Cascadeur: Changing the World of Animation One Frame at a Time with Alexander Grishanin | GduX.me

[Music] I'll tell you about factor and it's our own Banzai Games is a based animation software but before we get and dive into that program let me just tell you a couple of words about myself so I I actually come from a math applied background I studied applied math in university so I was doing some physical modeling of quantum equations which is in my opinion more complicated than what I do now but actually when I was a HDC Dean in Russia you just don't have a PG student you don't get enough money for living so I was thinking to get a job

and as I loved games from the school days I decided to try to get into gaming company and bunsen games had an internship program so I just helped him and decided to try my myself and I'm pretty fast I found myself working on different algorithmic stuff in the games but pretty fast I switched on to cascade error which had much more algorithms physics in it because actually the games they were mobile games they were not that hard especially at that time it was like six seven years ago so that's how I actually got to into the development of this tool and it was really great fun so in this

talk I'll tell you what actually motivated bonzai games in the first place to create its own animation software it's not something everybody does and I'll tell you the kiss challenges we faced while creating and adapting customer physics tools to the real-life usage and to game production and actually I'll show you how the story evolved from the start showing me pictures videos of the stuff we've had almost ten years ago well but we actually I wasn't there yet with that time so let's move on first how it all started actually one of the founders of the company more than ten years ago in Devon here his hobby was animation and he liked a lot and he took a standard 3d software and tried to find something like a center of mass because he knew from physics and is

actually from applied math background to in from physics that center of mass removal alone a booster curve while the character is in pre-flight and the center of mass seems like the essential thing the most illogical pivot point for rotation of the character and what if he found out that there's no such a thing in standard 3d software and nobody actually speaks about the laws of physics nobody tries to make the animation realistic and although animators do have some concepts of inertia rotation energy and another things that if you dive deeper in you understand that actually that comes from physics and from physics Chris Cruz but of course but mainly animators are

artists and they concentrate a lot on the artistic side and that's a good thing but if you want to make a realistic animation and nowadays realistic animation is more and more popular and actually even in ncg it's used a lot in game in games games were city originally they were Felicity all the time and there are more and more realistic games and the graphics is evolving in games really fast but creating a realistic animation is still very hard and then in cinema they have more and more City also because there are a lot of benefits if your movie is actually graphic generated it had a lot of freedom to do and

actually we see that even the brands that were initially cartoonish they try to move towards the realistic side maybe not everything is ideal there there are a lot of critics of the new Lion King but still Pro are watching it and there's a lot of cool stuff in it and we think that we actually can solve some of the problems and especially those are better regarding the animation the character action animation and here's the problem here you probably know about then can even a ballet act so when a character reaches some certain level of realism the character starts to get scary and if it's more cartoonish then the brain doesn't think that it is

fooled but if it's close to realistic but not realistic enough to fool the brain then it gets area like somebody tries to make you believe somebody tries to trick you and if you pass that early in the actual truth of brain then it's already it becomes a ok and the link ability actually becomes good so what we want to do is to push the character action animation to the right side of the belly but is there any way to push it right now well the main way you can do it is to use motion capture and what some capture is a good thing in a especially it's it does require some cleaning etc etc but probably as people

use more AI in this stuff well more declaring alert it will be better and better from the start but still you face a lot of problems if you're using motion capture because if you want to do a flip well you have to find somebody who is able to do this fit and one of it's not a fluke what if you want consumers like Jackie Chan does you have to find a Jackie Chan or somebody's gorgeous Jackie Chan and then what if you have a complicated action scene where people are riding on a bicycle or writing on something else you have to create all the things and that's that's still while we're talking about people's characters humanize but what if it's horse that you want an invention of well then of course you can do the big studio but it could be costly cost here and then find a costume for

horse and motion capture it but one of its the lion it'll be harder to do with the lion what if it's they moved to that monster or dragon it's so the motion capture does have its limitations and there are actually a lot of them and so this is actually what we wanted to over crown we wanted to keep a meters and ability to create animation like this one it's unperfect something that he will have a lot of problems - motion capture you'll have to do all the scenario cetera and indeed this was not motion capture this part of custard trailer and it's fully hand animation but from this point that's let's go a bit back like a log back actually and see how it started why why did we start

