I keep my eyes upon your secret treasure in the freezing weather I like my split with the phoenix feather release the pressure of these feathers when they get a glance check the stands Peasant stands begging for the second chance. I'll get you walking with this leaf of injection ring the bells of all Rip up the Geneva convention. It's on.  It's been such a good event We've been a Polatic in all the fans and all the battle is that all been saying it's been one of our best events of the entire year I fully fully agree trust me pick up everybody for coming out bigger borderline for support and don't flop for putting This event on with us. This is one of the main events I'm gonna get straight into it MC on my right hand side last battle in to the test 10 and his classic with Blizzard making his return Make some fucking noise for Lego In the end board make sure you check his blizzard balance other shit as well and on the left hand side Killed it and don't flop raise the bar not I am against Oshay now being the opponent for Lego's return Make some noise for the man So make sure you log on to the forum don't flop comm slash forum make sure you like us on Facebook as well as slash Don't flop leave us all your opinions in the comment section of YouTube and the Facebook as well All right, we flipped off camera and Lego's first, right? Okay, that's it some of our main event on me off first Lego. It's on my dude Lego. Let's go And you are traveled all the way from york into the city of on just to expose all of his secrets like the wizard of Listen up on you in a top bill. There's no way get held up on zilla. This is all me I suppose it's on zilla. It's pretty obvious to everyone the audience move on the loser without Alexa stand on my water, Jr.  He's got I've never ever pledged allegiance He's got teeth and never reach in his devil treatment And this pathetic vegan gets upset every December evening because trees are for life not just for the festive season Flipping on him like my name was man in packet y'all when these battlegrounds your thoughts with this lumberjacks about because once the axis out So could I start hacking down your entire family tree just to stop it branching out Tree bars are something you have to deal with Tree bark. He sees it and has to feel it.  I couldn't tell if it was you or Joe Davies That's all you northern monkeys up the same to me Cave dwelling breeds reinventing the wheel at amazing speed your race side out from Yorkshire past like this year's Tour de France Stream me you get ripped and torn apart because this sport is hard. I'm king of the mountains I attack slopes you learn a couple of skills and just plateaued and rolled out flat road in bland mode by simple similes and bad jokes Well things change these days you can use schemes props Pancakes concept rounds Wordplay themes narratives you can have content now I know it seems hot so I recommend for you to start off with a couple of feet bars Then try some bar bars, you know like lifting the bar bars Sitting in the bar bars Carver for a shave and a smart car either way you're getting carved up And then study DNA slogans I Make them work for you Anything about hippos by murder move I don't know why except these challenges from those that would otherwise die in their averageness I keep giving life to battle is like Christ is a Lazarus Not Nazareth I'm from Hackney cause not Nazareth when we clap it up your rise is rapturous So now you're a divine traveler from our minds apertures to your final chapters beyond mind calendars and any defined parameters It's quite miraculous, but still I really ain't got time for amateurs Right check it now Ivan works in a primary school teaching physical ed Which basically means he loves to see them kids as he sweat shit It's so official plus the bones of brittle lips like hold it on the loaded pistol look against the fucking shoulder missile You know that there's always no better than that Joseph Ritzel every day in class.  That's elephant tusk So we're five years what they used to make the pieces that's a reason elephants have become an endangered species You're quiet if you're here Who's running hip-hop night in Yorkshire? Who's gonna pick up the mic and talk with? He buy gum much put your hands in the air If you don't boom back Boom snap Why do you do that?  So I let him know it's called the rendition I either spoken lines or invites of a performer, but my I go deeper on a definition rendition That's organized torture I get visions of stealth missions extradition to a hellish existence since I'm rent a prison already death wishing by the 10th Listen of the rendition Here's all missing when Legos spitting not in a good way In that way Because it's a pretty depressing album. I hope you never pressed a thousand I'd advise you to stick to digital downloads and you won't have a constant visual mind of the little amount soul Still I would have raised that that would be payback.  