Welcome back to the Q&A. This is part two. Let's continue to go down with the list here The last one was about rigging. So the next one is by and as always by the way I'm reading out the questions here just in case you're only listening to this and this is by J Big C as always the names will be butchered and apologize as always I'd like to know your opinion. How much do corona virus damage the CG industry? I'm planning to move to other company, but I'm not sure if I can find a new job in my country Thailand Things not to change much, but I'm afraid that some companies may already have financial damage Sorry for bad English. Don't be sorry. You're learning another or you're speaking other language That is always a tricky thing. Trust me. Now, how much has the virus damaged the CG industry? To be honest, I don't know. I think it has Superficially again, I'm not privy to all kinds of you know internal information and if I would have them obviously not tell them here But I think the live action industry is going to be more impacted than the CG industry So if you're asking how much it's going to damage the CG industry The CG industry might potentially even flourish maybe because maybe they can transition some franchises into a CG version of it Or whatever they thought was going to be live action They might just do it all CG this could be now an animated feature Maybe they should consider doing Remakes of live action movies as animated features. I don't think there might be because you can't be on set It's gonna be very difficult to have multiple people on sets It's dangerous and it's a tricky with the virus and the security and just being clean and safe If you can work from home and do a movie from home I think that might be the better way, but then it's always tricky with you know The sound design gets with the music to scoring so it's tricky, but I think It definitely has an impact, but less of an impact in the live action Territory that's my probably uneducated guess Art not art style Lee at style Lee at style Lee How do you go about animating shots without reference some productions don't accommodate the time to shoot reference and explore ideas It would be great to know your process for this. Thanks. Great job. Thank you so much. How do you go about animating without reference? That's a great question It comes up I think every time and it's important to note that as much as I stress the fact that you have to have reference or at least Act it out for yourself. So you understand how it feels at the position everything You always learn more from seeing reference body mechanics some intricacies some details Especially when you go more towards the live action or more realistic feel and look of CG But you have to absolutely be able to not animate with reference Sometimes you have shots as it says here. What do you do? You don't have it You might have a type of shots or a type of shot that doesn't have a reference counterpart We're just this is something weird never seen this before. It's a complicated action You can't act it out and no one has ever done this before so Either you just make it up and you just rely on your experience and Other things you've animated that you can then all put together into one shot And that's I think a skill to have and it's really important that you're able to do something really cool Without any reference You just have it in your head you might do some thumbnails and then you can still animate ahead and it's still gonna look cool if you have a shot where You know, sometimes it might be fantastical in nature may be a creature animation or something And you don't have you know the exact reference that creature does not exist My answer is always try to find something that is somewhat similar So you can route your animation in something real so that the audience can make somewhat of a connection It's if it's completely alien in all aspects like the look the how it moves and how it sounds Then could be a hard thing for the audience to connect with because there's nothing familiar I don't know what this is But if you have any type of creature and then you know big org and then it kind of starts moving like a Like a gorilla you go like oh, that's interesting. I kind of know this or you have some weird alien creature That's supposed to be cute and it starts sniffing around like a dog go. Oh, yeah, my dog does that Oh, I get this and blah blah blah blah blah So I think anything where you can find something that will somehow help where it's you know somewhat similar that could be something and Again, if you don't have any reference thumbnails, you know, they might explore poses or actions through that medium And it's not as you just have to make it up and then rely on your past experience in other reference You found and it for something that's not related But then kind of piece it together avenge your style and make your awesome animation that way I think we may or do Tio I think we may or do Tio maybe can you explain a bit on the line of action rule, please? How does the person follow the form to see the curves when stunning an animation? How can it be applied to your sequence and when you're drawing from a reference you acted out? Finally, does it apply to only the main poses or the breakdown as well as everything, you know We have principles of animation and they have quote-unquote rules and everything can be changed and tweaked so that it works for your shot It's almost kind of isn't saying well, that's the rule You got to do this but line of action definitely is important at least to me where it helps you Simplify in a way and clarify the pose if you have something where look at my screen here. Oh, I'm like I totally bent and it's all it's just all Ugly posing and just you don't you don't understand the twist in the it's another clear a clear line That to me just models the animation and makes it kind of hard to look at But if you have something where I put my phone down here if you have a pose where probably can I go further back if you Have a pose where? You know your character would be standing maybe I can I can put in a pose in there that has a nice line But something where you are and you look up and yeah, I'm breaking frame here But it goes from your leg through your body up into the head and maybe even through the arm holding Whatever you're holding it just makes for a nice appealing line that also is a Clean indication of what the energy of the shot is if you hunch over if you're attacking It's just it just makes it all Cleaner and clear to the audience the audience might not get this that might even be okay with the crappy pose It's all bent and everything but it just all adds up where you have a nice silhouette be like a body silhouette or even Like a color silhouette a nice line of action is clear posing the time all that adds to a nicely composed and constructed and Clear shot that the audience will understand anything that's kind of struck it with a view or a bad pose It will just add a layer of potential confusion and then that doesn't help the storytelling and so on and so on So anything that where you can help with a clean Presentation of the storytelling pose that's gonna help your shot and a line of action It's gonna give you just that clean line of that's the energy of something dynamic or something That's a bit more reserved or whatever you have and I'll there's a very classic Screenshot screen shot a drawing with all the line of actions I'll blend that in as I'm talking now I'll put that over there and you can't always go from the foot all the way up to the arm Maybe there's a weapon or as a flag or something that has that nice clean line But at least try to go from the torso in someone into the legs But also the heads sometimes you have a nice body pose a nice line of action And then the head is all crooked kind of breaks it I would still find the deck the mat like a line like a stroke when you draw it like that's the line That's the action That's the nice feeling that you get out of that pose and how can it be applied to a sequence when you draw it From reference you act it out. I mean also depends how you act it out But I think anything that you do and I'm assuming is mostly all those topics are for cartoony stuff You really want to simplify and caricature and stylize the thing So even in your reference you might have a pose that you like or something acted out But it still might be too complicated or too complex in terms of the silhouette and the line Just look at what's the essence of that and then you can draw your line of action go That is the essence. That's what I want the energy to be and the pose feel to be so everything that you have always comes down to Okay, that's cool. But what's the essence? How can I stylize this and what's the action and how can I caricature that to make it for to me? Because you don't want to just replicate real life unless again You're going to be effects and more realistic animation and does it apply to only the main poses or the breakdowns for me The main poses for sure the breakdowns as well Sometimes you have messy breakdowns and it kind of helps you when you have motion blur that you can't really see What's going on and whatever you pose but Depending on the action I still go frame by frame and try to have something as clean as possible It's almost like if imagine you're hiding the character and you just have that line and that gives you that wavy Maybe it's a flag like thing or just something where if you just have to tell the story the energy through a line Through that line of action. Is it clean and does it you know Does it go from nice changes and post changes or is it sometimes poppy and crooked? And I think if you if you're able to keep that as simple as you can to me At least this is only going to help you with the clarity of the shot blue polygon. Oh That's a long one. Let me read it here one. I think your animation be phase awesome. Well, thank you very much I also really like your reviews. Thank you so much. Now. Is there any chance you'll also show some blender rigs I would love to and I've getting I've been getting more and more questions about blender It's just all a matter of time I think I wrote that somewhere in a comment where I would love to learn blender I would love to learn unreal love to learn a ton of things but right now it's very tricky and especially right now it's very tricky because I have a lot of classes that came up this Semester and it's usually you don't quite know which class gets