to do this and I show that actually we we've been on a long way already and we feel that there's a long way ahead of us so this is the very first prototype so you can see it's very basic it's 2d there's already some ik' stuff into controls you actually had to do every frame yourself there was interpolation and this was used to create animations for this game that was not ever never published it's just a prototype that he cainy created though at those old times there was a hobby of his and for a long time it just was put into the computer and nobody watched at it but at some

point of the timeline the company decided to move from the football dangers they were doing the those times to actually create a fighting game and it was a social fighting game social network game at that time but it was planned to do real 3d animation for it so the idea was rewritten from scratch and now there was a real 3d world and classical timeline appeared there was interpolation the outliner and all the other stuff minimal stuff you need to create any missions of her the model actually was really simple it consisted of point particles and based on the physical skeleton you could have AI K and FK

just by selecting all the objects down the hierarchy and I actually still use that there were no mesh our bones so it was an original idea and the body consists of capsules but there were there was stuff at that time that is actually not present right now in the program for example with the real-time simulation it's completely useless when you're actually creating animation but it was very fun to demonstrate it for demonstrations and for playing around so can actually see how with the red squares that parts of the body are pinned down so the cause it doesn't move them and then when they're when the spinning is a route then the object-ball

oh and then there was collision with the ground so you could actually play with the coupe's and characters and you could forward simulate and bake down the simulation into the animation and then you have a animation of how to keep fries so that was fun but that wasn't used for real animation production one more thing we had but those days is the muscle simulation so actually this is how it worked you could create the poses and then you run the forward simulation and from frame to frame the muscles work in such a way to make the character move

to the next pose and it also performs the time step and so if all the poles are correct and the character will give his bounce because of this then he will actually see how the fully realistic 100% physically based animation appears but it was really hard to actually make all those poses and if you change anything then you'll have to do everything from the start the character will fall I have to find a way to keep his balance so when you actually when we actually did animations for the games this all was not used and it was just just creating animations looking at the particle points and using the AI K

then other the other thing we used muscles for is to calculate which parts of the turtle body were actually active during the animation so you can see here that looks like it looks nice but well you can look at it sometimes you can see some mistakes in that but this was not mostly used so let's move on to the features that were actually used cremation creation and that I think a Maitre can benefit a lot of problem and the main thing here was the center of mass that's actually going to program why he it but the program was started but it was created so put the center of mass we have a special controller that is tracking the center of mass always so you can see where the position of the

center of mass is located today in any pose and you can do different stuff with it you can lock it for example move some parts of the body and then the other parts will move to compensate and or for example and this is already a footage of the modern program program for example you can look at the projection of the center of masses release to do [Music] and see if this projection is between the feet or on the theater between the focal points of the character then that means that the character will be able to keep his balance in this pose and if not well then that means the character will have to fall so it's not a policy that can be kept static but the real benefits of centre of mass is when you create the animation non-current Boston and here are the main idea let the main rule that we actually found out that makes every animation better is

that the center-of-mass have must have a very smooth trajectory even if some parts of the body move past the center of mass always has to move smoothly well unless there's like a bone blowing out just beside the character if it's all if it's the movement is generated by the character's body and the center of mass has to move swiftly and then in midair when there are no focal points like a center of mass will move along ballistic trajectory and it doesn't matter however the character tries to for example if the character performs the kick or if he does something else with his body still the center of mass will move always along the glowstick curve and the next theme that is harder to understand but it's as essential as the center of mass actually is the angular momentum angular

momentum is actually a vector value so first we visualize it as a vector but that was not very intuitive and nobody could understand only those huh and applied math background I guess so pretty fast we came up with a visualization that you can see here as an arrow on a circle and what this actually means what this position means is that the radius of the circle again from the circle represents the moment of inertia and so the more compact the poses the smaller is the enter and the more open the larger and the length of the arrow represents the angular momentum its magnitude actually and so with the same