I'm cool because I know you be a fan But I'm a fan too. I love your battle with bliss, but the fact is the only bit I remember is actually this They say they want to see I'll do grand some more They want to see I'll do grand some more I never even did bloody grinding for This was when it's time for all I might just slow it down because I like a pause It is now. So you've got a couple of lyrics, but nobody caught so as to me I'm so cold with them floors are frozen the moment you've walking the home and it's over And if only I don't know my opponent but like a motherfucking roll on the order As for me, I'm so cold with the floors are frozen the moment you've walking the home and it's over And if only I don't know my opponent but like a motherfucking roll on the order I wouldn't swear it at all.  I'll have you nauseous when I'm driving through a delicate test And I'll leave him dead in a second like Eddie from Tekken on Kevin in seven the minute that I enter the session with chemical weapons I'll blow environmental protections for several sections as if it was September 11th I reckon I'm on the level this fellow could never get upon your finger than the meat that they sell at your veggie restaurant My shit's ill getting twisted and this kid will make you sit still and force feed you a mixed grill Smash disaster's facing screaming hassle.  Yes, I cancer patients Hope you talked about more than biggie impacts assassination Even if you've got them bars on lock you couldn't stop my rap like Papi Mason We know what I'll catch imaginations and now I've got them hopes like applehands as hand right after amputation She's done crack the pavement trying to figure out what size is one gigantic math equation So be cautious on this never a path you've taken you soldier So like Alexander Grayson when he grabbed the hand of Satan I Don't need to hammer on these pecks to get certain magic of me chest like how miss Rodriguez Knowledge you ain't got it. He's still skits. It's ironic. It's a guy. I could never build with Lego metaphors I should throw a real brick at your door on some surreal tip You get a smashing skull if you try to crack the code and my psychoactive prose It's like Sanskrit scrolls my language flow cinematic tones that Liga chakra is blown Massive dose of acid tabs and chalice smoke while licking the back of a magic told you can't even imagine roles Alice goes down then rabbit holes the number of your parents so to where you can never make it back out alone So now I'm your chaperone stroke natural foe in this battle zone.  I'm the Lego with the trademark.    We just had one of the main events. Uh-huh Lego Lego


G'day all. So there's been a lot of chatter lately about two things volunteers work wear and Urban helmets for our volunteers. So I just thought I'd take this opportunity to provide a bit of clarity on both So recently I went to the AFAC conference in Perth saw three great European style helmets That we could use for our volunteers. We've got funds to purchase about five and a half thousand of those helmets But we want your advice. So this is opportunity for volunteers to choose the helmet that you want to use in the urban environment So we'll put that out to tender in about a month's time and we'll be looking for your feedback along their journey So it's your chance to choose the helmets that you want to use in that space. The other way The other one for us is volunteer work wear again. We've got some indicative designs and concepts now We again will come out probably in a couple of weeks two or three weeks We'll come out with some ideas and with some surveys give us some feedback on colors designs and wording etc Again, what do you want as far as volunteer work wear is concerned people? This is your opportunity to have you say we've talked about this We procrastinate on this. It's time to make some decisions and so you'll see this roll out in the next couple of weeks. Thank you


Welcome to a demonstration of an accessible table of contents. This video was created with support from the Government of Canada's Social Development Partnerships Program, Disability Component. The opinions and interpretations in this video are those of the creator, and do not necessarily reflect those of the Government of Canada. It was produced with sighted assistance. Readers use the Table of Contents feature in their favourite app to navigate a book. This book includes a thorough table of contents. It is easy to jump quickly to a new chapter. This book is nearly impossible to navigate. It only has one entry in its table of contents. Please ensure that a navigation point is recorded for each new section in your books.