approved or not So kind of say yes to most of it and then you'll see what happens and for some reason this semester everything get approved so I have five classes they got two animation mentor classes starting actually next week and Three Academy classes right now. So I'll have five classes going on at the same time plus my workshops plus my day job Plus the YouTube channel and obviously all of that underneath my family Interactions and and all the things I want to do with my family. So time is a bit tricky right now So to go in there and then spend the time on learning something that will take times. It's new I don't know blender at all. Even though they're great tutorials out there I would love to do it. That's the that's that was my long answer the short answer I would love to do it. It's just a matter of time where I can find because I don't want to go into blender and Go through a rig and not know where to find things. It's gonna take me so much longer to record It's not going to look like I know what I'm talking about. I know that's gonna be beneficial at all So I'm hesitant to start that right now having no knowledge there. I love anime. That's the second question here I love animating, but I still need to learn a lot. We all do don't we? I find trouble in thinking of something to animate I oftentimes pick a challenge from such websites as animation island or your spongebob log But I always seem to get hang up we get hung up on finding creative actions for the character and often my creative process stops there and I'm dropping the animation fully get that Do you have any tips on how to improve my creativity when it comes to scene setup and giving the character a purpose of doing something? That's a great question question, especially the purpose the first half I would say my moment plug my acting analysis and tips right mirrors again I think just like last time is that's why I do though that series and just yesterday I watched I think hold the dark or hold on to the dark I should know the title and again I watch it took a couple notes And there's great ideas that came out of watching that movie And I think for me the scene set up the scene starting or something that I want to construct Me analyzing those movies and TV shows has helped a ton and like I said last time you might Because you have so many things that you saw you might come up with something That's going to be a mixture of multiple things and it's not going to be a direct ripoff because it is based on multiple things But at least it's a good starting point and it's something that's going to help you Get somewhere and then through feedback you might get somewhere else. That's going to be much more original But for me, that's the A side. I will recommend that selfishly But that's why I do that series so that it's a springboard for ideas and the second part of here is Giving the character a purpose of doing something That's interesting because that's that to me is ideal where your character has like a want and again action There's a desire to go somewhere if they're through something they want or something you have to go physically A to B And I think I would always look out like for me when I when I think of ideas This is usually when I have student work and I try to come up with ideas to help them is Who is the character? So maybe you got to bring up a little bit of a backstory of who that character is and and I like having as you all know If you watch my channel, I like sets and props. I put them in environments and that gives me also more ideas Oh, would it be cool to do this with that? Would it be cool to do that because of this wherever the character is all of that gives me more ideas and then you can look at Okay, maybe there is a conflict maybe there's a problem and By just coming up with a random problem again It leads to other ideas and through all of that to me at least I end up with oh that would be cool If the character wanted to do this in order to get there This this and this happens because of the outside environment or because of the conflict and that's kind of how I construct my ideas or Hopefully they're helpful for the students if I do anything I work around home. So that's the process. So acting analysis and tips for animators as a springboard and then just any type of backstory for the character and anything that you put the character in Might be helpful Do we do crystallize out the idea of what does the character want? But I don't have a immediate quick answer to that because that's always the tricky thing right in the shop How do you come up with a great idea? What is something that the character wants to do but he can't discount also personal experiences Like what is something that you wanted to do that didn't happen Can you take a simple idea to something that happened to you today yesterday last week last year and then take that and Stylize it and caricature that moment. You can also just be an action that you did something you did in the morning I can basic routine take that idea. I'm gonna brush my teeth, right? That's my idea But now I'm gonna add a conflict something happens or let's say something that sometimes happens to me And I should do it right now. I shave and I have electric You know razor type of thing and what if halfway through the battery dies and then you end up with one half as a beer And the other half is clean that could be so the action is I'm doing something daily or go somewhat daily I I shave Here not here and then you add a problem as I had a conflict Well, maybe the battery dies and there's not a tool so now the character ends up with half the beard and How does the character use that or get out of that problem in a in an interesting way? And now you have all of that based out of a daily action that you do So that's kind of how would look at anything you can find through watching other things or look at yourself and experiences Or ask other people. Hey, what did you do? What happened to you? Something that was weird or funny and then you take that and then go through all the step Stylization caricature and then expanding on things. So I think it's other people's experiences your own experiences and reference that you can find I hope that's helpful The third question here is to practice I like to watch references study them and animate them any suggestion for good interesting sources I personally follow some athletes and stomp men on Twitter. He has a guy that's recently He said just use anything that I have for animation purposes. Just go through my Twitter. It's I'm sure it's also in my animation minute But that that is definitely a good idea Athletes stomp men and any suggestions suggestion for good interesting sources Oh Acting analysis and tips for animators on my channel. I would plug that you're doing some awesome work on here. Thank you so much I'm happy to see that your audience is growing. Thank you. Thank you for sharing, you know, your knowledge Thank you for your knowledge sharing. I can't even read but you're very welcome And thank you for watching my stuff and taking the time. All right ever six. That's the username Hey, JD quick question. Did your movie get delayed as well today? Star Wars stuff. I'm not sure what that works I can't talk about anything about any schedules. I can't answer that. I know you're on space jam So maybe not as for me. Yep 2022 with a job security for me Although I still don't trust companies and I make sure to continue learning new things. It's interesting sentence Can't trust everything. I mean the companies are just reacting to whatever is going on It's not like they have a master plan.  It's not really that doesn't quite how it works. Anyway, still on the clock I'll come back to this video later. I'm watching your spider-verse rig. Cool. Cool. Cool And my mentor doesn't think it's a good rake and says looks rushed, you know Maybe your mentor has more information there about the rig and better rigging and modeling knowledge Obviously than me if I have zero knowledge, so maybe it is I don't know seems like a lot of people like that rig and did some awesome stuff with it I'll send him your review. He only saw sir waiting how to install M gear stuff in Maya Yeah, then maybe you should continue exploring it and maybe it doesn't work for him. That's totally fine, too Oh, we just realized this video is less than two minutes. Just watched it. Okay I'm not sure there were any questions in there, but I wanted to go through it and address it acknowledged You wrote this here Carlos Oh, Siguerra. Oh, Siguerra. Okay. We're Names. Sorry. Hi Jean. It's not Jean by the way. It's either Jean Denis or JD. Hi Jean I was wondering what is your opinion on social media as a way to distribute ideas and animations and as a way to promote yourself or oneself Do you have any advice on how to approach this? Is it worth it to pursue the internet presence as an independent animator? Thanks That's a good question, especially an independent animator. My current Answer to that is yes. It's worth it again subjectively. I feel like you have to have your whatever blog website It's easy to something for free nowadays where you have easy access to your contact information You raise me cover letter and you're real embedded as a video put it on Vimeo. I think those are all easy steps I would definitely recommend having linked in because that's where all everybody is and I see a ton of really great stuff on there And it's your professional network and you can fortune connections You can see who's hiring and who's looking and who's available so I definitely have that your own thing and linked in and to me I see so much awesome stuff on Instagram and Twitter I'm not on tiktok. I'm sure there's awesome stuff out there as well Actually, I think your tombrew highlights a lot of the best animation related content on tiktok But I think it's there if you have anything that's cool that you like just post it there If it's anything that's working progress you can just mark the work in progress and post it there I see a ton of stuff and it's really cool and it leads me to find or look at the biography or the bio of the Of the anime. Oh, that's cool What's that find the website or something else for the big portfolio and then I can see this if it's really cool You can forward that to HR and go. Hey, this is a really cool Animated really great work. Maybe look into this person. I think it's it can only be helpful to Expand your visibility to me and as I tell my students if I'm on Twitter, right? And I see something I see an animation and it auto plays or I click on it to play it And it's not exactly what I'm looking for or I don't think the quality is quite there The worst thing that happens is I'm continuing to scroll through my feet.  