Tracy Harwood 00:01
That's not really gin is no water.

Phil Rice 00:04
Good. That's the cold open

Damien Valentine 00:09
you're ready to start acting really slury

Tracy Harwood 00:13
Oh no, I thought you were

Tracy Harwood 00:28
Tracy Harwood um so I've done a little bit of digging around and I discovered

Phil Rice 00:35
Ricky Grove followed comes in one little film rice this is the best film that I've seen all year and maybe ever

Damien Valentine 00:49
Damien Valentine. Use the Machinima Luke

Phil Rice 01:02
Oh man. Hello and welcome to And Now For Something Completely Machinima podcast about machinima Believe it or not, as well as virtual production and other related technologies. I'm here with my co hosts Tracy Harwood and Damian Valentine and I'm Phil Rice. Ricky is not here he is down at Antarctica. He left left his wallet there had to go back and pick it up. So he should be back with us very shortly. Two different shortfilms. One is my pick for this month and the other is Damien's. So, I'm gonna go ahead and use the bully pulpit of the host and choose my phone first. There's a number of reasons for that. And maybe the biggest is because Damien's pick is way better. But I really enjoyed this. This is GTA five, Vigilante, episode one. And it's a it's interesting, because the title would imply you know, the title mentions two different video games, right? GTA five, and cyberpunk. This is made in GTA five, but it's made to look like cyberpunk. And is that your understanding as well for

Damien Valentine 02:36
our description, you

Phil Rice 02:37
guys? Yeah. Okay, which I think makes sense. Because the filmmaking tools that are in GTA five, are frankly unparalleled in any other game platform they built in point and click and do stuff. It's amazing how powerful it is. And this, this takes full advantage of that toolkit. It couples it with some very nice editing, and kind of a nice sheen on the visual effects, some very decent performances. You know, there's, there's not a lot of hope there's not a whole lot of depth to this story, frankly, a big part of it, because that's it's very short. But it definitely has a a vibe that that that goes well with the whole cyberpunk future city type of thing. And actually, I think in a weird way, it kind of It blends those nicely because, you know, this is a crime story of sorts, and, and it's in the cyberpunk, which I guess the cyberpunk main story is kind of a crime story too, isn't it to some degree. So anyway, it's amazing to me that GTA five is still just such an astoundingly good platform I realised this this film is coming up on two years old now. But still, the game has been out for more than a decade. It's amazing that people are still using it and getting results like this out of it. And a lot of that is because the mod ability and the toolkit built in for capturing footage and manipulating it and changing it. Again, just there's there's no more powerful machinima platform out there when you're in the realm of games. And frankly, because the the worlds that games like this take place in is so large. This work would be very challenging to it would be very time consuming, very labour intensive to replicate in, let's say, Unreal Engine, or certainly with an icon, but Unreal Engine is totally capable of this. We've seen stuff with this kind of scale, but it's a lot of work. So in terms of expediency, GTA five is just, it's really an amazing platform. And honestly, most I watch a fair bit of GTA five machinima because I hope to stumble upon something like this, which has a, at least some degree of maturity to the storytelling. And honestly, it's a long disheartening search most of the time there, there's a lot of really visually pleasing looking stuff. That is just uninspired. This one, again, it's just a sense of maturity. And again, it's not the perfect storm. It's not a complete story. It is just nematode and I don't think that they've continued to shame. But this person or their team, I wish they had continued as there's some real promise here. So yeah, I enjoyed this and I'm curious to see what you guys think