value of the angular momentum if the posts more compact the character will rotate better faster and there will circle faster around the ring that's actually you probably noticed how nice Skeeter and pattern has posed to rotate faster and that has like an immediate effect so he rotates slowly and then he rotates very fast that's what this two helps to visualize this kind of behavior and then dreamy mission the angular momentum also just as the center of mass has to move smoothly angular momentum which is something like an energy value it also has to change smoothly cannot rotate fast and the magnitude of then government has to change earlier so here for example you can see that we had to change the animation if we if the

character just stopped after the swing of this world the in government will just put just disappear so there had to be some way to reduce this for example here the initial road was made in such a way that the character actually stepped forward to damp the sports rotation and then will in the pre-flight when there are no focal points and the culture is in midair there's just a simple rule that the angular momentum has to be preserved so the physical law state that you can't change it and with this we have created better mainly with this insurance we had a bit more but I'll talk about that later better which was a parkour runner and where all the physics was really essential and it actually the expertise we had with it was actually with physics

wasn't been used in the game for example during the animation switching we smooth smooth immed the trajectory of the center of mass and with the same tools the animations of the shadow fight 2 were created which was a fighting it had as a metric camera you can see the better and the shadow fight 2 which is actually pretty cool but we wanted to show our animations in 3d so in the next project should have high three we decided to go fully 3d and that actually meant that the reason is standard game engine and were switching to perspective camera and we needed standard animation as an output as skeleton model and so the section meant that we have to extend it from Shannon to kris kedder but it also serves another purpose we

always dreamed about that we will let other people use cascade or not only inside the studio but we will make the program open and easy to use for everyone and so the first thing we had to add is the bones and the mesh so this is what you import right now in the casket or we don't have skin yet and so you imported skinned mesh with the bones and then on top of that you create our saku model which I'll serve all you remember the old model consists of particle points and right now the model consists of rigid bodies which actually makes the recreation easier because you can connect this rigid bodies in any way you want which wasn't possible with the

particle points you had to put mass into the every connection now you could connect anything you want how you want and then on top of that we have our control rig which is essentially a set of controllers used to control the bones and the rigid bodies in a convenient way and here with physics you can always and already basically for free you get an AI K skeleton or you can select any point move it you can pin down some points you can see there red squares those are nurse for the points then you can set it down side the higher you can actually change the pivotal rotation to any point and rotate around it and then we have some standard stuff like Direction controllers of all vectors and you can see if you move in the center of hierarchy the neighboring parts are affected that's because of the

physics so actually transposing it is already a unique experience but let's move on we also evolved our our physics tools also evolved from the start it had a simple tool that worked like this you you have some animation and then and you have your center of mass and it actually the positions of the center of mass are got calculated in every frame so you can select some interval and from the positions of the center of mass and from the the length of the select interval this is already enough for the tool to calculate the ballistic which the center of mass should follow and so then you just press the button and the center of mass moves along this ballistic but surprisingly

our animators didn't use it as much so instead what they did is they threw a node by running physical simulation and they got of ballistic with this knob and then they just moved the character in such a way or just copy-paste it so that the center of mass will be placed in the positions of the Sun and there were some pros and that and we're like analyzed and understood them and one is that this actually a new way so sometimes they use the previous tool but sometimes they do this and that's because this is a new way you can set the speed at the starting frames and see how the ballistic goes and because it doesn't affect the character you can play with it much easier much faster iterate with it

and find the wanted height of the jammer and one more thing is that you actually have this saved so if you change the animation of the character you can you still have the ballistic saved and you can always adjust the character in such a way that it will move along this ballistic so I thought well why don't we just make their life easier we can use that so we ended up adding a two which we call the boosting tool pretty abyss and would this do you actually create this booster curve and it's created just like in the first tool based on the first and last frame and the length of the time between them and then you can with a set of controllers change

