I will call the meeting public works to order. We'll start with roll call. All the person, Hydeman, here. All the person, Raimi. Here. All the person, Rust. Here. All the person, Salazar. Here. And I'm all the person, Decker. So I'm here. We'll start with the pledge of allegiance. I pledge allegiance to the flag of the United States of America and to the Republic for which it stands, one nation, under God, indivisible, with liberty and justice for all. Already, we're going to get a guest here. So we'll do a little quick introduction then, today. I'm all the person, Dean Decker, from the sixth district. I'm the chair of the committee. I'm all the person, Rust. I'm from district eight. I'm vice chair. Hi, I'm Alder Salazar. I'm district three. Alderman Hydeman, 10th district. I'm Alder Raimi, district five. Ryan Sassman, Department of Public Works. Joel Colesty, Department of Public Works. Joe Garland, Superintendent of Parks. Administrative clerk, Stacey Wesselger. Heather Burke, Administrative Coordinator. David Bebal, Director of Public Works. Thank you very much. Hi, I'm Steve Jorgensen. I just moved to Oregon about a year ago now. Okay. And it's just kind of finally gotten settled enough to start trying to integrate a little bit more and find out how things get done. Okay, great. I'm retired. We moved here for our grandkids are in town, so. Yeah. Michelle's dad, right? What's that? Michelle's dad? Father-in-law. Father-in-law. Okay. Cool. You met my parents at the harvest party. Yeah, that's right. Yeah.  Well, we're 10. Oh, awesome. We're in, oh no, district five. We're 10. Yes. Yes, so. So I'm your older. Yeah. So I have some plates I got. Yeah. No, no. Thank you. Joe, you're better. Well, my name's Zach Hatter. I've been here for 36 years. So, yeah, I'll come one year to 36. Okay. Then change. Yeah. Alrighty, item number five for a little minutes from October 11th. I move. Question made and seconded. Any discussion on those minutes? All in favor? Aye. Opposed? Chair votes aye. Minutes are approved. I have a possible discussion. Number six, our own number 74, 22, 23, October 17th, 2022, submitting a request from Zach Cotter for approval to tear-hunt in a section of woods within the city limits. Director? Yes, Mr. Chairman. Zach is here this evening, President and author of the request. Just a little background, what we're looking at is South Side of Sheboygan. This area along Stahl Road and East of Manning, there's an L-shaped parcel that the city bought and purchased roughly about this, approximately maybe 20, 25 years ago to be future development. Okay. It hasn't been developed now partly because we weren't very close with utilities and such. In this area, I think you were all familiar with is the Cartman Farm that we recently purchased for future development as well. So there's an awarded section of the Pulf Farm, runs almost just, I would say, a little bit somewhere in here along this, it's not this whole woods, there's a property line between the two and this area. So it's natural, it's city-owned and although it's natural and city-owned, we've pretty much had a policy through the years where hunting is not allowed on city, city land. When I say city land is city-owned land, you are, this ordinance has been updated to allow hunting within the city limits because as the city expands and more people come into the city, for instance, the Garmin property and so forth, if he was in the city and it was owned by him yet, he was able to hunt on his own land. So given that some of the reasons in the past where the majority of our land that we do own that's largely typically natural or part of it, this was held for future development. So it is natural and I understand, it's probably great habitat. So especially with a nice source of food from the farm immediately west in this area, one of the problems is that we don't necessarily have the resources as a city, municipality to manage hunting on property such as this. So that was one of the concerns that we, that's easy just to continue to say, hey, we don't get a lot of these requests and we don't have a lot of resources. So sorry, look beyond the city to areas to ask for permission to hunt. That was the premise of this. And our recommendation is to pretty much continue along that path that, yeah, we understand there's probably wildlife and probably that there's an opportunity to hunt but being that it is in the city and we have a history of denying these types of requests in the past, we feel that we want to be consistent. And it's no disrespect to Mr. Cotter. I'm sure he's an avid outdoorsman. He's done everything proper. He's followed all the proper channels to get requests. We do have a process in place that he's followed and we do, you know, it's up to this board here to say, you know, we think it is time to continue this or change it or we've kind of had this as a longstanding practice. We're going to continue along those lines. But I think since Mr. Cotter has joined us this evening, I think it would be good to have him have an opportunity to explain his side as well. Yeah, if I may, that'd be great. So that parcel of land that you surrounded was it butts up to Riverdale Country Club. It's kind of all around the corner. The half of that that David was talking about to the east is owned by the Kohler Trust, not Kohler is in KOH, L-E-R, K-O-L-L-E-R, okay? So that's private land that's there and there is, I know him personally, a guy that hunts on that side of the land. And so my, I guess my question or the part that I wanted to bring, if we talk about policing the woods that we would allow a hunter, it's the same police that would come to that side of the city land. It's the same DNR that we have that polices, all of our public lands and not private lands as well in the state of Wisconsin. So we don't, I mean, never are you gonna have a city policemen patrolling the forests or anything, but if there would be anybody that would see anybody with any of our properties that would be hunting, that would be baiting illegally, et cetera, et cetera, you would still call the DNR warden, like that's exactly who would be able to issue citations, et cetera, et cetera. So there are policing measures in place for all properties in the state of Wisconsin. The other point that I just wanted to make was that the city is growing its footprint, obviously with the addition of the Gartman farm, I'm sure that there could be potential expansion in the future. There's gonna be a lot of rural property in Sheboygan that potentially would be acquired. And all I'm asking is that just because we've had a time old acceptance that we're just not gonna allow hunting on any city property, should there not be at least a reasonable discussion on particular plots such as this that has been idle, there are no houses and things that are at least are gonna be imminently putting up in that area. Should there at least be a discussion on a case-by-case basis to allow somebody the access to what could be obviously maybe fruitful? I have no idea, but at least recreational, it's land that is there that's vacant. And as long as it's being used in the proper fashion, I just don't see why there's not a reason to allow that because as David stated, I don't think that there's too many people asking for permission all of the time because you do have to go through the proper channels. So, that's me. Well, I respect you and I appreciate you bringing this forward the way you did. Sure. You did the proper channels, you did the proper paperwork, you've done all the things like that.  