Damien Valentine 06:20
I was impressed that like you thought it's just gonna be GTA. Was it cyberpunk? Because I looked at the title? And then I start watching, okay. Why did they make this a cyber pack? And then, of course, GTA has got the better cinematic tools because cyberpunk doesn't have any apart from the ones that a modder used because we watched the film about a year or so ago, right? Major cyberpunk. These some tools to do so the camera. I can't remember offhand. So of course, it made sense. And also the modded GTA five to get the cyberpunk look. And if you look behind me, for those who are watching, rather than just listening, this city is from cyberpunk. And what they've done in GTA five, looks as good as the Cyberpunk game. And Phil, you're right, this game is it's not a new game anymore. But when you're looking at the car, there's this car chase going to the in this video in his film is chosen. And it looks just as good as driving around in cyberpunk. I mean, where the nine differences is when you look at the actual character models, obviously, the cyberpunk character models have progressed quite more significantly than GTA. But as far as the cars in the city, and you know, the actual environment, there's not a whole lot of difference. So I can see why we're on top of the having just the camera tools and the machinima tools, why they would do that and cyberpunk look. And they perfectly you mean, you can tell it looks like cyberpunk. And it was if that's what it's meant to. The story feels like something you'd expect in the cyberpunk world as well. And they've modelled the costumes to the jacket, the main character wears with little bobble things on the shoulders, that's straight up the main Cyberpunk game. As well as the character, the clothing options, you can you can dress your character if you like. And I recognise that jacket and comes in very different many different colours. So they've bought that fashion style as well. So it just kind of reinforces this is meant to be in the same world from a different game. I thought it was really good. I'm disappointed I never did an episode two because the first thing I did is look to see what else they've done to have been defined episode two and it wasn't there. And that's kind of disappointing. I hope the creators of this video will just review and take my moves to get back to that because that's the I want to see more. Yes. Yeah. Yeah, obviously big fans so put game see more stories in that world are quite an interesting thing for me. Rather the official fan base and this is obviously a fan base one. It's very intriguing. So please make more

Tracy Harwood 07:07
Let me see. Yeah. Okay, great. Yeah. Now cyberpunk teaser. This is based on or inspired by the cyberpunk teaser release. And I was looking to see when that was and it turns out it was around 2013 ish, so 2013. So this guy Weedons Innocent, was inspired to make this and I have been putting this together presumably for quite some time. Obviously made in GTA five and it kind of really combines cyberpunk with GTA five in a really interesting way, because it's not GTA five, and because it's kind of more than GTA five. But it's less than Cyberpunk. And I think that's a really, you know, how is he done that is kind of the way he's created. This is something that sits between these two worlds. So it's less than one and more than the other kind of thing. And it's almost like what's being told here is the transitionary tale between these two worlds embedded embedded in the culture of both these worlds. I mean, that's, that's fascinating that he's managed to pull that off. Now, I really enjoyed the camera perspective on the car chase, I thought it was, you know, I mean, probably Phil, you think it was a little bit jumpy, but I really liked the way it was sort of following the car on the ground, and then spinning around. And, you know, I really, I really liked the sense of movement that you got through the camera angle, which I thought was was was good. I agree.

Phil Rice 11:09
No, it was very well done. It was

Tracy Harwood 11:11
well done. But the other thing that I really liked was the way the story was told through the daydream. And I'm assuming it's a daydream. And you know, this, you've got the sort of sense of the floating body and the clouds and all of that sort of stuff, I'm assuming that's, that's, that's reference to a daydream. And that's basically how this main story is told. And it's told through flashbacks. And you guys haven't mentioned the story at all, I really like the story. It kind of begins with this, you know, this, presumably a criminal escaping the police in this dramatic kind of car chase, in order to deliver what appears to be some kind of package to someone hope turns out to be a crime lord. And there's this really interesting relationship between these two characters, the crime lord and the criminal, and it ultimately turns out to be oppressive and massively toxic. And you can kind of see the way that that unfolds, I quite liked the way that the female character was portrayed as beautiful and strong. And strong in the sense that she also survived this brutal assault on her by this crime lord, that's fascinating take on this, I think I've rarely seen films that do that, in the way that this is put across, put that female in that position, it's usually a male, that you see, put in that position. And it's, it's, you know, you can clearly see that she's got some kind of relationship with with this bloke. But you don't know what the nature of that relationship is. And it isn't fully revealed in this story. Maybe it's about she owes him money. And maybe what's happening here is that he's not content with just a simple repayment of the debt but has inculcated her into these kinds of criminal activities. And then you get a sense of why the car chase took place. What the, you know, maybe the crime was committed at his behest, and so on. So there's a little bit of ambiguity in what the what the story is, in terms of why that car chase, what was going on with the meeting. And then why this brutal attack, it's kind of these these interesting kind of components if you like. And really that that kind of brutal attack. I mean, it is brutal, it you know, it's really hard to watch that, but where she's where she's attacked, mainly because you just don't expect that kind of thing to happen in the way it's portrayed. And it's clearly her being defiant. And him just, you know, meting out the ultimate revenge bye, bye, bye trying to kill her, but she doesn't die. And instead, presumably, she is rescued. And presumably, she then becomes cyborg. And that's the transition into the cyberpunk world, because she survives the GTA world. I don't know if that's exactly what he intended, but that's kind of the sense of what I got. got from it. And obviously, you know, it's it's badged as the first episode in that story. And I have to say, I really enjoyed it. I really enjoyed what was an unexpected twist on it on a story. I thought it was sharp. I thought it was really well edited. I thought the same selections were really interesting. I thought the dialogue was really well done. I thought the sound design was fascinating. I thought it was really polished. And it was, I think just one thing that I thought, that doesn't feel quite right. And that's that scene where you've got that roadside contractor standing behind the wall. And somehow he just looks a little bit kind of 2Dish compared to the pattern of the rest of what you see. So it just that one scene just dumped me out a little bit. Anyway, I enjoyed it so much, I thought, I'm going to ask this guy were Episode Two is because you know, clearly there was some kind of intention there. But as it turns out, and this film was released over a year ago, he has no plans at the moment to make episode two, which I think is such a pity, because I think he made such a great job of this particular film. I'd love to see more, more of what he does with these with these characters. So I thought it's a really great pick. And thank you for sharing it. Did you hear any of that?