I hope there's no idiot out there that does that to me I scroll through it's not quite there yet But it might just be let me email myself this this person this artist and maybe check in in a couple months You see how it is and the best case scenario This is really cool. Who's this and again that leads to all of them Contact this person or follow this person or or Forward this person to HR or whoever that might be looking for animators I think the upside is better than the downside when it comes to just sharing your work And I say this very naively The with Twitter. It's also a massively negative side We might share something and get a lot of comments that you don't want to get then and depending on how you How you're presenting something or who you are instead of getting encouraging comments it might go into harassment again I'm not saying Twitter is great. Twitter has a massively as probably all of you know dark side to it I think if you curate the feed where you have the the whatever you follow is there as a learning tool I think it can be great and as an artist to promote your work I think it can be great too with everything is always a You know a pro and contra pro con in terms of positive and negative. So I say yes I think it's good there to have a presence and Especially as an independent animator where you need extra tools and those tools are free So anything that will help you with your visibility and promote your independent work But as with everything everything has pros and cons and negatives obviously so you have to weigh How is that going to work for you? Are the are the pros outweighing the cons and then go from there because everything ultimately is also very Subjective and individual to your situation. So I can't really I can give you my opinion But as always you have to filter all of that and make your own choices there Samantha Griffith Griffith gets back early in the morning. It's not that early by the way. It's 8 a.m What can I do to get the school learning experience? But at home if I want to go to the self taught route are there daily exercises should be doing? How can I give myself that school structure? It's a great question recently made the hard decision to quit my school would love some guidance on any of these topics Thank you so much for doing videos like these. You're very welcome This is a great question the first time I'm getting these I think what can I do to get the school learning experience? But at home in terms of daily exercise in the structure. I think the thing that helps with school is The deadline I think that to me at least me was always the thing that was helpful It's because if I'm just doing something at home and I have no deadline And that's why I like doing the YouTube stuff a lot because it's a self-imposed deadline Like I don't have to post anything take I can just stop any day now right in a minute But I like having that scheduled and like for instance like the actually analysis clips to him that again I like having a good Thursday some a specific day because that's the deadline I got to do this now because otherwise it will never do it and I think if you want to learn at home That might be a big benefit and you might maybe Benefit more from something like the 11 second club where you have the monthly deadline. There's the Adam challenge They're all kinds of contests out there. I mean I do my my contest at the school academy That's only at the end of each semester. It's at the end of Spring semester may ish and then the other one is in December. So it's not very regular, right? So you should like the 11 second club is every month. So to me I think there is the 51 best animation exercise I think it's what it's called. There's definitely a long list that you can follow there And I would just try to find a way to impose deadlines on yourself where Maybe you tell someone for accountability and that person will check in with you and say, so where is it? What did you do or something with a deadline like a contest and maybe Worry less about am I gonna win this contest or not? But it's just there as a deadline and the pressure of I got to deliver this was that's the date So I think that might be my biggest piece of advice and if it's helpful, but That's what I would do. I think for me the school structure is the deadline and depending on where you are Like I teach an animation mentor an animation mentor has a really good community for feedback and help So I think it would be schedule for for deadlines to pressure yourself to do something and deliver something and Having a community that helps you with technical problems and just feedback for ideas and critiques I think that having that will be really really helpful And I think that that I hope that's helpful Karar Hussein Karar Hussein Hussein, sorry make video on lip sync Okay, there's the Koopa please in there Yes, I actually have a long list and that's what I need to get back to and I always get derailed with other clips We're having no time like the last couple weeks It's been my schedule's been sporadic speaking of which where I just I don't post I don't have time the school started I tend to do I'm not gonna post anything this week Because it's my child I could do what I want, but I do have lots on my plate in terms of lip-sync and again The camera those two I need to continue and the demo really want I want to continue those three series The tricky thing with those two is that I don't want to just talk about it because those necessitate demos and that will take time and I want to do them But then there's always school like they're paying for the semester or my workshop people and that always has priority They put that first Before anything that's just self-serving to some degree or you know putting on the channel. So make video. I will thank you the 3d fella Bonnie using it. I like it Can you get a job with a triple-a studio while only using blender? No idea 3d generalist versus specializing pros and cons things to know when shooting reference footage demo real advice Good question stuff. Can you get a job with a triple-a studio while only using blender? I really don't know because I'm not in the triple-a game studio Probably on real maybe unity probably blended. I don't know again. I'm just read. I'm saying stuff It's just words going my mouth. I don't know. I'm not I would point that question towards Harvey Newman He has a ton of content based on games his game stuff So he had Q&A's and he had stuff about engines. So anything game related go to his channel subscribe and ask him questions 3d generalist versus specializing pros and cons.  So The pros and cons is what do you prefer? What do you want to do and in your area job wise? What is better? Do you have more jobs for? Specialized skills or do you have more generalist? I mean, it's the question is Do you want to learn something to get a job or do you have another job? And then you want to learn that on the side. I mean that there's so many again, like I said, so many individual Categories but ways to go about things that will be different from person to person. That makes sense So you have to look at what you want. And is that something in terms of a job? And then make decisions based on that But I think it's definitely good to know more than one thing in terms of job security But there's also something about being really specialized and knowing something really really well That is a great asset to people who need that. So again pros and cons I mean, it really depends on your situation what you want to do A little pop there. Probably you have to stop and restart recording the battery. It stops after half an hour Things to know when shooting reference footage. I can link a description couple clips I did about reference I think the main thing when you shoot reference is Know what the reference is for Meaning that are you shooting reference to really look at your posing and your line of action as we talked about before Where you really want to study what you're doing or Or so you can thumbnail and really take that and put that into your posing or are you just going for ideas? We don't really worry too much about how does it look? It's just kind of you want to explore ideas and kind of get some details. That's another way You just want detail stuff fingers eyes something's very specific. Just know what you want to shoot That's the main thing not just shoot something and if it's something for your shot I really want to replicate make sure that the camera and that I'm shooting something like this And that's my reference where where I sit That actually focused. Yeah, where I just sit and talk But you shot is a character standing Then that reference doesn't quite work. That doesn't so That's the biggest thing where I see when students shoot references that What they actually want to animate and what they shop for the reference doesn't quite work If there's something where you need to see the feet and the legs and how that the mechanics of that work But then it shot only torso up you can't see the legs Then what's the point doesn't quite work or if you do a weight assignment and you're pretending to lift weight And it's nothing heavy then you won't have the strain actually what the shoulders will do and the elbows and everything I think just really know what you want to shoot replicate as much as you need to depending what your needs are And even things like when you talk to someone tall put tape somewhere and look up I can do that and have a plan and and if you're really bad at that Find someone like a reference buddy that you can use that you can then direct and then you can Specify what needs to be done for the shot and can direct the shop and be faster You can explore things better the many things, but I will also link in description the clips that I did about that Demo real advice same thing. I got a long series, which I should continue about Demo real As a quick answer make it not too long and best shot first And don't do any crazy music or any sound effects that will distract from the work So it's basically your title card your name what you want to do character animation Whatever so that I didn't know what what it is that you're looking for I will put in the year just so that when you look at the real