So, I am a little concerned with it. I have reservations about it. I'm here with the rest of the committee has to say. Zach? How big is the plot? There's like how many acres? This is probably close to 20 acres, the wooded section, and there's another 20 over here. So, it's 40 total. Okay. The plot that I had requested was not the 20 acres on kind of that, yeah. It was not really the farmland. There's two, there's actually, there's three parcels that are very long, a long stall road going north. Yeah, one, two, and three. And really, to get up all the way up to where Riverdale is, there's, yeah, up in that car, like that's, my house is right on the backside. It's on Sherwood Drive, right there. Yeah, it's right on the backside of this property, which is what was very intriguing to me. Obviously, I'm right there. And so, don't worry, I don't see very many deer there. But that's why it's very intriguing to me. And I started looking in terms of, well, how do you get permission? Like, what exactly is the process of doing it? So, I don't have so much, you know, the farmland itself isn't that big of a deal to me. It would be the actual wooded section, which there are two parcels that are inside of there that would be of, you know, if I was gonna go and do it, the only access to that would be then right off of the stall road, which is, you can see, I think you'd pointed that right in the beginning. That would really be the access to the right of that. Yeah, right into there. Yeah, that would be really your access point that would be down into there. Other thing being, you know, hunting is pretty widely accepted in Sheboygan. So, I don't think it raises too many red flags in terms of policing. All I say is that why couldn't it be on a case-by-case basis? Of course, when you start developing and putting houses and putting residential things on the Gartman property, well, then if I sit in this board meeting come next year or two years from now, yeah, I would expect to have a little bit different answer. But until then, as long as the property sits vacant, I would think it would at least be able to be used for different purposes if it would meet, you know, your approval. And so then you're asking for those months. So the months during November, December and January, asking for three month period? Yeah, so the idea was I wasn't exactly sure how all this works. So bull hunting, and it would not be for anything gun, I mean, you can discharge a gun in the city of Sheboygan with certain rules obviously in place, but this would specifically be for crossbow hunting. It lasts into, in Sheboygan County on the east side of I-43 until January 31st. And so that's why I brought up a few months. I managed to rupture my Achilles tendon back in July. And so I was just walking a couple of weeks ago. So I figured I'm not gonna be able to get out like right now and do this, but I thought, well, if we can at least have a discussion, I would at least go probably in that November through January timeframe. And then after that season's over, I wouldn't have to be reasons to occupy or be in a city on land anyway. So there's no violation within the city ordinances where you could not shoot a crossbow in the city of, I mean, I can't go down A Street to crossbow. You have to be, there's certain criteria within the city ordinance. You have to be so many yards away from any other property in a certain distance. And also in that plot of land, that's all in the city. There's not a private property owner that's not in the city that he could hunt on that property. Yes, he did talk about the land, he immediately jaded there, he was private. Private, and then you could contact him and you could hunt that out. A lead job. So we tried. He doesn't want you hunting that. So that parcel of land, that was actually from what I understand the beginning of an annex. That was the first one, kind of the balloon and string. And so that is, it used to be Tauna Wilson, which is now city is on that side. And there was a while there that you could not hunt within city limits. And I don't know when that has changed, but from everything that I've read, it certainly is now that you can within city limits. But you have to be, for instance, away a hundred yards from a habitable structure, which there is no habitable structure within that plot. Besides being very close to Salt Road, which I never would be anywhere, that would be anywhere close to a hundred yards, 200 yards, probably even 300 yards from a point of habitat from any type of shed, any type of dwelling. If I recall, I find or recall as best as I can, when this land here was annexed for the golf course, there was part of the state park that was included. And that's now in the city. And because of that, it's huntable. That's why the hunting in city limits, which changed and it was defined better that you're able to hunt now, because prior to this, we really didn't have any area that was even close to being able to be defined such as this. So when we changed that, that then now opened up the next possibility of anything city-owned that would be available, that would be public land. Right now it's all posted no hunting. We had originally, when this was in a broad end, people were hunting on it and it was not controlled very well. So it's posted that way. And other than this most recent, we haven't had many requests because it has been posted for many years already, no public, no hunting. I'd say that it's probably about 40 guys that work here and that would love to hunt on land like this. And they just know that it's really not something that's probably gonna happen. So they've never gone through the, they've never did what you did and gone through the whole sequence. So they know where the public land is doing. Joe, can I go on? Here's your process. Hence my concerns with this is that once you let the genie out of the bottle, you're gonna have all of a sudden, well, you let him do it. So why can't I do it? Then how many people can we say that we'll, next thing you know, we have 30 people on that land, something, you know, that's the issue that I kind of worry about.  