Damien Valentine 16:19
Yeah, I saw that. The car chase. Yeah, I did all of it. Yeah. I just want the car chase was particularly well done. I think we discussed before. sequences like that are incredibly hard to get right. So hard. Yeah. That's probably another reason why they use cyberpunk to make that because you can have car chases in the game, especially now with the most recent updates, but trying to capture that while you're driving the car at the same time that are tried doing it in this photo for this just to get some screenshots of my cars reaching around. And corners, tire tracks appearing as slick going up in the air. And it just doing that as a still image was hard enough. So trying to get whole action sequence. I can see why with GTA. Yeah,

Phil Rice 17:06
masterful editing, particularly that sequence but overall, that was a big strength of this short, but that car chase serious wow factor there like, you know, it's very easy to for the audience to become disoriented if you don't choose your shots and sequence them correctly. Never a moment that you feel lost in this. I mean, that's that's masterclass level stuff. I mean, that stuff that, that there's many Hollywood directors that don't get that right, you know, and the result is this weird feeling of what exactly is going on here? Yeah, this is I'm intrigued and I wish she would return to form I hope that he changes his mind. And so he or she, and I would love to know what his background is. He's because, you know, there's, there's certain it's okay, so there's certain there's certain skills that you can get from that are just intuitive. But this is craft that that editing, that's training or practice or a combination of both remarkable, really remarkable stuff. And that's probably more than anything what pulled me to this other than also I liked the mature storytelling, you know, the dialogue, nothing corny or out of place there. And like you mentioned, Tracy, it's a serious and, and at times, gut wrenching story and sequence of events that that at the end, you're like, you're totally in this. This the main character, this females, you're in her corner, right? Like it's like, okay, so she, she made it now, what's she gonna do? You know, yes. So, yeah, beautiful. Beautiful little pilot short. I hope we get to see more of it. Yeah.

Tracy Harwood 19:09
Yes, he's a professional. Okay.

Phil Rice 19:12
Let's move on. Or try to accommodate for pauses he is okay. Yes.

Tracy Harwood 19:20
Yes, he's, he works for a game company. He's, he's, he works again, I can't remember which game company I did look it up. One based in the UK and he is a professional content creator. So he clearly knows what he's doing.

Phil Rice 19:39
So maybe a similar type of role to what some of the first and second gen machinima animators that got peeled off by the gaming industry they went into, I don't know what their role was called cinematography director or something like that. Maybe he's involved in coordinate Adding and editing sequences and cutscenes Yeah, that's that's what a job that would be amazing. Yeah. All right, Damien. You have a pick. It is called flight. And for all the wow factor that the film we just talked about gave this is truly a cut above not and I don't mean that to the detriment of the Vigilante film, but I mean, this is on a level that is we don't often see I mean this is is truly stunning flight it's called hyper realistic CG sci fi short using Unreal Engine. Tell us about it Damien.