ego Is it's like five years ago? So 2020 whatever when you're looking and watching this And contact information and have that couple seconds So you want to get through the work quickly But you still want to be able to read who is this and how can I contact that person? And then the best shot first comes down to the best shot first and not relying on any music Just in case someone watches this without sound and it says to be the best thing ever And then the second shot the second best thing ever and if they're still watching then make sure that everything is awesome and not Somewhat okay, just because you like it because it's gonna bring the whole level down and then end obviously on a killer shot And then a longer 10 second length cards thing where you see the name and more contact information If you need to your LinkedIn or whatever accounts you have or links or whatever But I think it really comes out of the best shot first Imagine always someone doesn't have time to watch the whole reel. So yeah, 30 second reel could be okay in one minute Also good probably not longer If you have shorter shots within a couple shots, you just know this person can animate So having like a two minute reel is so long after a while. So I was keep it short and just do the best thing Put the best thing first. That'd be my short answer That username is a It's just a Is there something you disagree with and or wish to change in the animation industry? Yes So many things But again, it depends also because of my situation where I'm in You know my subjective view of things There are many people that will struggle more than I do or did so they're gonna have a lot more to disagree with And that they want to change And there's so much stuff there I The main if you're animation the tricky thing is with anything in terms of education is that people need to have access to that education so If you can't afford a computer to animate that's already a problem So anything where it's there's a way to provide the tools for someone can't afford them So they can learn that's already a there's already a financial hurdle just to get the tools to get somewhere and then there is the Educational hurdle where I think talk about it last time where so much material is in English And I'm part of the same problem is I do everything in English even though I'm Swiss and I could say stuff Street situ to a falsay, but I'm doing everything in English all the material that I have is in English choose I'm continuing that cycle of English. So that's another thing. Do you speak English? So if not, then that's already another hurdle So anything that that can be done and I say this and I'm not doing it's not like it's not again I'm adding subtitles in a different language. I did subtitles for one clip and it's such pain It's take it takes so long in an ideal world. I would have my clips in multiple languages To the subtitles and what I would love for YouTube to do which they'll never watch this No one no one cares about this, but I would love for YouTube to have multiple audio channels So I can record this like now and then I can have another channel where I do a voiceover in German another voiceover in French And then when you watch this you can decide not only the resolution But then also the the different channels audio channels So you have the original audio and then you got the voiceovers and whatever it's like you switch subtitles I think that would be really cool But then you can also hire other people who will then say the stuff in different languages And then it's it's accessible to a broader audience I think that would be really cool So to me animation history is already the the learning aspect and this is why I do all that stuff for years on my on my blog Which is super old by now or something like animation beefy or this challenge because I had help I had help like my dad paid for school, right? That's already Somewhere further along than other people and then in school I had help the teachers were awesome and then Graduating I emailed that that cold call email thing of at ilm.com and at pixar.com It has found people and emailed them and they all responded and they all help And this is one of the main reasons why I'm doing any of this because none of them Had to help none of them had to take the time to help me But they did and it sure helped me and I got a job and now I still have the same job And I'm enjoying all the stuff that I'm doing because someone took the time to help And this is why I put a massive emphasis on teaching versus other things like I have a ton of video games That I sell by and I never played them. I could stop teaching and play all my games, right? But I don't want to do that because I always feel like I want to pay forward because I benefited so much from other people Who took their time to help me so I want to help and do as much as I can in a way that is accessible to people and There I am exploring courses and classes and things that are paid just because it would also be cool Just to create a course that you just only pay once for and then you can use that and then Maybe use that in combination with my workshop Maybe but something where it's a bit more in detail like a couple hours long Which would be super boring potentially to watch on YouTube, but something as a package you can buy But I still want to find a way, you know where I can do this where it's it's I can do this You know in a way where I can spend the time and not neglect other things And I got away the the options how how much I'm going to charge for this because I do want to also Emphasize that it's a service and and just like if you get a job you should be paid for that So there's that thing of well, but it's educational. Don't just want to put it out for free I do But at the same time, it's also a lot of time and effort that I put in and then selfishly I want also something back for that, but still in a way that's affordable for students It's a very fine line to find pricing on things and then always the thing of well, why should I charge? I'm doing this on the channel when I put everything on the channel So I'm resting with all kind of things like that, but there's something I'm working on and that might be helpful in that aspect But also in a way smaller things where I don't have time for patreon to do exclusive things for people So I'm trying to find something where people can Get something or purchase things that will help me that will help me and support the channel so I can buy Things tools hardware rigs that I can then review and put on there for free So people know what it is and they can make a better decision in terms of purchasing or getting something It's a long answer, but my my phone's turned off at that time so Animation history is such a long answer that might probably end with that because it's such a long thing so access to people so that you have a more diverse background and a pool of talent that will bring their ideas and sensitivities of timing ideas and and and acting choices and There's so much like rise up animation is such a great job of highlighting other people who might not have the The tools or the opportunities to be featured, right? And I think that is great That's something that needs to be done and it's not some stuff in the comments or who needs because it's politically correct You know like you can't if you have something that's being worked on Let's say an animation industry with the same group of people from the same country the same culture It's gonna be a certain way sure and it might also be awesome. I'm not saying that's not gonna be great, but Me being Swiss and French my mom is French My dad is Swiss and being around a lot of foreigners Like when I came to the Academy my roommate was American My neighbor was from Dubai The other guy I can't remember where he was, but he was not he was not American then the other neighbor um Jewish of New York American Then his his roommate was Austrian And then Lebanon was another guy and it is a french guy down the hall I mean, it's like that that dorm situation was so cool because you have so many different people from so many different countries and cultures and ideas and it was just more interesting with Uh a wealth and just a difference of opinion Uh and and just a perspective of things and I think if you have that That group of people that's diverse and again, there's a people like diversity and stuff It's like this catch phrase or word to throw out that people love to jump on the complain about It's like why it's it can only be better Like I don't I don't understand that line of thinking It goes into the whole racism thing that I just I don't understand. I'm not I don't I didn't grow up like this I didn't have that environment obviously it exists and it's everywhere And I in a weird way you go. Okay. I guess if you're raised that way and this is what you were taught That's why you do this and that's why you behave like this to other people But I just can't make that connection. I don't understand how you can be so ignorant and to me it's the same thing with Adding different voices from different cultures and countries To a project. How can that not be better? I don't know. I don't I don't understand why that is a negative And that goes for cultures and and gender It can only be better to have different opinions and different cultures point of views That will question the material to make it better because you can't just make something and it's going to be done And it's and that's it If you're an artist, you notice you will go through the process of revisions and comments and changes and tweaks and if that comes from a wider pool of opinions and and You know points of views It will just poke more holes that you can then fix to make the end product only better and stronger And more appealing to more people because do you want to spend all that time and money to make a movie or short or something? So it's only seen by a small piece of the population that even just from a business financial point of view Don't you want to have it be seen by as many people as possible? To get as much back revenue so you make money so you can put that money put that into the next project And it's that's a cycle of doing your production. I mean I again Uh, there's so many things that I don't understand why you would not want to do that Why and if you do something where your project is based on a specific Culture or country or something? Why wouldn't you have people on that team on that project who are familiar with this so they can do it right? And enrich that story With the right perspective again. It blows my mind. I just don't I don't know How that is not the logical line of thinking of things I don't know. This is weird and I'm sure it's going to be some turd. I watch this Click thumbs down go ahead.  