 00:26:04 Are, are made for efficiency too. I mean, I remember a bunch of years back, um, listening to a guest speaker who was talking about, he was like a texture artist, right? Yeah. So he was working on games and I guess at that time the games, I mean they probably still do, they have polygon counts, right. There's only so many polygons you can put and if it's gonna work. Right. So like he would paint, he would do almost like matte painting for textures. It was really cool Speaker 0 00:26:32 To see really cool. Speaker 1 00:26:33 So basically like they're UV unwrapping, they're painting all the little scratches and the, and the specular lighting in the texture so that it could look gorgeous in a polygon limited environment. But I think, I feel like my understanding now was with some of this unreal, like they're just able to get like insane level of quality, um yeah. And still be efficient. Speaker 0 00:26:59 Yeah. It's really getting there. Speaker 1 00:27:04 So we're back to talk about, uh, one of the newest frontiers for motion designers. Um, I'm so glad that a motion like, like the king of NFTs is a motion designer. I know that makes me so happy. Especially in like, cuz I studied studio art when I was an undergrad, then I study graphic design in grad school and there's always been like, you know, there's this history why shouldn? I say always, but you know yeah. Decades and C what century or two maybe now of uh, you know, fine art versus design. Right. Fine art versus commercial art. Right. And the fact that like, you know, a motion designer basically just exploded the, the fine art world <laugh> makes Speaker 0 00:27:46 Me, well, Speaker 1 00:27:47 I mean little happy <laugh> Speaker 0 00:27:48 I, so he is, he uses motion design as his tool as his, um, you know, like the way a painter uses paint or an illustrator uses poly. Speaker 1 00:27:59 Right. Right. And what I'm, what I'm referencing is more of like, yeah. This sort of derision that I think the fine art world has had for commercial art. Right. That's commercial totally far. And it's like, Speaker 0 00:28:12 Yeah. That like, because you're using a wake up tablet and uh, and software that somehow the work is not necessarily art has been debunked. But I think the thing that you're noticing is that the more successful people are, they have something to say with their work. Speaker 1 00:28:29 Yep. Absolutely. Point of view. Not only as Speaker 0 00:28:32 You like to say. Yeah. And not only is there expertise, but there's also a vision and they're saying something, so now there's a place for those people to sell that work. So, so like my only real contribution to the NFT conversation is, is like, if you think you're gonna go out and make a bunch of money making NFTs, even if you're an incredibly talented motion designer, you have to think of it like art. Like what are you saying with it? Like, and how big is your following? How do people know you? Like the margin traditional? Yeah. Like in your traditional art world, like you have galleries and you have this and you have like hype people, like in the NFT world, it's, it's different. What all of those things are, but you still need a following. If you have absolutely 30 followers on Instagram, you're probably not gonna be selling NFTs for a lot of money. Right. You know? Speaker 1 00:29:28 Well, that was one of the things that, uh, when we were at the camp MoGraph right. Mm-hmm <affirmative> and the, uh, people was the keynote and he was talking about, I, I thought was really interesting cause he said, whether you're doing motion design or you're selling NFTs or making NFTs, he's like, it's a ton of work one way or the other. Right. As for the NFT, he said, you know, the marketing, like he'd spent years building up the following. Yeah. You know, before any of that happened. So it's one way or the other, it's not just like, okay, cool. I'm just gonna put that stuff out there. Right. Like it's, it's a lot of work. Mm-hmm, <affirmative>, it's a lot of promotion, whether it's self-promotion or if you've linked up with, um, I don't even know what it, like, you know, I know there's the different spaces. Um, super rare, whatever, like all the different spots. Um, yeah, it's still a lot of work, but, but a few people, few of our, our, uh, relations and friends, who've done done some things, um, you know, Shan who we talked to. Yeah. You know, he's done pretty well. <laugh>, you know, he he's sold the few NFTs for not insignificant, um, you know, amounts of, of, of crypto, which is Speaker 0 00:30:38 There's real money. Take it out money. Yeah. Right. Speaker 1 00:30:41 Another one, you know, a contact of mine, Lucas, Lucas, AOTO, he's done real well. Right. Like he's done great. And, and it's interesting cuz he was sort of on that trajectory of building a really big following before, you know, the gates broke open, but mm-hmm, <affirmative> um, he's done lots of cool stuff with his like lable moods and those really just like, uh, um, very approachable, very connectable types of animation. Speaker 0 00:31:09 So fun. Speaker 1 00:31:10 Yeah. G monks G monks done really well. Speaker 0 00:31:13 <laugh>'m sure. Speaker 1 00:31:14 Yeah, yeah, yeah. You know, and Peter right. Internal at internal Peter Clark. Right. Um, he's done. He's done. Uh, pretty good too. So yeah. Yeah, Speaker 0 00:31:24 Yeah. Okay. So that's NFT talk. Speaker 1 00:31:28 Yeah. I don't Speaker 0 00:31:30 That's about that Ft talk. Well, I think that's great that you know, now a motion designer, that's an artist can be putting their work out there and there's gallery space where they can make some money. Okay. All right. Well I'm tired. That's all the things we make. Speaker 1 00:31:46 All those things that got me tired. Speaker 0 00:31:48 Yeah. And if you, if you think of more things, please let us Speaker 1 00:31:52 Know. Yeah. Let us know what we forgot. Speaker 0 00:31:54 Yeah. And if you have examples, Speaker 1 00:31:56 Do it nicely. Speaker 0 00:31:57 Yeah. Do it nicely. And if you have examples of something that's like just absolutely killer that we didn't say throw it in there, especially unreal. I wanna see more real time engine stuff. I wanna see how that's kind of affecting our motion design world out there. Speaker 1 00:32:14 Cool. Speaker 0 00:32:15 Cool. All right. Thanks Austin. I'll see you later.