everything you want in this ballistic you can change the starting speed you can change the ending landing point you can change the height you can see what time it will take with this concrete height and then when everything is how you want it to be you just snap the center of mass position to the ballistic in each frame [Music] and our animators really love the ballistic tool so we thought well how can we move forward how can we do something something of the same kind for the rotation and the rotation is overall more complicated so if you look at a platform diver if the pose is not symmetrical your results in some really weird spins and that's actually due to precession when the angular momentum is not aligned that's the main axis of the inertia tensor but that's not Dave even

to the math better move on to the tool that actually helps you solve this and that's how this Tool Works we'll we'll just know and see how we can achieve such results so this is our animation and looks realistic so how do you do that well actually this is how the two worlds if you imagine that your character is in outer space without any starting speed or any starting rotation you will actually notice that however he moves center of mass will hold still so yeah like if you've watched some space movies then you know that to move in this space you have to throw something away without it you won't be able to move and that actually means that your center of mass will stay at a constant pace but because of how you move your

overall rotation will change so this is how the overall rotation of the character will change from the animation of the platform diver to actually see that the ending position is not the same as the started one and let's take a more obvious example if the character is rotating his hands backward but the character will rotate forward and that's that's due to the angular momentum being constant and our to calculate this rotation that comes from the pulses and all the other rotation comes from angular momentum and the in government is something that usually can't change quite a bit and that's actually what r22 does so it basically calculates a angular momentum

that will for example in this case fit in such a way that when you forward simulate with the same donor until your character will land with his food on the pole on his stomach on the pole and the animation will become quickly is quick read so it will look realistic and you will get the results you actually learned and it's pretty much the same but more complicated with the fulcrum points because when you work with focal points the fulcrum point itself it actually connects the trajectory of the center of mass and the rotation of the character so during pre-flight they are basically independent and current elements when you have focal points they're connected but the tool most divorced the same so it finds such an incremental such speed and then it changes that actually changes the

trajectory of the center of mass and tries to find a solution that will make you happy as a user and so whether all of this were created they should have had three animations you can see that there are a lot of different animations there are a lot of different weapon types and there's actually three main [Music] classes of the animations it's the strong guys the agile guys the precise guys how we call them and was pretty popular rather popular it had more than 170 million installs across all platforms and we did a lot of animations for it more than 800 animations and one thing

we understood during creation of the physics tools is that not everything not all the tools will work as we want if we use only heuristics so we started researching deep networks neural networks and that's the new direction were experimenting and for now the results are quite promising so we made it - at first what we did is made it to that position the whole character based on only six main points and if fed all those animations we had from the game to the tool and their results were really nice it was already usable - and right now it evolved even further so we had it more usability to it but you can see how

the positions of how the character parts are just adjusting based on the six points and resulting in a really nice really nice process and what I hope to do in the future is that well right now our physics tools they are all work in such a way that the angular actually creates the animation and then we calculate some starting conditions that that are good for this animation and that will lead to a balanced result if the cursor changes his poses this way but in reality what people do is they they do it a bit differently so they first they try [Music] for example they jump and then they

actually change the initial moves they have so they know the basic laws but they changed them a little to compensate for any recurrences it in accuracy that were appeared when they actually made the jump and so then that's that actually means that you have to change the poses based on how the physics works with you and we could do that but theoretically we could do that even with heuristics but then the animations will be really messed up the poses will be really messed up and with deep neural networks we hope to find a way to change the poses keep them nice keep them very close to our animator did but make the animation realistic and find a solution

that will with just basically for simulation our result in something very close to the original animation okay so that's basic we'd thank you for watching visit our website or write us an email and subscribe for our closed beta test to run the code bit test right now but you're pretty close to the open beta test stage where we will just let everybody download the program yeah and there are any questions I'll be happy to answer them yes I definitely have a lot of questions well thank you Alex for kind of walking us through that I think privately I talked to you about your company and what you guys are doing this is a gigantic leap I think the last time the animation industry have been shaken

was the mocap workflow right and that was decades ago the animators I think if you can kind of kind of paint a world for anybody that is kind of working outside of that discipline on how long has it really been for animators really changing a different way of things and having new toolset to play with it's to me at least from coming from the environment or the art side it's been a while hasn't it yeah shirts actually it's when I got into all this from that time basically nothing changed so it's more than all the programs that are used in the animation creation they're really old they're like 30 years old like older than me at least 20 years old or something like that so