You probably would go back towards, see that nice bucking gold, why can't I hunt this? It would be nice. And if we could limit it to say that, but I don't think we can. We're gonna give it to you. We have to allow anybody. And I think we get too many people. Well, and that, Mr. Chair, that raises a good point and Joe, I kind of, you know, I did completely forget about that. And I guess in a sense of fairness, if the committee so desired to open it up, I would suggest then that there'd be a process to allow for applications. And then if there's so many, you know, too many applications, then it would be like a lottery in other words. We would pick and then out of, out of let's say there's 20 people, but we're only gonna allow five permits for this area. So then there's a sense of fairness. I don't want it to be a first come, first served, you know. Sure. Look at that David, you'd probably be having to do background checks too.  Yeah, right.  Are you, you know, I'm not, I don't know if there's, I'm not a crossbow hunter, but is there a zone that you have to have a permit for hunting in this zone for a crossbow?  Pretty a lot, yeah, that's my concern. Yeah. Can you expand on when you said it was, people were hunting there before, but then we had to put the signs up because it wasn't being managed well or whatever. Can you just kind of talk about that a little bit? Yeah, initially when it was sold and vacated, there wasn't being farmed anymore and it was just natural. People, you know, within the area, if they may know other farmers and they may have been hunting and then they just start migrating into areas, it happens. And we just, people were saying, hey, we probably need to be putting up signs. And it's interesting, if I recall, I think Mr. Government may even asked, who's farming this, hey, can I get in there and hunt? And we've told him no over the years too, we say it just because it's in the city and we don't, on city property, we just have kind of had a history of saying no. But there's some very valid points. I mean, if we start expanding and we have these natural areas and they're going to be natural for decades and not being used, then what do we classify them as? Do we allow recreational activity, hiking and other activities? But then if you start allowing that recreation activity, then eventually, all right, now is it a part? Because you've been allowing people to access it and recreate on it and do certain things. Somebody comes on and says, well, wait a second. You can't develop that because it's a part. Yeah, so that, it's all, it's more complicated and sane. Yeah. Yes. That's my feeling, but it is more complicated and sane. I think we're very certain we would be opening up a lot of people, despite it. And it's a clear clarifying. So it's not about opening the land up for anyone to find what the issue is right now, it's giving youth him the license. So it'd only be one person hunting on that land. And what you're saying is that it would open up with other people who could come forward. Or if we said yes to this, that means it's open for anyone to go hunt. Well, we said yes, I think it would be. Right. We would get out of other people that come forward for permission also, I think. Because like you said, we need council approval for each person. Yeah, so that's another thing to look as is going to be individual council approval for everybody that wants to put in. We've never done that. So it's something we've never done before. This will still go up to council. Yeah. Oh, but since we go to council, if we would send it, we go to council on council. And this isn't the only area. I mean, this is the request for this area. We've had other requests for other areas. This is the first time we've had a request. Right. So there's, there's the past, haven't we? Last year we had a request for right here. This, this area right here is a big square of an old lot wetlands. Now, this was a much smaller, but there is an area in the middle that technically you could hunt. And someone requested it. Again, it was probably, I think it was a neighbor that was in this area or over here.  You mind if I hunt in the last year that you said no? The difference being there is that you're talking probably a distance of maybe 300 yards wide from the house that would be on the West to what that would be on, God, a Lakeshore Drive. Whereas that would be similar to when Gartman farm starts to be developed. Like, yeah, of course, you're not gonna be having bolts be flung through the air. You're gonna get people nervous. You're gonna have all sorts of stuff. I can completely see why a smaller section like that, like we're all sitting around a table. I think we can all agree like, yeah, something like that in a little tiny spot with residential all over the place. Yes, okay, I'd be a little bit more nervous about letting some people on versus a place that is wide open and rural. With that, I'll let it die. That's fine, I'll listen to you guys. But yeah, there are distinct differences and probably not too many properties like that that have that amount of rural woods put it that way. Is the golf course used at all in the winter months for like skiing, crossing from skiing or anything recreational or, you know, not really, no? It used to go, it used to go at once. You can drink at the bar? Yes. Good to know. So at one point as well, just another, you know, we owned the sugar land, the annex. Sure. And prior, I mean, we held it for, I'll probably, I don't know, close to 10 years. And it was just city land. And we had many, many requests to go back in here and hunt again. This is probably about 40-ish acres. It was, we didn't allow it. But now we've, now it's conservancy. So that really takes it off the table. Yes. They've got problems. People actually try to do that. Yeah. I mean, across the street by Essent Park, I do land the bookroom there. We have that problem all the time.  