Damien Valentine 20:52
Well, you start with an elaborate story about how I came across my pick. This just showed up on my YouTube recommendation. Nice looking. I was intrigued by the title, especially the hyper realistic CGI part. Because what is that gonna be one of those films that lives up to that title, saying that to get clicks and lives up to that title. So I watched it. And you know, the first shot, you got this the first shot of a human character, I thought I was gonna be live action. And I'm pretty sure it is. And they've mixed in certain elements of live action footage with machinima created with Unreal. There are some parts that obviously unreal simply because the cost of doing that live action. And I'm talking specifically about the chase across Tower Bridge. That's something that a big Hollywood blockbuster would struggle to do, simply because that is a major transit traffic corridor across London, to be able to lock that off to make an action movie for long enough to do a scene like this would be impossible. So but when you look at the character, the girl in it, she looks just as good. They're doing that stuff that she does in the apartment. And she looks so real. It was just that point of, I can't tell which is real and what's not. Now obviously, I'm pretty sure that first shot of the guy's face is a real person, because there's just something about that feels so well animated that it can't be animated, it has to be a real person. So I'm thinking, maybe everything in that one room is live action. And then everything else is Unreal. Now, Tracy, I know you found the behind the scenes video for this, I have decided not to watch that or not because I quite enjoyed the ministry. But this whole sequence is he starts off, he's watching the windows and he sees the girl in the window. And she uses her breath to they can look misty and she writes help on it. And I started thinking, How do you even animate that with Unreal, because you have to animate the texture and put that on the window. And he has to look real as her finger is drawing help because it's not a case of the camera moves away and then looks back and it's there. You actually see her doing it. And it's so perfectly lined up with her finger movements. And there's so many little details that there's a huge amount of work was going into animating this. And then he kind of goes in to help. And you kind of have this first person perspective as as he's walking in. He's got the impression you get his he's got your camera on his head or some kind of remembering what he saw. They just kind of cut to more traditional angles as well as you're watching through it. And I was just completely blown away with how much effort must have gone into this. And it's a good little story that's about 15 minutes long, but you don't feel like it's just a no,

Phil Rice 24:14
not at all. I really quit. Yes. And

Damien Valentine 24:16
then when you get to the end, there's a quite extensive credit section as well. So it wasn't just one person making this as a whole team of people who worked on bringing this together. So I decided as soon as I saw it, I thought well, that's my pick covered. So what'd you think?

Tracy Harwood 24:34
You'll need to go next?

Phil Rice 24:37
Truly. Yeah, go ahead, Tracy. Oh,

Tracy Harwood 24:42
okay, we've got we've got a little bit of internet connection problem here. All right, so you will not be surprised about some of the stuff that I'm telling you. This is the directorial debut of Oscar winnings VFX, supervisor and Framestore's Chief Creative Officer Tim Webber. He's best known for his special effects on films such as Gravity, The Dark Knight, Harry Potter, and also on Avatar. Now, this film is a hybrid of a real life and Unreal Engine creation has basically been done as a test that explores how to scale virtual production, including VFX, and real life performance for shorts, but also for feature length films. And it's been done using something that Framestore have created, which is a proprietary animation pipeline that they've called FUSSE, which stands for Framestore Unreal Shot Engine. Now flight, as I understand it, was released to festivals before it was uploaded to YouTube. And he has used in it what he describes as, as modern versions of the same techniques that were used in Gravity, and it was gravity that he got his Oscar for. So you can see the the investment in how this has been done. I think it's really it's kind of super interesting in terms of the story. And it's, it's kind of interesting to reflect on it. As I think really the context. Well, it's not massively different to Vigilante. So it's quite similar in terms of this sort of, you know, central relationship of, of power and oppression between a man and a woman. And in this case, what you've got is a is a manager of this younger woman who appears to be something like an award winning kind of air boarder in this kind of futuristic city. And again, this this the city is a little bit of a hybrid between I know, it's I know, you kind of talk about it being London, but it's a little bit Los Santos ish, and a little bit Cyberpunk ish. And I'm guessing most of it is probably the Matrix cityscape. I don't know. But I'm guessing that, you know, probably a lot of it is as drawn on that cityscape, maybe with a few added assets and a few tweaks to the atmosphere and the lighting and what have you, I'm guessing, because I haven't actually watched the how he made it either. Now, what you've got this time is the central character has reached out to this passerby who tries to intervene and help. And in order to do that, he has to go. But he has to find out where the skill is gone. So he uses a Total Recall like memory machine. And I think what's interesting with this is that instead of going the meta human routes, with the characters, which most obviously do with Unreal, they've used real people and CGI instead. And I think that's probably fairly significant in the context of what we're seeing in terms of, well, what's this virtual production pipeline actually going to be? How does special effects fit into it? You know, how do we keep creators in the loop so to speak, and I guess that's what he's trying to figure out with this new FUSE toolset. Now, of course, you know, because he's a professional, you've got absolutely great quality here, the edit and the presentation, of course, is I mean, it's exemplary. Its what you would expect. I think why it's interesting is because it's an example of a crossover between, you know, the filmmaking techniques, you know, professional filmmaking techniques, but also machinima techniques. And I, we don't, we don't often get to see the mid, the mid range stuff. But I think this is an example of the mid range stuff in terms of the story. And if we're going to compare it to Vigilante, which I'd like to, I actually think Vigilante had the more interesting story to tell because it had more of a unique twist on that central relationship. This is a bit of a tried and tested trope in this film. Vigilante was a little bit unusual, something that I hadn't really seen before that I can recall anyway. So yeah, I think those basically are my kind of comments. I mean, I think it's a really interesting and creative way to approach storytelling. And I guess why the storytelling is very similar is because, you know, similar to more traditional tropes is because where this guy's come from, is, is the professional industry and not the machinima world, which is where the other guys come from. So I think I think it's a really interesting crossover pick. That I'm really glad we got to talk about on the on the podcast. And Phil, I'm sure you've got more to say on it