I don't know what to tell you I mean again, you're a product of an education and an influence of your environments that you know Like I said, there's no blame on this you can educate yourself and still change your opinion Right, but again, I'll end this I guess I'll end with this It's it's like it's turned into a longer rant, but there's so much you can change the animation industry then to me a transparency of Payments and pay scale and wages and everything everything in America is always so I can't tell anybody because either through contract reasons or whatever or if I do this someone's going to use this to To work, you know in their favor It's going to be a competition You need to have more information so that you have a better understanding of your field so that you can negotiate better rates Like that to me again seems a very logical thing to do and I pose that question on on twitter in terms of How much can I see I would love to tell you how much I make but then There's probably a fine print somewhere in the contract and where I get into trouble But then someone say but in california there's it's not illegal. They can't do anything against it um So yeah, I in my classes I tell my students how much I make the salary is and just everything around the industry that will help them in terms of Negotiation power There was this recent hashtag What animation paid me? I think I forgot and I just told the students I need to research that a couple hashtags in terms of What the industry is doing in terms of the wages glassdoor.com will be away um Yeah, I mean Whatever you can it's always tricky when you ask someone how much you make because they're not going to tell you and again Depending on the culture, especially here in this country. There's not going to tell you in fact go back to switzerland It's literally a second question that I get if I go. Hey, how you doing? How you doing? Where you working? Okay. How much do you make like what's your time? What's your position? How much you make would you have like it seems to be such a normal thing every time I go back to switzerland? I get a question and I'm not Like I'm not offended. It's like that's how I grew up. That's normal. Like you want to know It's also good. It's I'm curious to know what other people make it gives you a reference it gives you a comparison um But you know in this country some people don't know Like what their parents make how much their family is making in terms of salary like what? How do you not ask and how do you not know? How is that that can only be limiting to you and your Development as an artist in terms of your negotiation power. So I don't know. It seems all strange to me um Well, it's good you change. I would love This is super tricky because it's kind of chicken in the egg thing I can you can't ask someone to take the risk to to make a movie that is not your typical family fair of a cg Animated movie because that makes money cg movies are still expensive So you got to do something that makes money back so you can pay your artists And have profit to put that into r&d to develop more things to create a new movie You know, I mean you can't just make a movie and lose all the money on it That being said I would love for at least in the states the For movies to address other things or just have a different audience It doesn't have to be like super hard r or a specific violent or something But you can have a lot of adult themes and other things like the classic thing to say is that Well, if you can shoot it live action and why animate it? I understand I understand that the medium because it's animation you can do anything Then why not choose a subject that you can't do in live action Because you can do an animation and expand on that fantasy stuff and like all kinds of things That's really cool. That would be super expensive and weird and live action tricky to do Absolutely do that in animation at the same time. I'm also the opinion that why can't you have an animated movie? That's something like Shawshank Redemption And why not? Why not? Why can't you just tell the story? But it happens to be animated again the the argument is that Because it is super expensive and you might just find a location and then with actors and you can shoot this You know in a month max Um, and the whole production is going to be much cheaper and that's your story You can put it out there for consumption much easier. I also understand that again. It comes back to the money It's a tricky thing. I would love for animation just to tell other stories That are not always the family route But then because it's so expensive, then why like why bother if you could shoot a live action because it's nothing Fantastical and you don't need any CG creatures in or anything, right? So because it's easier to do live action and cheaper and faster Why would you do the animated 100% I understand I understand like I'm just saying Generally, I would love to one day in the future see The opportunity financially of some how production wise where it's where it's just as quote-unquote easy Nothing is easy to make a movie and you just happen to make it animated Where just you know, you can be home and you tell the story of something that is not your typical cg animation movie Uh, and it's easy for you to do and then distribute and so on and so on Hope that makes sense. It's like lots of rambles and uh And ranting here. Um, what else for the animation industry so many things so many things Um And as much as I complain or would love for things to change Uh, I do want to end it because what is this like 18th is going to be a longer clip again Uh, it's still awesome.  Obviously it has problems just like any field has problems but it's still Awesome enough if someone says should I do animation the cavities all and always depends what industry and what company would work for because it's it's you know Everybody has always those top companies in mind Like I did when I when I went to school and graduated I wanted to work at specific companies And but you just have to be super aware that it's Very hard to get in it's very tricky. So it's just a hard thing To get into the industry to stay in there to stay competitive to make it It's all contract based you constantly have to move it's super hard on yourself And if you have a family it's even worse. Okay, take kids out of school You got to move from city to city from country to country. It's a massive pain So if someone says should I do animation would you recommend it? It really is also so subjective I say yes just because It's been great for me That doesn't mean it's going to be great for you chances are it's going to be a lot harder for you It's again the times now are harder, especially with the pandemic Uh, when I graduated the demands on a demo reel were not as high as as our artists have now One of my portfolio teachers back at school. He got hired at his company Uh through a bouncing ball, you know, me like each generation has You know different a different looking demo reel. So to me like bouncing ball That's easy, but then I had to do a bit more complex stuff and acting stuff But if you look at my demo reel It's nothing compared to what people have to do now. So all that gets harder and harder and harder There's more competition. Um, so would you recommend doing animation? Again, yes and no, I think it's really cool. It's great If you get in it's like the most spoiled job You can imagine just because of the type of work you do and you get paid for that But there are a ton of hurdles to get there So maybe if you're good at something else and that job is going to be less stressful and more secure And you have a better way to support yourself or your family or your friends Then maybe that's a better thing to do. Um, again, it's very so subjective and Uh, I'm just rambling running at the end here So the whole problem of industry just triggers so many thoughts and things that I want to talk about this would be hours and hours and hours Um, so yeah, I think I'm gonna end it like that. Uh, I know she's awesome For the people that can do it and have access to it You mean like that's always that like with anything someone say oh, I love doing this I knew there's always going to be someone that says yeah good for you But I can't do that because I don't have access to this. I don't have that You know given to me or I don't have the resources to do that So I think anything that someone enjoys someone's not going to enjoy it And someone that had a good time there someone did not have a good time and someone had access to it. Someone does not have access to it so If you want to do animation, it's awesome And consider what is your personal situation? Can you get there and hopefully this is very self-serve? I don't know if I even say this but hopefully My channel and the information the material that I put out there Is helpful to get there because it is free and hopefully clear enough in my ramblings That you can take information and apply that to your education and learnings to get the job that you want to get So I just hope that selfishly uh, but also Autristically for other people that what I'm putting out there is helpful Because I have access to things. I have years of knowledge and other people don't and again That's the reason why I'm doing this that you you can take this Freely to Make yourself more competitive and get to your goal faster and in a more educated way Um, that's that's the idea. That was not even a question in the q&a. I'm just that's almost very self-serving I'm gonna end it with this it's a long clip as always but q&a's are like that free for me talking and rambling and stumbling over things I hope it's helpful I got a ton more questions. I'm gonna continue And like I said, I got a ton of semesters Ton of semesters class of the semester. So I hope I can do this on a weekly basis This has not been weekly with q&a's But I'll try just know that I'm extremely busy. It's not because I'm just not doing anything I'm just busy gotta find the time and these clips q&a's they're longer to take longer to assemble and upload and everything But they're coming all the questions will be answered Uh, as always you have questions to those answers feel free to uh, Comments someone had questions the last time which I'm gonna take and fold into the next part of the world whatever future parts that I have uh, and that's that And uh, yeah, if you like this like it if you want to subscribe subscribe You know the drill again very self-serving, but it helps me helps the channel grow It helps with visibility again It helps being visible in other people's recommendations Which means that it's there again for more people to use as free material for education So as much as it's very selfish and self-serving like and subscribe The hope for me is that by being more visible. It's helpful to more people That's the main idea that happened on this channel So yeah, like and subscribe if you want to or not or just click it off If you're still watching this by the way, this is a really long clip. Here's the information So I'll say thank you, uh, and I'll see you in my next clip. Thanks