We have to be like, what are you doing? So just, just, I mean, a point of reference. I'm just trying to. Fine. There's children. Yeah. So, what's your thoughts? Anything? It's a hard one, you know? Because I get, I see both sides, but my thoughts are, if, yeah, I mean, we're saying a lot like, okay, but then once the garden farm is developed, and that's the plan, right? That is the plan. How hard is it now then to take that away? You know, it's the back and forth and back and forth that kind of doesn't seem clean. My feelings are, is if we would open it up, if we wouldn't allow this gentleman to have it, we would also then have to open it to other people. We would have to have a procedure. Like they've said, we would have to almost have a lot of, and things like that. Do we want to get into that business? Yeah, right. And then other, like, how many hundreds? Because we only, it has to be fair. It has to be fair. It has to be fair. And just be, you know, the first one that came in, requested, gets it not to be, you know, but that's how, that's how it, it should be, you know, because there, there, there are gonna be other, I think as soon as this would, if this would be approved for him, I think you would have more people coming forward to say, I would like to do the same. And then we would have to establish a perimeter of how many people we can allow in there, and things like that. We'd have to set some kind of boundaries to sign, you know, rules on it. So can I have the question? Why do we even have a process for people to apply if we've never allowed people to hunt on the land to begin with? Because it was, I think it's been fairly new with the areas, especially with, that was associated with the annexation. So people did get to hunt there? Yeah, because it's state-owned, they have a process. And it's in the city, and they have a process.  So I'm trying to, I don't want to put how it was developed or whatever. We've really never had lands that were, quite frankly, eligible to be hunted, because most of the lands that are natural and large are park or recreational. And we didn't really have something like this, that this large that. So did we look at the, or do we, can we look at the ordinance? Can somebody sort of understand why, I guess I'm just curious of like, if we wouldn't have allowed it to begin with, why are we even allowing, I guess I'm, I don't want to waste Zach's time, right? Like, I guess it would say don't even have a process, don't submit anything at all, because it's not an option. And that's, well, that's been our history. We've said it hasn't been an option, but quite frankly, we haven't had a request specifically for this area that really would be eligible. I mean, under the criteria, let's put it that way, the way it's defined now. Prior to this, you're right. Has anybody ever been arrested for hunting on there? I wouldn't say arrested, but people were like, hey, get out of here, you can. We have, again, when we, I'll be perfectly honest, when we had the business center, that was, you know, it was, if we city owned it, we were leasing it for farm and some kids, some, you know, went out there and set up their geese decoys and we're hunting and I got the call and met the sheriff out there and, you know, we just said, hey, you know, we could have cited them, we could have, but my point was, hey, they were, you know, they've had permission from the farmer to the north that was allowing them. And they just kind of might, you know, not everything has a fence and a property line. So everything, you look at farmland, you can go from a plot of farm when they go across property lines.  Discharge carrying weapons. Here you go. You can see E, A, B, C, E, E, E, E, E, E, E, E, E, E, E, E. Here we go. Conditions of discharge within the boundaries of the city, shotgun, muzzle, rope, crossbow or other like weapon, instrument, maybe discharged within the city, but only under the following conditions. So then it goes here. Two. Number two, as I said, yes. Okay, again, these know they can't be discharged within 20 yards, 200 yards, excuse me, of a bombing Jason Platt at subdivision or 100 yards of the habitable building or Jason property, unless the owner of such a Jason property has given written permission to be closer in no case. They can be discharged, projectile, leaving fine over any other properties. Down here, number two. Yes, again, pretty much the same. Fine regulations, no, discharge 100, unless the owner. So the ordinance is about discharging, hunting in the city, discharging a firearm within the boundaries and then it says prohibited areas and then, now not be discharged from parkland or on the island, not owned by the person. Unless rent permission is okay. So because this land isn't parkland, it's just land owned by the city, he is now asking rent permission from the city. Now, again, it's the right thing to do. He's followed everything, right? But again, we have the, I guess, ultimately maybe to clarify this better, it should be prohibitive areas, any parkland or city owned lands are not available. In other words, if that land, like the Garmin Fund, as I'm using it right there, was just in the city and owned yet by the Garmin's and not by us, he could easily get permission and then hunt that based on this, because even though it's in the city, it's a large enough track of land, it's far enough away from a subdivision as well as other areas, he could safely discharge those types of weapons that are in New Orleans. So that's probably the biggest thing here is it doesn't, it prohibits parks, it's just not other lands and we're an owner of those lands. So therefore, technically, so I'll probably ultimately to clarify this, if the committee, this committee so desires to continue on that past practice of not allowing hunting on city lands, regardless if it's park or owned by the city, I think then it would be basically you could, you could say we're gonna deny this request and then ask this committee would do a report, a committee to have this ordinance changed to reflect that moving forward. Or do we say some ingenious of this? If you do say, yeah, that's the other thing. You could say, we think this is good. If the city has land that the city owns and it's in the size that is allowed to be huntable, then I think what you would need to do is make an ordinance and then have a policy developed so that it can be properly managed because right now, again, it's kind of like a first come, first serve and not a lot of people have come because the answer has been, if they call, it's not happening or if they ask, no, we're not gonna let you do it. It's kind of been handled administratively in a lot of cases. They never really got to this point until, again, again, I think this was updated in 19. General Ornance in 2019 and that 2020 is right around the annexation period. So prior to this, it was 17 and 18 other things. Okay. Comments, questions, any more further? What's your thoughts? Possibly that we would get a retaliation from the other property owner that we allow him to hunt there and then he's gonna say, what are you doing? I own this property right here. Now you've got a guy hunting me next to my property. Would he be coming to the city single? That's why you're allowing this guy to do that because he's afraid, it's like that. Can I go on your farm land? We get at my mom, they ask me, they call us up, they say, can you go on it? Go ahead, it's not a problem, but it's not in the city. Right. So I guess I'd like to be able to really be able to respect the rights of the other property owners in there. Because if we make a change like this, that's