Phil Rice 30:15
yeah, I mean, I, I loved it. You know, it's it's there's been a few different times in my machinima career, if you want to call it that, where you encounter a work that is on such another level that it makes you kind of question what are you even doing? Like, what business do I have putting my hat in the same ring as this? It's, it's that good. And the funny thing is, is that the standard for reaching that as has raised over the years, I guess that's a good thing. Right? The first I think the first machinima of peace that did that, to me was Hardly Workin' by the ill clan, in 1999, or 2000, when they released that and they had completely retextured quake two, it had these custom characters, and they were puppeteering everything. And I told Paul Marino this, at some point, later than that, when we got to meet in person, and I just says, You almost made me quit completely. I mean, I said it kind of tongue in cheek, but it was true. Like it was just, there's just so much I don't even know how to do half of what they did, you know, at the time. And I just thought, why am I even bothering? And I don't know, that's, that's a little bit of an immature reaction to seeing really good work. You know, it's very immature, actually. Because it shouldn't be a source of inspiration. And it shouldn't be quite so there's a level of competitiveness. And what's the zero sum game? I think that's the term I'm looking for. Where it's like, there's only so much to go around. Those attitudes had to be there for me to have that reaction instead of just being inspired and like, wow, and not totally caught up. In the fact the this physical manifestation that I'm not the best in the universe at this particular thing, you know, what arrogance there is to even, you know, so I wrestle with that. When I when I watch something like this, it's like, so inspiring. And at the same time, there's this, this kind of nasty voice in the back of my head, that it's just my depressive nature, I think, but it's this nasty voice that just says, You will never be that effing good. Like, there's nothing you could do about it. You will never be this good. Your stuff will never look that good. That's the demon I wrestle with. It's amazing. I mean, it's an absolutely amazing film. I'm going to try really hard to not completely quit machinima after watching it. So thanks a lot.

Damien Valentine 33:26
Cuz I don't want that guilt. I want it. I enjoy your work. So what? You stopped No,

Phil Rice 33:32
no, I don't want I don't want that. But But thank you for saying that. That's not what I'm fishing for.

Damien Valentine 33:38
I'm just saying.

Phil Rice 33:40
It's a sense of this is just that good. It's, uh, you know what the mature response to it is, it's just say, this film is humbling, to watch. As, as a fellow creator, I am humbled by the talent that's behind this. And I agree, okay, I should be a person who's okay with being humbled, you know,

Tracy Harwood 33:59
so I agree with you on on one level, but what I'm saying is, I actually think these guys have got a bit to learn from the machinima community too. And, you know, if you just look at what the guys did with the, the Vigilante film that we talked about earlier, that's a different level altogether. You know, this in terms of the story, and, you know, the people, people that are coming this from the industry side of things, yes, the quality's there. Yes, the tools there. Yes. The way they're thinking about it is they're in the you know, the editing and what have you, but there's something that isn't there, which is a machinima perspective. And that, to me, is where the pros have got to learn from the Indies. So hang in.