Hey there, it's Bridgette to welcome to above life channel today. I have a little bit of a story time kind of a channel when you channel the afterlife you can do it in so many different ways and One of the ways is through writing now sometimes as you well know if you watch any of my vlogs or anything like that You know that in the evening at my house. It's crazy crazy chaotic I have four kids I have four dogs everybody's coming and going dealing with stuff for school My kids range in age from elementary to high school. It's busy here You can relate I'm sure right and so one of the ways that I can capture information when a channeling comes in like I get All of a sudden I get like this. I got a channel Sometimes I just have to do it and it's not opportune to record something so so I get out my handy-dandy notebook Sometimes it's a journal sometimes. It's a composition book. Look I have my composition book here Here I got my composition book I mean I have all sorts of stuff that I can write where I can write and so one night I Back in November November 25th actually I Had a channeling conversation with Freddie Mercury in the afterlife and so I am going to read that to you That channeling now interestingly because right now I've been working on some content for four days with Freddie Which is part of the playlist for Freddie Mercury. You'll see those videos and It's February right now and I'm recording this and I remembered. Hey, I need to share this that I wrote with you guys So I'm gonna share this with you. All right So it is a channel. Yes indeed just in a different way All right. Here we go ready. Are you ready Freddie? Freddie Mercury in the afterlife Channeled at 7 15 p.m. Central Standard Time on November 25th 2018 Now I hope I can read my writing because when I'm channeling I'm writing as fast as I can Do what's fun? Do what you want to do? He said So prior to this I was obviously thinking about some things and trying to make some decisions or move ahead with some things like For my business probably He says do what's fun do what you want to do Why do what it is you think others want? What's the point in that? He says ridiculous really? It's madness And then he says who wants to live forever That's one of the things he says to me It's kind of a joke tagline who wants to live forever because I channel the afterlife, you know dead people He says no one no one wants to live forever Oh This is cool, so I wrote this because it was happening so then I see this puff of smoke and His essence just kind of appears and so this is when I'm like oh and my husband was sitting across from me It was just after dinner and I'm like I have to I need to channel Freddie and I'm doing this right now He's just coming through puff of smoke and then his essence appears Feel it. This is what I am This is what I am here to teach you if you want to learn it study it Feeling he says feeling Convey it with feeling it's more than sharing He's talking about the channel and the channeling I'm doing that's exactly what he's talking about Because if you look back over above-life channel you guys you can see that I first started channeling Freddie Mercury Right before the movie Bohemian Rhapsody came out I mean it was just something that was in the field collectively and people must have been thinking about it because it entered my consciousness and So I connected with him and I channeled him. It was not complicated He said it's it's movement and a live connection He's talking about energy and feelings So he's talking about clear sentience to bring that into the the videos That's so much more important than the words and the channeling is what he's telling me He says Okay, so I said can you show me how energy works? He says yes, I can what do you want to know I? Said I want to teach others to feel Through this medium this channel Mmm, I think about it and I write mmm rather to give them to provide them with the experience so that they can feel the energy connection Okay When we feel it experience it ourselves, then we know it's not about proving anything to ourselves Or to anyone else It's about showing up Being here together It's not singular. It's meant to be like a DNA strand. It's a pattern And then he says a reverb I'm gonna read that again When we feel it experience it for ourselves, then we know It's not about proving anything to ourselves or to anyone. It's about showing up Being here together Meaning the human life experience creating it together. It's not singular It's meant to be like a DNA strand. It's a pattern and he says a reverb Then he says don't think you're thinking too much. I'll show you try this Okay, and then for a moment my like my my writing gets really really messy I'm like So in all of a sudden my head is altered So he's showing me and also I feel like this Weird I feel different. Okay He loves to perform. He wants to be talking all the time. This is what comes through There's a false sense of integrity About who to share and how much Make the music make the music when it's hot When they are calling for it Don't stop. It's momentum You love that wild universe law of freedom and expression To move with not to stop or block Based on a false mind or ego It is and Beyond what you know it consists all It cannot all be known Okay, so that's a lot So after I felt altered like in my head He writes a couple of things or I read a couple of things that he's sharing and then He says don't stop because I was gonna stop cuz I was like whoa, right? And he says don't stop it's momentum You love that wild universe law of freedom and expression is what he says To move with not to stop or block based on a false mind ego It is and Beyond what you know it cannot all be known It cannot all be known you guys. That's a good message for both of us, right? Who you who are watching and me who is listening to this as I'm restating it as a Human the plain fact is you are limited Freddy's words. You are limited That's not popular But it is a true fact reality sucks Freddy says that's why so many try to escape with drugs music sex whatever whatever to distract Then he says Bridget wants to ignore the truth of human limits The notion of fantasy imagination, I cannot read this as It's a B word for example Displayed in a way to temper the need to escape the body most interested in and In and out of the body interesting. I don't know what this is. This is important You guys I didn't read I didn't pre-read this before I'm talking to you. I'm just reading it here active with you This is important. He says this division internal It's self-made you made it you created it not God The soul comes into the body to merge with it but it does work or It wears off as we lose that innocence that Godness between like the ages of seven and eight. I talked about this before in my work I've mentioned that kind of happens you stop believing that you were whole and great Consciousness expanded. He says it's complete already We do not incarnate to become something more than we are we are We are already So we do not incarnate to become something more than we are we are already But we may not know it we may forget by the age of seven or eight Remember he's explaining energy to me Okay, so but it doesn't work it wears off right so so I'm thinking about children and we lose that like children are so just Open and trusting and just so close to God and we lose that So so the division is internal itself made as you say How do we? Sustain that or how do we not lose that because I'm thinking right around the age of seven as usually it feels like he says about he said They're about seven eight depending It's a natural part that we lose that right or or is there a Choice that we make to lose it. Is that part of the human process? What I don't I don't understand this part I don't understand why we Why we krammer are speared into this little tiny one part of our body and it's not as important or dominant or prominent as our Human life experience as much as like my hands are my legs are I can run I can walk I can you know do all sorts of things yoga and dance and everything with my body and With my soul it seems like there's only this much I can do with it and that I know that that's a misunderstanding And I don't understand that with my brain, but talk to me about how How do we successfully? Live as a whole We lose that why do we lose that how do we lose that he's smoking I can see with this He says You stop believing you stop believing that you are that I that I are what I Can't get the right. I'm he's like Virginia.  Part of God. He's like, no, that's not that's not right. That's not right. That's not right Because it's not a part of you're not you're not one piece of a whole you are a whole and your piece We're so I'm both Yes, exactly.  