gonna affect it. Right now we probably have to go in there and actually start posting the property lines. Right now, yeah, it's not. Yes, my thoughts on this is that, again, this would be a expense to the city because we would have to go in and take out the signs. We'd have to have our guys go in there and take the long-term science out of me because every hunting, we would have to mark the area that is the city boundaries. We'd have to have markings and something because we have to, it has to be a boundary, right? So there would be expense to the city. I think, I'm just afraid that we're gonna be opening a patent for this box. I just think that that's my opinion on it. So my thoughts are that this should be filed. That's my thoughts. And looking for, I guess, some kind of emotion on this file or to move forward or... Is it moved to file or moved to deny? I think it's denied, right? Both would do that. Yeah, file. File and it's denied. That's filed and it's denied. I move to file. I will second. Motions made to file. Any other discussion? Okay, so say we move the file list, then the next process would be changing the ordinance. Okay, so if we allowed him to do that and then we change your ordinance, he's got one year that he can do that or wouldn't that lead to that? If we change your ordinance right after you got his bull ready, then he would no longer be able to... No, no, we would change. He would be done and it would affect this request that he has for this time period. All right, any other discussion? Any other questions? All in favor? All right, any opposed? Chair votes aye. That is filed. Okay. Thank you. It was a fruitful discussion and now we need to change it. Okay, next meeting date is November 15, 2022. I'll be the motion to adjourn. I move to adjourn. Second. Motions made to second. All in favor? Aye. Aye. All in favor? Aye. We are adjourned. Thank you.


Hello! Good morning, Blender Conference. I hope you're all awake. This is day three, so all of our brains are melting. I hope you have plenty of coffee. I'm running on about six right now, so I think it's going to be a good talk. I'm pumped. I'm really excited to be here. I just wanted to start off by saying thank you to everyone for being here today to hear the talk, and also everybody that's watching online. And most importantly, the Blender Foundation. You guys are amazing. We wouldn't be here without you. Thank you for an amazing piece of software, an amazing conference. It's been really, really, really great to be here. Thank you for the invitation to speak. My name is Chris Bailey. I've run a YouTube channel. I do lots of crazy stuff. But what we're going to talk about today is short filmmaking. What it is, how to do it. We're going to talk about sequences, which sequences are like short films inside bigger films. And that's what I do for my living, is I make sequences. And it's a really exciting tool, Blender, to be using to make sequences. And I'm pumped because we're going to talk about first a big overview of sort of camera work. How do you make cameras tell a sequence, tell a story in a sequence in a really efficient, really effective way. We're going to just kind of do sort of a big overview of that. And then we're going to dive in and we're going to talk specifically about a way of using Blender to make short films or to make sequences in larger films that I personally find incredibly exciting because it's non-destructive and it's non-linear. And I don't think anybody's actually mentioned it or talked about it yet. So I'm pretty pumped. I'm hoping that by the end of this talk you'll have some aha moments that you can take away from. So like I said, I run a YouTube channel with lots of videos. Please go watch them, like and subscribe, do all that stuff. And here's a little trailer for the channel. So we can have the lights dimmed and I'll play this. This has audio so you can get a taste. Blow in, welcome to another exciting Blender tutorial. I'm loving it. So there you go. No shortage of... Thank you very much. No shortage of ego there. Tutorials that will blow your mind. This channel came out of a desire to make cinematic stuff and break it down for people. Make it really simple. And try to teach the process of making cinematic shots and sequences using Blender. So it's really what the channel's been about. I also started doing stuff with CG Cookie a few years ago so you may have seen some of my work with them. And then out of YouTube I got the opportunity a few years ago to begin working with Animal Logic. Animal Logic's a really amazing film studio in Sydney, Australia where I live. They've been making movies for a very, very long time and amazing pedigree of stuff. But they started using Blender, which was very exciting. And so they invited me to partner with them to begin to develop their Blender experience. They helped bring them into the world of Blender. And it's been an absolute privilege to do that for me. Very exciting. So what I do at Animal is I am a pre-viz artist. So I am helping their team get used to Blender, figure out how to use it. And also then I'm working a small team on a brand new feature film, a very exciting, very big movie that I can't talk about at all. And I'm doing pre-viz in that film. And what is pre-viz? Pre-viz is short filmmaking. It's basically taking a bunch of toys, so the assets the art department has been making and putting together the sets and the characters and things. And you get the script, right?  This is your sequence. And so you take this section of the script. There's some storyboards to work off of. Maybe a rough edit to help you to guide the process. But ultimately it's up to you to block the characters, do some breakdown poses, some key poses for the characters, and figure out where the cameras are going to go and how you're going to tell the story at that point in the movie. It's a really exciting and fun process. But it requires a kind of fluidity of sandbox mentality that is really difficult in animation. But thankfully with Blender it's becoming so accessible, so incredibly easy to play. And that's kind of the big focus of what we're going to talk about. It's how Blender enables you to engage in the sandbox of play. Because when you can engage in play, when you're creating sequences, you're set free. So traditionally animation has been brutal. You have to commit to stuff. And if you make a change later on down the track, it's painful to go back. It's so difficult and expensive and prohibitive. And so when you're doing previs, you really need to be able to whip stuff up quickly. You've got to put a whole sequence together, and then we pitch it to the director. And right now I get to pitch to this director that's like a legend, he's a hero of mine, and one of those guys with a lot of little gold statues, very intimidating to talk to.  