Phil Rice 34:51
that's a great point. If Rick If Ricky was here, he would. He would be trumpeting that, I think, because he's, as someone who's had Who has been fully in the industry? He'll be the first one to tell you that the playbook used by Hollywood storytellers is right out of, you know, Robert McKees book Story, they all just use that there's certain structures to stories and this ark, the three act structure, and this is what you do. And there's only I can't tell you how many times I've heard someone say, you know, there's only there's only like six stories in the world. And everything is just one of these. There's the hero who does that. And it's just like, No, man. No, that's just not correct. But there are there are only six stories that make it through the Hollywood gauntlet, that I believe that I think is maybe closer to true. But are there only six types of stories in the whole world? No, no, there's not. So yeah, that's a great point. And I don't that's that's a good point is I don't aspire to be someone who can tell a great story in the Hollywood template. I think my work reflects that, but I don't want that. But the fidelity of the production quality, I fully admit, I covet, covet what they're able to do here. And, and I the humbling part of it is, if I keep at this, at this pace for the rest of my life full I even get there by then. It's so good. It's just so good. So I either, you know, get rich and hire a team or I need to just learn to be happy with what I can do, I think is what it comes down to. So wait until Saturday need to be rich to make this but I'm saying that if you don't have the talent to do it yourself, you. Yeah,

Tracy Harwood 36:56
I was just gonna say you could hire a team of AIs. Eventually. Oh, I read the screenplay. And I mean, I

Phil Rice 37:11
DNI. Yeah. Right, right. Anyway, amazing, amazing pick. It's Damian, it's hard. It's hard to fully digest the fact that this is even in the same category. As far as what went into production of this, it that it falls in the same category as the stuff that you and I do. That's a stunning thing. Because yeah, this is amazing. Now that you've mentioned, Tracy, I am really curious about what they did for the cityscape. If they used that Unreal asset you were talking about the Matrix city, I actually tried to. We'll close with this because this week, Warlord over on Facebook did a did a post talking about the challenge of running out of disk space for all the assets for productions to be worked on and stuff. And Tom Jantol chimed in on the thread, and I did as well. And because it is it's constant battle. And it's kind of a funny thing, if you've been around long enough, the way that we as people in technology tend to think about these numbers, and how we're always wrong. Of how much is enough? How much is enough memory, enough storage. And well, in that vein, I tried to after I did that Unreal Engine tutorial that we talked about in the news episode, I got really excited. And so I went to the marketplace and downloaded all the all the freely available content that I could get my hands on. Not I mean, I was selective, but it was a lot of stuff. Right? And so I went ahead and triggered downloaded all those and one of them was the city. Ah, and yeah, I ran out of disk space. Before that one completed, like it might drive was filling up and I'm like, what, how many? How many gigs? Yeah, but I want to eventually I've already expanded my storage. So at some point, I will be downloading that again. And I really want to get in there and and see it for myself because it's a pretty, pretty amazing resource. And I've got some ideas of something to do with it. But yeah, when you mentioned that, I thought well, that would be a because clear this. This is not matte paintings or anything of that variety. Right. And it's not green screens. It's not it's there's some there's some real 3d going on there. Yes. And yeah, I am curious, how they, how they, how they approach that. There's one shot where something that looks a lot like London Bridge is in in view and I didn't know that that was part of the Matrix city but you know what it It's, I don't think it is likely if you if you've got a system that can load the Matrix city in there than adding a custom, adding a custom London Bridge is trivial compared to that. So, yeah, they could have augmented it with their own personalised landmarks and things to give it a unique feel, which is very smart. Yeah. So anyway, wonderful pick, Damien, thank you for doing it. Most of my talk about it being discouraging is tongue in cheek. I mean it as a compliment. This is it's just as I've as already said, it's just it's really amazing and inspiring work. And if I don't get all narcissistic in my reaction, it's not discouraging at all. But, you know, I'm a work in progress. So alright, thanks for joining us. I'm sorry that Ricky had to miss this particular pick the this this particular episode, because he would have loved I think he would have found stuff to love in both these films. So maybe we'll follow up with him later and ask him what he thought of them. Yeah. If you have feedback for us on either these films or, you know, just want to pipe in, tell us what you think. You can do that in the comment section of wherever you see this podcast or video posted. Or you can drop us an email talk at completely machinima.com. And on behalf of myself, and Tracy and Damian and Ricky in absentia, thanks for joining us, and we will see you next time. Bye