yeah the motion capture did evolve a lot and I think it will evolve further but as I said you can't do everything with it so what we think is that with the involvement of the tools we hope ours but if even if not ours I think that this physic beast to approach will evolve anyway and at some point of time animation will be way way simpler than it is right now right now there's just a lot of routine in the work and routine is of course something that can be automated but what is pretty strange if we talk about animation and pretty strange it was to me when I got until this is that it's like in computer

graphics for example using science using physics using equations is just it's very popular and the tools are very complicated and the rendering is very complicated and there are a lot of tools actually the serve artists so this rendering doesn't mean there nobody does the textures but it means that it's easier to do them and something of the same kind will happen in animation and we'll try to provide the tools needed for it we actually give that early start so although we came a long path and the program is actually ready for usage but

there is just a lot of stuff and a lot of ways Moochie will make it more convenient and until they release I think that it will definitely change a lot and we're moving on to something that will be really easy to use so right now our physics tools they have some amount of protein yes they let you reach something that was really hard to reach actually there was something that was pretty close and you probably heard of it too I don't know if you did and Gurfein yeah they used that in the GTF four or three four right that's where I first heard of it and I remember briefly that the before LucasArts kind of shut his door it had like Indiana Jones kind of demo

with it as well where it kind of was like a assimilation it was like a car hitting a character or something yeah they actually had two things it when you're talking about its euphoria I'm not hungry and that is the simulation real-time simulation and anything was a actually a tool in which you create animations that your expert and then use in the game or somewhere else but it had it utilized the way of creating a animation with forward simulation so you you change the poses and then you have to so that's basically close to what we did at the start you change the poses and then you forward simulate and you move the spoon as you see the result you get and then you can edit them and get the results

you want I think you can blend into the hand wind animation but working this way that is actually really hard and it takes too much freedom away from you so what we hope to do is leave all the freedom the inventor wants to have and just give him the tools to make it look nicer so yeah that was a so we hope to overcome and progress in what they well I don't know didn't finish yeah what are the some of the challenges that you guys are facing now because I think with every new tool especially in aging workflow like the animation discipline there's a lot of old guards that are so used to my graph editors and my lines that they're not like I got to learn

something new what other challenges besides that have you guys been encountering with not just game development but like all the other industries that are seeing this as an obstacle well actually the game development was the best for now the best industry we faced because movies are yeah they are much more robust and conservative and and animators do and so yeah what you told is exactly the main thing we've pasted it's like we met some companies and they're very happy and they want to use it and test it so yeah

some of the companies we met that just outright asked when will we make a plugin for Maya and we're like well we'll see but for now we don't plan it so sorry and or something like so how do we connect this program with Maya which is the heart of our development but you can connect it of course you can import an expert to fix in the hospital and actually we did even use it with in collaboration with Maya and we use it for this in collaboration with motion capture because what you can do is basically you create you you motion capture something and then you put it inside customer and then you change the animation but keep it physically correct because if you just change it it will be

too different but sorry I got off topic so the challenges well one of the challenges are crunches so people are in a constant crunch and they're like oh we'll try to use it we'll test it but like the next three month we have a crunch and once the crunch is finished we'll try your program at and that happens a lot and seeing this I think that sometimes the community of the beginners is actually more it's more friendly and for now there are a lot of people who are beginners in animation on our forum on our discard channel and yeah they create a lot of movement a lot of commotion and

their destiny a lot so it's it's pretty cool and it's pretty neat well then the graph editor for example we really do not have a graph editor we do have very good working creditors etc but they don't have a graph editor so what can we do so what can we do here well basically our solution for now is that yeah we'll have to add all that all that stuff that people are used to will have to add it and that's what we are working right now and what they're working towards is a way to make this tools and add this tools easily so that the graph editor we're working on writing that narrator and allowing to customize the reek all the way you want that's a true but but