So it's been really fun to use Blender at that level and to be able to present that kind of work in that kind of environment. Now, with sequences, what I'm going to do is I'm going to talk about this short film that I've been making on YouTube. Now one of the things that I've always wanted to do, and I'm finally going to do it, is to make a short film from beginning to end live on YouTube. So I've been created the story as a tutorial. I talked about how to write a story for a short film, and I broke down that process as a tutorial. Then I started making all the assets, and everything's a tutorial. You can actually go watch it. It's all free. It's all on YouTube. There's a playlist if you can hunt it down. And then what I started to do is animate the film and actually make the film in these live streams and in these uncut recordings. So like hour-long sessions where I'd sit down, pick up the scene, and just go for it. So the goal is when the film is all finished to have the entire thing documented.  You can watch the entire process of making this tiny little short film. Keep it really simple. So I'm going to use this as our talking point, our case study today to talk about these concepts since I can't share anything about the film that I'm working on, but you'll still get the idea. So here's the first scene of the film, which is finally done. I'm halfway through the second scene, and then there's three scenes in the movie, so it'll be done. Hopefully early next year is my goal. I'm not in any rush to finish this, but let's have a look at this, and then we'll talk about the process. So if we could dim the lights again and we'll get some audio. The first thing I ask when I'm approaching a sequence is, okay, what's the change in this scene and what's the point of view? It's like two of the most important things. There's always a narrative beat change. Sometimes there's two in a sequence, sometimes a few more, but you want to figure out what is going to change in the story. When you pin that down, you get to ask the question, whose point of view do I need to put the audience in? Who's the audience need to be empathizing with and relating to? Those two things inform all the choices you begin to make from that point forward as you sculpt the sequence. What you can see here in the short, so the point of view that I'm working on in this one is, play, back, play, back, back, play. There, that's how it works. Okay, so, sorry, we don't need to watch this one. I will get to this in a second.  So I'm thinking about his point of view and I'm thinking about the key change in this scene, which is the surprise of when the floor opens up underneath him and he drops. So I want to make sure that I capture that beat. You'd be surprised how easy it is to miss the most important beat in your scene when you're putting something together. If you've made a short film or you've directed anything, you'll know that, like, when you first do it, you often get in the edit room and you realize that you forgot to film the most important part of your sequence. So it's actually really important to sit down. I keep up doing this so many times. I've completely missed what matters. So it's really important to make a note of it. Now, here's some basic ideas of how to build a good sequence. You want to always ask the question, where is your audience's eye? So your job as a filmmaker is to juggle the eye of your audience. You're playing, you're moving them around, you're keeping them engaged in the sequence. This is very important, especially in action, when things are going really fast. You want to know where your audience is looking. So right now I know in this shot, my audience is looking there at laser pointer, that guy, right? So I want to make sure that my next shot keeps the focal point, the most important thing, in the same spot on the frame. That means that there's no moment where the viewer has to search for what they're supposed to look for. And when you're cutting between shots, it's really important that you keep that consistent so they know where they're at and they don't get lost and they're able to just keep getting that information. So that's super important. Lens variety, another good tip. Change up the size of your lenses so you start with the wide.  You do like a 25mm or a 50mm. And keeping that variety is really, really key. It's okay if this one doesn't play, so don't stress. So yeah, here you can see. So we're cutting in to a tighter lens. And then we cut in a bit wider and we go to this POV where a different size lens and then we're back to him. So keeping that variety, what that does is it helps your edit to feel a bit more organic, a bit more, you don't notice the edit as much. It feels more natural. You don't have jump cuts. Cuts don't feel very harsh when you're changing up your lens size. Next thing is screen direction. This is filmmaking 101. You want to keep people in the, your subject matter in the same size of the screen that they belong. So the red light here gets over on the right of frame and then he's over on the left and he's looking at it. So I've established this is the direction. I want to keep him over here, always now. I want to keep this over here, always. So this lives in the right, this guy lives in the left. So if I cut to an over the shoulder of the light, you can see I've kept him in the left and I've kept the light on the right. This keeps everybody oriented in the scene, so they don't get lost.  So I've keeping him there and he's looking where the light lives. The light lives on the right side of the screen. So that consistency is really important because if you break that, it gets really confusing. You go like, okay, so what's he looking like? And now it feels like he's turned his head in that kind of feel that, that cut. It feels like he's changing his perspective, right? So that's the effect. You can lose your audience. If everyone's looking in different places and you're like, what is going on with this scene? I don't know. So that's how you can solve that. So screen direction is super important. And then finally, camera movement across cuts. So when you've got a camera move, so like a really nice dramatic, you know, move, you want to make sure the next shot you go to is also moving, okay? And then if that shot you want to go to a shot that's still, you want to make sure that shot comes to a stop first.  