I got married in June 2015. While I can't tell you the best person for you to marry, I can tell you the wrong person to marry, especially if you want to be a successful entrepreneur. As always, this video is a product of my personal experience and the experience of the people around me. I hope it helps you, especially if you're single. If you're new here, consider subscribing so that you won't miss other interesting videos like this. The story of my friend. I have a friend who I like so much because we lived for about 3 years in the same room. When we lived together, our dream was to be successful entrepreneurs. But as time went by, I went fully into business world and he decided to wait a little more. Get some job and prepare to start a business in the future. Years after then, he got married and all the red signals started showing from his wedding day. While planning their wedding, his wife insisted that the wedding must be done in an honorable way, meaning that the wedding must be elaborated because the wedding day is the most important day of her life. After the wedding, wasting the money they didn't have on the wedding, the wife continues in her way to complain about the husband not having this or that. Without dragging the story too long, the woman is a gold digger.  I'm not saying that women who love good things in life are bad or evil. I'm only saying that they are not good for you, especially if you're just starting in business. If you're Elon Musk or Jeff Bezos, yes, you can marry the most expensive woman in the world because you have a lot of money to spare. But if you're just building a business, you don't need the gold diggers. You don't need the gold diggers because running a startup requires a whole lot of sacrifice, not just for you, but everyone in your life. I'm sorry. You shouldn't buy a new car. You should not even buy an expensive used car. You shouldn't buy that shiny furniture and you shouldn't buy any clothes she sees with other women. What you want to do when you're just starting in business is to live like a slave for a few years. You want to wear neat clothes, but you don't want those expensive designers. You want to live in a neat house, but not the first-class homes. If you have a wife who wants to drag you into spending every dollar you make, then you'll never be able to save or build a successful business. I know some women who will watch this video and be angry at what I'm saying. I'm sorry. I never intend to hurt you. I didn't make this video for you, but for men. Not even old men, but for men who want to build a successful business. However, can't see tomorrow shouldn't be in your life. I'm sorry if it seems like I'm imposing my philosophy on you. It's just what I think. If anyone is going to live with me forever, I want to be sure such a person can sacrifice today for tomorrow.  When I met my wife about nine years ago, I was a broke guy with no money. When we got married four years ago, we had to decide to invest almost everything we earn and leave like slaves. Even when we made more money than most people around us, we still leave as though we were broke. And that was how we increased our assets to a point where we now have everything we need. I can make this video longer than this, but I'll stop here.  And if this video offends you in any way, I'm sorry. Thank you for watching our videos. We'll like to give you another interesting video for you to enjoy next, but before then, our team will be very happy if you can like this video and share it with your friends on social media. If you're new here, don't forget to subscribe so you won't miss other interesting videos like this. Look at your screen now to see two other videos we handpicked for you to enjoy next. We love you.


Welcome back to an FNA and today I want to talk about how every movement that you have in your animation should have an intention and a reason behind it. Okay, so why movement with intent? All the semesters are over. It's kind of like my end of the year and semester recap type of thing of what do I observe with students. And the main thing as a student is that you go from a technical focus where it's about arcs and space and all that stuff, because suddenly I'm okay with this. Oh, now I need to think about movement and timing in terms of what is the personality of the character. And that's not easy. It's tough. And I see a lot of students struggling with this. And this is why I want to do an FNA today about this, because after all the assignments, I'm grading up my grades right now. I'm looking at everything and I see that there are two main problems. One is the technical aspect, just the spacing, the pop, especially easing them out, not hitting those harsh lines. Again, I have a link description with like the most common animation mistakes. Those haven't changed. I might add some more to that, but that's still a major factor in your animation journey to go through those technical problems. And then I see people who are past that, and then it becomes almost a bit lifeless in the animation, just because, oh, I can do moves now and it's smooth. It's like, okay, it moves great. It looks great. But what's the feeling behind it? Who is the character? Why are they doing this? Why are they moving like that? What's their intent? What's the character objective? What is the goal? There's a lot to think about. And this is why I want to do this clip today.  