But the soul part is so It's so important. There's so many people that want to know their spirit their soul And yet we just keep it locked away, you know, and only bring it out on special occasions It's like dress shoes that you only wear to church or whatever So we stop believing that we are whole write this whole and Apart and he says it's consciousness expanding Expanded it's already done. It's complete. He says it's complete As a spirit our consciousness is expanded. It's complete already We do not incarnate to become something more than we are we are already But we may not know it we may forget by age seven or eight He just started just talking to me to me. You just started talking That's what I got Wow Okay, so that's deep and I'm sure it was probably tricky to follow a bit So I'd like to recommend that you do now is go listen back to this This was a channeling that I did and notes that I made in a channeling that I was doing with Freddie Mercury And I used writing to do it. It's hard when you use writing sometimes the energy and you get I can't even read half My words it's tricky to read as you can tell but you can do this for yourself So you can go back and listen and then take the key pieces of the message that are important to you that are relevant to you because there Has to be something in here that specifically for you. That's why you're watching the video That's why it's live right now and evergreen for you to be able to tap into to feel experience and understand for yourself to download This is from Freddie Mercury from the afterlife So his perspective as this highly evolved energy and spirit like a spirit guide perhaps or Simply our knowledge base or a resource for you So I know that I'm gonna do that I'm gonna go listen back to this and take it in as a viewer would and Feel in to the resonance of what energy is and the energy parts of the message All right, let me share this as kind of a vlog. It might be easier to do that We'll see so this is Brigitte at above life channel. It's a little bit different than normal I'm sharing with you a channel, but it's not a live channeling experience. It is Reading the information that came through and a channeling a spontaneous channeling that I captured in writing As always, thank you so much for watching and for being here for being part of this experience I hope that I've inspired your spirit today with the help of Freddie Mercury in the afterlife Filled you up with some hope because remember this is your life right now. This is your life So live it. Just live it. Thanks for watching


So, we discussed about two important experiments in the 2D series of experiments that was the COSY and double quantum filtered COSY. Now, so we will continue the discussion of that and then of course go over to other experimental schemes. Okay. So, in this context it is important to know some more concepts about the basics of the 2D experiment and that is one of the important thing is the resolution in 2D spectra. We should talk about the F1 dimension or all sometimes it calls the omega 1 dimension and the F2 dimensions. So, we have to worry about the resolution in the spectra in both these dimensions. What does the resolution depend upon? So, if we want to call resolution as R then this is proportional to the inverse of the acquisition time. So, this is the acquisition time, if T acquisition is the acquisition time then this is the resolution is inversely proportional to the acquisition time. What does that mean? This is similar to what we have talked in the case of the 1D spectra. Suppose I have the FID here and I have various points which are collected here, so many data points which are collected and then we say the total acquisition time is equal to, suppose I collected the n data points n times which is the dw, n times dw which is the dwell time. This is the time between two consecutive points. This is the acquisition time. So, if you collect more data points you have better resolution in your spectra. What does that mean? Then you have a line like this then you will have these peaks points coming appropriately at various places in your line. So, therefore the line will be represented better and the resolution will be higher if you collect more data points. In the case of the normal acquisition the one dimensional spectrum or even in the 2D the normal acquisition in the when you collect the FID it is simply the number of data points you collect. So, therefore it is very easy to increase this resolution by increasing this number of data points. In the case of F1 dimension the F1 dimension resolution will depend upon this is for the F2 dimension. Now, for the F1 dimension it will depend upon how many T1 increments we collect. Acquisition time along the T1 dimension will be let us say if I want to write as T1 acquisition is equal to T1 max let us say is equal to N let us say now I call it as N1 times the increment now I call this increment as let us say In. This is the same as the DW is the same as the DW except that increment this is these are collected one by one one by one this systematically that many FIDs are collected that means we have N1 FIDs collected. So, if you want to increase the acquisition time along the F1 dimension will have to increase the number of increments you have to increase the number of experiments the number of FIDs you collect. So, therefore it is a very time consuming process. So, for example, if I collect here 2048 data points in the F2 dimension this may go for let us say about 50 milliseconds assuming hypothetically. So, that is given the certain increment dwell time it may go for 50 milliseconds. But if you want to increase from this 2048 to 4096 then it will go to 100 milliseconds but that does not big deal. So, whether I collect the data for 50 milliseconds or 100 milliseconds or 200 milliseconds it is not going to increase my experimental time data collection time too much. But if I want to increase the same in the F1 dimension if I want to collect from 50 milliseconds acquisition time to 100 milliseconds acquisition time I have to do twice as many experiments twice as many FIDs. So, if the 50 milliseconds spectrum is going to take me about 10 hours then if I want to make it 100 milliseconds it will cost me how much did I say 10 hours 20 hours if it is going to collect 10 hours it is going to be 20 hours. So, therefore the number of increments is crucial here with regard to the acquisition in the F1 dimension. So, therefore experimental time along T1 dimension has to be optimally adjusted for the resolution we want. Now, why is the why is the resolution important in the case of F1 dimension? We have seen that in the cosy and the double quantum filtered cosy in the cosy in double quantum filtered cosy we let us say I have a cross peak like this this is the cross peak. So, this is in for cosy and dq of cosy we have seen that the cross peak for a two spin system has this kind of a structure for a two spin system and the separation between them is the coupling constant. Now we will be able to see all these four components if only you have enough resolution if these lines are properly separated. So, we can see this there is enough resolution. So, therefore along the F1 dimension it becomes crucial whereas along this is the F2 this is the F1. F2 dimension is not a problem I can easily increase from 1024 to 2048 or 4096 data points no problem at all I can separate these two. But the separation along this axis this is the crucial point. So, therefore always the limiting factor is the resolution along the F1 axis and this has to be optimally chosen. So, typically one does 512 T1 increments in a cosy or dq of cosy experiment. If the coupling constant is very small then you will have to collect more. So, what is the consequence if there is not enough resolution what will happen? If there is not enough resolution then this positive and the negative ones the positive and the negative components these come too close and then to cancel their intensities they will cancel their intensity therefore overall your signal to noise ratio in the cross peak will get reduced. And if you have good resolution here if these peaks are well separated along the F2 axis if this resolution is not enough if they are not well separated then they will cancel and your cross peak will have very low intensity and sometimes you may lose it also. If it is very small like 1 hertz or 2.5 hertz you may completely cancel it out and you may not see the cross peak at all. Therefore this actually is a quite a important limitation for those kind of experiments where you have cosy and where you have antiphase characters, antiphase characters meaning plus minus components along these cross peaks. So this is so far as the two spin systems are concerned now we should go and see how the spectra look like if you have three spins or more. So then let us look at the fine structures cross peak fine structures in three spin systems. Let us say the three spins are AMX these are all of spin half all of them are i is equal to half so we label them as AMX and of course these can be connected in two different ways AMX or this way also AMX. So this is the way you can have two different patterns here. So what will happen what will be the fine structure in the cross peaks? Let us look at once again the schematic here of the 2D spectrum so here we have F1, F2 we will have here 3 diagonal peaks let us say and let me call this as A call this as M and call this as X. Now what cross peaks do we see? So we will see a cross peak here and a cross peak here A to M in the case of if it were a linear system we will have two different things. So let me draw that here and of course we will have for the linear system how do you look let me draw that here for the linear system this we call it as the linear system. So MX this is A this is M this is X so A to M there is a cross peak here and therefore there will also be cross peak here and M to X also there will be coupling there is also cross peak here there is also cross peak here because remember these ones are J coupled this happens through J coupling this should be in the same line. So this happens through J coupling. Now in the case of this one this is the diagonal we are write it as A here, M here, X here I will have the same as before here and here but now I will also have this because I also have A to X coupling right A to X coupling I will also have M to X this also will be there this will be there and this will also be there. So in the case of this triangular coupling pattern I will have a different kinds of structure and the pattern overall pattern of the peaks of course in each of these peaks there will be a fine structure that is what we are going to see. So in this case depending upon which peak we are talking about which coupling constant is responsible for the peak that is important to see. So now if you are looking at this each one of them of course there is what will be the 1D spectrum for a such a kind of a thing if A MX let me draw the 1D spectrum of those that A has a coupling to M therefore it will be a doublet A will be a doublet and what will be M? M has 2 couplings therefore it will be a doublet of a doublet let me go and this is M and what will be X and X has only 1 coupling therefore that will also be a doublet. So this