And if you want to make things move again, you can make that one start to move. And if you're still moving on your cut, you want to make sure your next shot is also moving like this across the stage, right? So that's really important. So keep the movement going. It's one of those rules you can break, but it is a really good one to keep in mind. It keeps things flowing well. Okay, so how do we actually make this stuff? How do you make a short film? How do you make a sequence? I always start with storyboards. And Paul did a great talk on storyboards. If you didn't catch that, I encourage you to watch it online on YouTube. It's up there. So first step for me, whenever I'm doing these boards, I create a blank grease pencil object. I switch to draw mode. Very important. Don't forget that step. And then I turn on sync to audio. Oh my gosh, this is so important. If you forget to do this, I can really scrap down this. I've forgotten to sync to audio.  Even if your performance is bad on your computer and you start dropping frames, make sure you do that. Then you can get a sense of timing. And then what I do is I turn on auto keying. Next step. Very important. Auto keying. Because that does is whenever you draw a new frame in your space, it will, you know, delete everything that's there and it will create a fresh drawing for you. And so what you can do is you can quickly scrub through your timeline and draw.  You just draw, draw, draw. And every drawing becomes a new frame. And then you've got these lovely keyframes on your dope sheet. And you can actually time your edit now. You can start to edit by just grabbing the summary keyframe, moving it around. And this is how I plan out a sequence. I'll draw it and I'll create this full animatic. And I get, basically when I'm done, I've got an edit of my movie. I've got an entire edit. I know exactly kind of how long I want each shot to go. I know basically what I wanted to have happen. You can see the film that you just watched, you know, it's all playing out. And you just move those keyframes. It's the same as moving your edit markers. Okay. So this is very effective. So then I export this and I bring it in as a reference.  There's been a lot of workflow stuff at the conference today, so I won't dwell on this, but one really great tip that I like for making collections clear when I'm working in a team and we need to link and append stuff in is you can see I've got this droid asset that I've made. And right up here, I've got this little double dash arrow thing. And that's just sort of a token that my team and I, we agree on, this is what means, this is the collection to import. Okay. So that way if I've got like a hundred of collections and thousands of setup things and I've dragged everything in it, I can make sure that the most important thing that someone needs to bring in is always going to be in the one with that little arrow. So that way when they go to import, they go to append, they go to collection, and up there it is, it's always going to pop up at the top and it's always super clear which one is the correct one. So this is kind of a version control thing that I really like to do. It's simple and it works. So I'd recommend doing that. All right, let's talk about the most exciting part for me at least, the nonlinear filmmaking. This is so cool. Okay. I hope you guys think it's cool. What do I mean by nonlinear filmmaking? Okay. So you've got your storyboards.  What I do is I create a new camera and then I'll look through that camera. I'll click the little camera icon next to the name. Click. And then I'll come over and I'll control B to bind camera to marker. So we've talked about that. You've heard that before. So this is how I create an edit. I start to create all these different cameras from my shots and you can grab those markers and move them around and you can begin to refine how the edit feels. I go, okay, I like this close up or I like this wide, but I feel like it needs to be a little shorter and so I can, you know, you move those markers around. You just keep playing, right? So you're creating this live edit. Now, of course, when you're making a film, you know, it's not like live TV, right? Where you can just animate all the action and then you can just cut to different cameras and stuff. That doesn't really work. You need to jump time. You need to have, you know, weird cheats where your characters move. So you end up with a lot of keyframes. And on these cut points, right, that you've created with your camera, you tend to cheat stuff like you'll move the character over a bit for this particular shot and then you'll move it and it gets really messy.  What you do is you hit I on the dub sheet and you select all channels and this will insert a keyframe for everything that already has a keyframe on it. So it's like you're kind of locking the position. And then you set it to free handles and that'll preserve your curves if you've done really careful curves. If you move these keyframes apart now, it won't break anything. Then you select all your cameras and you go and you can select all that's after the current frame and then you make on, make sure that sync markers is turned on. Sync markers is magic. I love this tool. If you hit G to grab, you move your keyframes and all those cameras will pop and stay in sync with those keyframes. So I've just created a gap here in my edit.  And then I'm scaling it.  So I scale it and those markers just stay in sync with the keyframes. So suddenly it's like you're using a nonlinear editor to animate. It's incredible. Like, oh my gosh, who's thought of this? Are they here? Can you put your hand up? I want to give you a hug after this talk. It's like the best thing ever. So being able to move your keys around like that means you're never getting a situation where you're like, I really need six more frames at the end of this shot, but there is no way I can add it because, oh my gosh, the domino chain this is going to set off, if I move this one thing, it's going to break everything and ruin my sequence. You don't have to worry about it anymore. As long as you hit I to set a key for all those channels, set them to free for the handle and then you sync markers, you can move it. Now make sure you turn sync markers off. It can really catch you out if you're not careful with that because if it's turned on and you grab one key frame and you've got like 20 cameras selected and you don't realize it and you grab that one key frame, all those cameras are going to move with you. So that is a bit of a, so look out for that, but if you can remember that much, it works out really, really well, but there's more that you can do with this. So check this out. This next thing I'm going to do, I've got a point in my sequence where I'm like, I really like this close-up and I want to have this close-up earlier. I don't like it here in my sequence. So, you know, let's move it. So we, you know, set a key frame for all the channels just like I just showed. Go to the next cut point, key frame for all channels. Then we select the key frames. We will select them. It's not as easy or too to collapse everything. It can be overwhelming to see all these key frames. So you can just collapse down to the summary view. I also make sure I've got only shows selected turned off and show hidden always turned on. I've always keep those on. So here I am, I select the keys and that particular shot and I just shift D, duplicate, drag them back to that gap that we created earlier. And then I grab the camera marker, shift D, grab that and bring it back so that it's a cut point.  