I do animation lectures. I also do animation analysis clips. I do acting analysis clips. I do product reviews, rig reviews. I do a bunch of stuff, the pitch at the beginning and maybe you're convinced later on to subscribe. I don't know, but that's the pitch. That's what I do on this channel. Hopefully, it's helpful. Hopefully, it helps you. Well, that's it. The pitch. Let's continue. So movement with intent. When you start animating, you are, as always, safe watch my channel. You know, you categorize animation into two aspects basically. I mean, it's more complicated than that. But you start with the technical aspect where it's arcs and spacing and weight and balance and all that good stuff. And then you get to know this a lot better. And you start going into performance and acting where when you move something, where every move technically should have a reason behind it. So if I grab something like my lens cap here, it wouldn't just be in your thought process. I have to take this 25 frames to a constraint and then 17 frames back, which would be already good because it wouldn't be repetitive because the frames are different. But anyway, it would be am I in a rush? Am I tired doing this? Am I drunk? Whatever you have, there's going to be a certain circumstance combined with the personality and an attitude of the character that's going to make your timing and your performance different and hopefully specific. So once you're past that technical aspect, but even then, I would still always kind of think about that. You need to focus on why is the character moving this? I know it's going to be influenced by many things. Again, who is the character? What is the goal of the character within the shot? Maybe within the sequence. There's a lot that will influence the movement and the complexity is going to rise dramatically. Once you start thinking with all those things in mind, but you can also simplify it. But if you feel like you've kind of grasped the technical aspect and you are at that new stage, I will concentrate on attitude, personality and character. You might see that character kind of is the combination of attitude and personality. But basically, there's a certain personality that your character is going to have. Are they mischievous? Are they always kind of nervous or doubting things? Or are they always kind of happy and going along with the flow? There's a certain general personality character. But you also think about this certain attitude that you can have in every shot. So even though that's his personality as a whole, in that shot, at that moment, there's a certain attitude that the character is going to have that already is going to change your performance dramatically. And what I would add to that, what I said in previous clips is the context of the scene in terms of is the character in that environment and within that scene with those characters for the first time or not, there's a certain familiarity that's going to change your performance as well. Even if it's just movement to, as I always say, like switching lights on. If you're in a hotel room, you don't know that room, you got to look for things. If you're in your own room, at home, apartment, wherever, you notice things, you can grab things blindly. So that already is going to change certain things. But are you there with the person where the character knows the other person? So there's a certain familiarity that you can have when you get hand over props or whatever it is versus someone you've never met. And then how is that relationship? Are the two characters kind of confrontational? Are they familiar? Are they family members? Are they hated family members? There's a bunch of stuff again that you can add layer on top of layer to change your performance. That doesn't mean that you need like a 10 page breakdown of who the character is. You don't have to go that far. You can. Why not? But at least think about generally who the character is, what happened before, and even when the shot is done, maybe what might happen after that. So it's kind of like a general history and a through line and the objective that you want to kind of map out for your character. And again, that's just generally. If you do have lip sync, then you're going to write down certain beats of the lip sync. And what is the character saying something? What's the subtext? What is the real intention behind the words? Again, the layers will pile up. It's going to get very complicated quickly. And if all like it's overwhelming, again, keep it simple. It could just be my character is tired in the scene. My character is happy in this scene. And then on top of that, what does my character want in this scene? And then draw on your own experiences or maybe family members or friends. They can say, hey, fair in mind, it always kind of sits weird in the chair like that. Maybe incorporate that as an interesting quirk in terms of the posture. So that's going to already change your character pose in a way. And then you have your attitude, personality and the goals within the shot of the character. That's going to drive the movement and the timing of your animation. So all that combined is going to make it already so much different than just a general mechanics animation test. Now take all of that and make sure that all the animation everything that I mentioned is also in character. So it's pretend that you're animating a character on a sequel of a movie. That's going to make it even more complicated. So again, you can extrapolate and make this really, really complex. And of course, you will draw on the animators, the supervisors, the