for the other part I don't say that there are as many business challenges but maybe we still haven't faced them because we're like in the close better stage they're not taking any money everybody's friendly everything's nice we get invited to different conferences and all that stuff is really good actually leads into my question that the audience is asking so is there like a maybe you guys haven't figured out the pricing for this yet but currently it's in beta is there gonna be any differently tear how you guys rolling out a tool like this and I'm sure you guys are if you guys are too early you don't have to say it but that is a question that's being s

well it's not like I kind of 100% guarantee but actually first of all I think that pretty soon will announce some presents and some limitations and the idea of Everett now is to be as indifferently as possible as we do have some like you know funding because it's a it's a project of once I games so we don't have the financial support of the company of the game company we don't mean to like make money and be profitable as fast as possible so we're not worried to get like some fast money do you think that in the long term the indifferently approach is the best way so what we are thinking about now is a

free version for all indie developers or it will be either a team limitation or an income limitation well that is quite standard I think it will be just a free version for all these people or at least and a very reasonably priced in diversion but probably a free one and then of course the base support some pro versions or Somerset support versions well Alex one of the things I actually want to segue into to this is kind of actually touching on a subject that we just talked about but yesterday when Jonathan Holmes came on he was like a representative from quick soul but he was coming on as a self but the world of photogrammetry so when I hear and see

what you guys are do with animation I kind of see some correlation between the two where the resistance at first is always always at least as you kind of talked about during development right there's not a lot of time for professionals to kind of put time aside to discover new tools and to better their workflows even though they should but the the killing cycle of eight hours a day dedicated to the work it really takes a lot of the times I feel like the younger talent that are eager to kind of go home and discover these things and bring it back to the office to have this kind of grass root movement where they like kind of change the office mentality of of uh maybe we shouldn't animate with Maya's much before has before her you know that's pretty much that type of a conversation do you feel in your experience that look

at how I I wonder what your perspective is on that with with Oder developers not getting in with the new stuff well sure there are different um treat older developers and some are very friendly some like new stuff but yeah there are a lot of people who first don't like anything that is not like what they're used to there's just a lot of people like that and for them well probably we should make more options for them to switch into some setting that would be really close to what they're used and second there are a lot of questions if you have like that that that that which is a like complete list of what they use in Maya

so yeah that's definitely the case especially for animation and especially in movies in game development the the average age I think it's lower in game development and maybe the companies are richer and they don't have as strict timelines and they're more open to new technologies so we have had a lot of interest from the game industry not from other industries and we were really happy about that and and then there were people who are just animating as a hobby and actually we had a we did a new code we questioned our audience what program what other animation program they used and actually among the people who signed

up for are called beta tests and answered these questions there were more blender users they were almost the same number but there were actually more blender users than my users so what do you think from here this is that well it it was like 40 percent of people were professional animation I think and the other were mostly people who are no Weiss and those people probably is blender I think it partially is connected to the fact that mine is actually really pricey if you just want to even if you want to use it for a whole beat it still you need to buy it and cost a lot so people are switching to free software like blender yeah so basically this people

who are not or just doing animation as a hobby and part of those people are just young guy students or doing this as a hobby and then they become professionals so the part of our plan is that we concentrate up those guys and then with time they will grow they will they will be more skillful they will go to work and that is part of a way we can get into the market but we also hope to improve the problem so much that it will be just obviously good yeah and I kind of sign off with you on that because

until what see dichotomy is sponsored by Autodesk I'm gonna say Auto Dex is showing its wrinkles at least from the 3d art side as well and I am seeing this trend towards blender because for a long time they've been the king king of the playground they've been the preferred program and at this point I think a lot of studios are still using Autodesk tools but because of the lack of the updates in the lack of competition they've gone really stale I can't imagine oh I can't think of the last five years a major feature that I've used within my or max that I felt like was deciding lis the best thing out of all the 3d software if anything what I've been seeing over the wall has been moto or all these 3d software programs or blender even having these really cool features that I wish I had and so I