is X this is M this is A in the same order which I am writing here. So how this will be here now each of them here has 2 couplings each spin has 2 couplings. So therefore each one of them will be a doublet of a doublet so this is X this is M this is A and this fine structure will show up in the cross peaks and the diagonal peaks as well. Now which peak which coupling is responsible for which cross peak? Suppose I take here I will take the A M cross peak in the A M cross peak this is the rising from the coupling from A to M if I see here M this cross peak I use let me use a different colour let us say I take this cross peak or this cross peak it is coming from the coupling from A to M it is not coming from the coupling from M to X because the M to X peak will be here. So therefore there are 2 couplings in the M and these ones we distinguish them as active coupling and the passive coupling. So as we are looking at the particular peak I blow up this here and this side is the A and this side is the M I have this 2 things here so what will be the structure of these how many peaks will be there? So we will see that. Now the A is a doublet and M is a doublet of a doublet and therefore if I take this product here there will be that many peaks inside here. So therefore each one of these there will be peaks to all the 4 each one of these from this also there will be 4 peaks here from here also there will be 4 peaks there. So there will be total of 8 components in this peak this is my F2 axis this is my F1 axis there will be 8 components. Now what is the sign pattern here in the case of a 2 spin system we said plus minus plus minus how it will be here? So this peak is arising from JAM therefore JAM is called as active coupling and in the M there is also this MX splitting JMX which will be present only along the F2 axis this is called as the passive coupling. This is not responsible for the cross peak but details certainly contribute to the splitting. So now if I want to write the splitting pattern of both the spins A and M suppose I have this A chemical shift here and this splits because of the AM coupling as in the case of double counter filtered COSY or the COSY and this splits this produces inside there because of the active coupling plus and minus. So therefore inside here there will be pluses and minuses this splitting will lead to plus and minus and what about the M? This is the A this is the nu A let me write here nu M nu M will also show the AM coupling which is the active coupling active coupling leads to plus minus splitting as in the as you have seen in the double counter filtered COSY or the COSY. Now what does the MX coupling do because this will be further split because of the MX coupling therefore this will be further split into 2 but now this will not produce me plus and minuses it will produce plus plus minus minus and here this is JAM this is also JAM and this is JMX this is JMX okay. So now using this what I will do I will draw what will be the structure of this AM cross P let me draw that once more here this is this side is A A what is the structure I will have plus minus splitting along this side I will have plus plus minus minus because the M has this sort of a structure.  This is provided JAM is greater than JMX okay. What happens if the MX coupling is larger than AM coupling let us also draw that. So if this is for that situation right so this is for JAM greater than JMX if the other thing happens let us say new M JAM is smaller than JMX this is JAM this is plus minus now I have splitting MX is larger okay. So now from here to here it is JMX so what will be the structure here this will be plus here and this will be minus minus here okay. So what is the thing we will get so therefore if I want to draw that here below this side will be plus minus as before but now this will be plus minus plus minus and this will be minus plus minus plus. So this is the case when JAM is smaller than JMX so this is JAM is smaller than JMX therefore it is very crucial to see what sort of a pattern you will get in your finds in the cross peak and this will tell you what kind of precautions one should take in doing your experiments. So analysis of the spectra has to take care of all of these factors when you want to measure the coupling constants from the COSY spectra and this is true for both COSY as well as double quantum filtered COSY. Now what will be the nature of the AX coupling in there is no AX peak here we are talked about the AM and similar thing will be for the MX also MX also will be for in the same manner you will have in the linear system we are talking about the linear system here. Now this is for the linear system so the pattern will be similar for MX cross peak and what about this peak let us look at the peak where this side is M this side is A and what will be that here we have a doublet so this will be a doublet and here we will have plus plus minus minus so therefore and this will produce me plus minus plus minus minus plus minus plus. So therefore you see the symmetry is broken the peaks do not look identical in other words what I am trying to say here is so if I look in the 2D spectrum this is my M and this is my A this is my X so I had here AMX so I have the cross peak here the cross peak here and the cross peak here and the cross peak here. So this is what we are looking at right so I showed you what is the structure for the AM cross peak and that was A was on this side M was in this side in this case this case is the case what I shown here and this is M so this side is plus plus minus minus this is plus minus so I will have plus plus plus plus minus minus minus minus sorry plus minus plus minus minus plus minus plus. So this will be the structure for the other peak yeah so therefore depending upon which peak you are looking at you will have the final structure so point you remember therefore is the active coupling leads to plus minus splitting a passive coupling leads to plus plus splitting ok. So this is so far as the linear spin system is concerned now if I want to take a triangular spin system this sort of a thing now I will have here this is the diagonal this is AMX I will have a cross peak here a cross peak there cross peak here cross peak there a cross peak here cross peak there ok. So all these are cross peaks now in each one of them we will have one active coupling and one passive coupling ok the same line so each one of them will have let us say I have this is AX that is this peak that is this peak AX so what will be the active coupling here? Here JAX is active coupling because this cross peak is arising as a result of coupling between A and X this is the same here ok and the X is also coupled to M ok so the X multiplied will have A coupling and also the M coupling and JAX is the passive coupling accordingly one can draw the various structures now suppose I take a different cross peak let me say I take this cross peak what is this cross peak this cross peak is M on this side because this is all AMX this cross peak if I am taking remember I am not taking this when I draw here if I draw here M if I draw here X then it is this cross peak active and passive couplings will be the same in both cases but the fine structures will be different depending upon which cross peak you are taking the if I take M here and X here then which is this active coupling JMX is active coupling and what is the other coupling it has X along this side I have the MX coupling and AX coupling ok now JAX notice this side this side I have X multiplied this side I have M multiplied so therefore all the three couplings are appearing here right so AX is is the is the passive coupling and JM is also passive coupling let me demonstrate that here ok let us draw the M multiplied ok for this particular case the M multiplied is plus minus from JMX and let us say MX is greater than AM this is plus plus minus minus and this is JM coupling and now this is for M I draw let me draw the same thing for A for the X and X again I will draw here JMX is plus minus because this is active coupling number those now this will have a different coupling here and what is this one here this is JAX here it was AM here it is AX because we are talking about the multiplet structure of the X spin therefore the patterns will be can be different depending upon what is the relative magnitudes of the two couplings therefore the fine structure of this is plus plus minus minus and this is also plus plus minus minus so if I draw that here now this is this side is X and this side is M and here we wrote as plus plus minus minus and this side also was plus plus minus minus so what will be the structure multiply these two once plus plus minus minus once again plus plus minus minus minus plus plus minus plus plus so 16 components so each of the cross peak here will have 16 components unlike in the previous case depending upon how many couplings are present in each multiplet structure you will have you have to multiply that by that many components so if one side has 4 components other side has 2 then there will be 8 components in the cross peak if both sides have 4 4 then you will have 16 components in the structure and the combination of the plus of the locations of the pluses and the minuses will depend upon relative magnitudes of the coupling constants the fine structure on one the active and passive couplings and two relative magnitudes of the active passive couplings third the peak appearances appearances on the two sides of the diagonal okay so these are the important features of cosy and double quantum filtered cosy spectra they I mean there can be more combinations of course if you have 4 spins there will be further splitting if you have more spins there will be further splitting but the active coupling will always be 1 remember this no matter how many spins are there how many couplings are there the active coupling will always be 1 all others will be passive couplings so therefore that is what is important in calculating the fine structure in each of the cross peak these will be directly used I am going through this so much detail because this will be directly used when we actually look at the splitting patterns in the spectra of nucleic acids and proteins and this is our ultimate aim is that we will see how we can analyze the 2d spectra and the 3d spectra of proteins and nucleic acids the very later on from the point of view of structural biology calculating the structures of the molecules these becomes very important okay so we will stop here