director, the storyboards. There's a lot that will help you. So you're not completely alone in this. But it doesn't have to be on that complex side in terms of characters with humans and for a movie or TV show, whatever. You can start with bouncing balls. Even when you're at the very beginning, you can start thinking about, okay, well, I know the mechanics, the physics of a bouncing ball. I'm going to add some squash and stretch and some personality to it. Well, it's again the basics. Is my character as a bouncing ball happy or sad? Go with the cliche ones. Could be curious. Could be tired. Could be exhausted and tired. Moving on to curious because they see something. And you can find examples online. And there's even that example that I always show. My favorite example, which is two characters, they're so different. There's great contrast. There's a story behind it. There's a lot that you can do with bouncing balls. You don't feel overwhelmed where you have to immediately go from a bouncing ball to a character with two legs and two arms and a head and a face and everything. Keep it simple. Go step by step and think about, okay, now when the character jumps, why is the character jumping? What's the goal of the character? Kind of think about those elements once you get past the technical aspect. Now, I say all this and it's not easy. So don't feel like, oh, okay, so you know how to do the spacing. I got my arch down and this great ease in and out. I know all this. Okay, next step. What is he saying? Okay, character personality attitude. Okay, are they here for the first time? Yes or no? What's the objective? What's their goal? Okay, had some specific elements, right? Specificity, all those things you hear from everywhere. Ah, what can I do? It's okay to be overwhelmed. It's a lot to think about. And that's what I'm saying. Scale it down.  But it is something you just can't avoid. Because once you're past that technical aspect and you're doing a pantomime shot, you're doing a lip sync shot and your character just has like a general pose. Again, what I say, like to take your t-pose, bring your arms down and then just has movement. Like it just doesn't quite work with that. It's going to lack a certain obviously character and life to it. It's not going to work if you're working for someone on a certain project where it has to have, again, a certain character that's based on an existing character potentially or your task to create a new character. So from the very beginning, you should think about intense behind the movement. You might not be able to apply it because you're still, I won't say stuck, but you're still really focused on the technical aspect of it. But fairly soon, you're going to go, okay, well my ball is alive when I add a tail and his obstacle course and I want to add some personality to it. Then you're already going to start thinking about the timing in a different way because the character will be, like I said, sad, happy or whatever it is. And you can even start small with just the posing. It doesn't have to have some crazy timing and acting choices. It could just be your line deliver like this. But what if you deliver the line like this? What if you deliver the line like that?  And then you can start experimenting with this. Again, it doesn't have to be overwhelmingly complex, start small, see what it does. What if I do half the shot with my eyes closed? Is that changing the attitude?  Well, I don't know if you can do this, but it all depends, right? So what if you hold this and have a very slow opening of the eyes? That's going to change your character already. So thinking those smaller layers first, again, not to overwhelm you, and then get used to that and add more and more and more until you're fairly used to this. And then you can start layering that into your reference as you film reference or film your own reference. And this goes on and on and on. Like I said, this is not easy. This is not something you can just go, hey, technical, all right, performance. It's tricky. And then a lot of people also use someone else for their performance inspirations for their reference. There are many, many workflows, many different ways to go about this, but it's also a lot of fun to think about. So this is not just a technical thing where you go, okay, this is my next step. I gotta do this. It's a ton of fun to think about that to explore certain characters when you teach to kind of give people ideas and then they take that and do something else with it. It's just a lot of fun to be on that next level where it's beyond the technical aspect. Now, if you feel like this is still a bit too complicated and you need help, you know where I'm going with this. I have workshops so you can sign up at any time. I can take your shots. It can help you. I can give you ideas. Let's talk. Let's brainstorm. That's what the workshop is there for. You can sign up at any time. You can start whenever you want. Link in the description with all information. That's the page at the end. Also, speaking of end, that means time. That means if you're still watching, thank you so much for your patience. I really appreciate it. And if you don't want to miss any of those lectures, feel free to subscribe. Why not? And hit that bell button and then you won't miss any of those uploads. Maybe it will be helpful to you. Who knows? But that is the Merry Christmas. It's the 24th today. Early May Christmas, right? So European Christmas. And hopefully I'll see you in my next clip.