think in time if anything the same with what you guys are doing with the kiss Casa door is that there is a movement that is happening among game developers right now especially if you're in the programs working with 3d that not just animation but 3d and all the other disciplines that are using my or max are kind of just looking to change and make make their workflow better I think it's it's all happening kind of right now is what I am seeing talking to you talk - Jonathan yesterday talking to people who are using blender it seems like everybody is kind of well metaphorically meeting in the middle here and saying yeah we need to change what we've been doing for the last ten years because it's been kind of boring and it's been

kind of slow like nothing nothing exciting is happening in this space yeah I totally agree competition result is always good actually it's always it's always nice to have competition so and one more thing is that concentrating on the realistic animation I think it's it really something that a lot of people would like to see that I personally would like to see actually I I really loved dinosaur teams from from the time I was a kid and yeah the Jurassic Park is great but it's not as believable and it's not as fill this with action as I would like it to be so creating this

virtual world worlds with fantastic creatures is definitely something I personally dream off and I think with bass guitar we remove it moving towards like actions action stands that you want and including the realistic action scenes of different characters or for example humans with super abilities I know a spider-man that is actually physically realistic that would be awesome I definitely agree with you there there is at least in the animation world to me as an outsider that just likes things being animated it feels like the the stylistic way of doing things weird

like the pic stars or these these kind of like a 3d rendering not 3d rendering what you call it what is that mystery call animation industry but it's kind of 3d animation industry but are yeah kind of cartoon but you know what I'm talking about DreamWorks sorting sorry they are definitely hold hand King as the profit but at the same time I totally see cuz gasps door I always mispronounce sorry helping with that Department to kind of help move that so it's not completely like frame by frame hand animation but also the mocap world right isn't perfect yet it's getting there but as there still needs to be a lot of clean up that an animator would have to do and becomes a lot more technical than creative and so there is that middle ground where you know you're not really getting a guy in a mocap suit to do spider-man moves that I that that

I feel your program and your company is is is a good choice to fill and it's great man though I think anybody that sees a demo from you guys instantly get it so it's just like that slow trolling movement among older developers to kind of just you know just move aside and yet the young developers kind of take over a changing of guard always takes time with new programs I've seen I don't know any new software that takes the the industry by storm even blender was five ten years in the making and I remember and I tease with every speaker that's been on here like I was making fun of it for he really kept and now I'm asking for tips from these with Jonathan put it best yesterday these vegans that love talking about blender

all the time I'm going that back to them and asking them for tips of how to use this so it's it's always funny how it works but it seems to be the case every three to five years so we are at the hour of the presentation here and I want to thank you again Alex for joining not just today but yesterday on the roundtable but if you don't mind maybe he can throw back your your closing slide so that people can be reminded of yeah of where to find you how to download the program and what to look forward to are there major dates that your company is aiming for I know you have this looming announcement what can people expect in the coming months with that yes we're we're hoping in the start of the next year to launch our open beta test we will launch the new versions of course but this before that with some

improvements etc but on the stage of the open beta test anybody who wants can just download the program we also plan right now in our license agreement it said that you can use it but if you want to use commercial purposes you have to contact us additionally and you think we'll move on with that too so you can basically use it for commercial purposes at the time you downloaded it and then this open beta version it will include a lot of a lot of inside work a lot of refactoring that were lost in the future to move much faster actually right now the stuff is hard-coded helped a lot the the rig is not as dynamic and can be changed as dynamic as we would like to

be changed so with this new updates we'll move on to what I did not editor which kind of looks like a classical stuff but will add some elements to it that are not bicycles on elements and then will also change the graphic user interface a lot and fully move to the new engine ad dark theme which is right now liking and now we understand that it says something you have to do encryption on software and there were the a lot of other improvements so stay tuned and we'll try to make you happy give you the best animation software awesome well thank you Alex for coming on and being part of

G Ducks day three and closing us out and we are looking forward you to talking to you some more yeah yeah I'll be happy always happy to see you and thank you [Music] perfect - alright alright Alex oh thank you again and I'll catch you next time for sure you [Music]