And what happens is suddenly it's like I'm able to cut to this completely different moment that I have animated way later in my film. I've now brought it up and it works. And it didn't break the animation before the animation after and those curves are still just the way they were. So what this does is it basically allows you to create shots with absolute freedom and you can grab and move them around. Now some of the gotchas with this that you need to be aware of I really recommend that you don't use the NLA editor, don't use the nonlinear animation editor.  And the reason for that is NLA is great for like blending lots of different complex animation strips but it's not accessible in your dope sheet. And so if you can bake it back out the key frames, you've got it in your dope sheet which means that you can continue to working in this way. So that's kind of one catch. You really can't use the NLA if you're going to be doing this. But it's fine. I don't really miss the NLA in terms of a constant state. Like it's fine to bake stuff down for. But pretty much everything other than that works really, really well. And if you have a situation where you need to actually export individual shots, well, we'll get to that actually. We'll talk about that. So let's talk about some other stuff. I've got no idea how I'm doing for time. I should probably check that at some point. Just excuse me. I'll just turn things. Yeah, we're fine. So instance lighting. So I like to light individual shots uniquely. Like I like to have a, I do kind of one big master light for my set. And then what I do, I put all those lights in a collection and I give that collection name like master light setup or something. And then I create collections for every camera and I take the name of the camera and I paste it into my collection so they match. It's easy to see the difference. And then I start to do these custom light setups, right? So I light this specific shot. Now, once you've done that, one of the big problems is you end up with like hundreds of lights, right? And you have different lights for different shots and you're cutting to those shots. And if you want to set a key frame for all those lights to like turn them on or off, it's a lot of key frames. And it's a pain and it takes like 20 minutes just to, you know, first you key the viewport, bup, bup, bup, bup. And then you key the camera, bup, bup, bup, bup, bup. And then you key the eye for some reason. You're like, I don't need to key the eye because I did the viewport, you know. But if you finally get it all down, it's a lot of work to manage. So the quicker way to do it is first set your cursor to world origin. This is important because if you don't, what you're about to do it appears off wherever the cursor is. Then you want to turn on always show hidden so you don't, you know, lose the ones that have disappeared.  And this will create an instance of that collection.  Very easy. It's great. So now you've got a collection that is exactly the same, lights it in the same way and you can turn it on and off with just one set of key frames whenever you want for every shot. And then once it's in your dub sheet you're now able to move it around with everything else in your nonlinear editor workflow and you're able to light individual scenes and it works really, really well. So if you want to do multiple takes I recommend using scenes so you can go up and create multiple in a different scene and break it out. You can do a variation. This also works good if you want to export individual shots with handles, right? So if you don't want to be restricted by, you've got an edit that works really well. You export it from that. Great. But then I also want to do a few of my shots with handles. You can break them out into a master scene. You can just create either a link copy or a full copy and then delete all the markers off your timeline. You can even delete the cameras out of that and if it's a full copy and just output from the timeline the specific frames you want for whatever that shot is so your editor can do more with it. Or in my case in this short film I am the editor so I'm just keeping the edit in Blender in the timeline as I'm working. And that works really well. This is also important for a motion blur can be a problem on this because if you're doing it this format, you know, if you cut to a different shot and you've got your character over here and then suddenly he's over here because the framing's a bit better you're going to get a weird motion blur frame. So that's where you would want to break these out and do the handles so you don't end up with those bizarre moments. So all of that stuff together really works to make a really fluid organic process and it enables you to play and that's probably the most important thing. And what I wanted to leave you guys with a lot was, you know, very much in filmmaking it's very similar to in life, right? You start out with a goal you're going to make this film and you have this idea and you think it's a straight path just like in life. You know, I want this job or I want to do this thing with Blender it's going to be a straight path, right? Sure. Of course not. It's never a straight path. Filmmaking's never a straight path. It's a wandering, meandering path with double backs and, you know, splits and dead ends and all this stuff happens and you have to be willing to embrace that journey. And I think that we overemphasize finishing way too much. Starting is so much more important than finishing because if you never start anything you're never going to finish anything. And so I'd encourage you to get into Blender and play and get really good at starting things because if you can do that then you're going to have that moment when you do finish something and you need to create that opportunity and that space for yourself. So try not to discourage yourself from not finishing things and celebrate the starts that you do and if you start things like I've started this short film and hopefully you'll finish it and hopefully I'll finish this short film and I really hope that you join me for the journey and you come watch it with me over on YouTube as I do it so check it out. Thank you so much for listening to my talk and I hope you have a fantastic rest of your conference. Catch me afterwards.


You came to visit back when you were coming out of the draft. It seemed like things kind of came full circle. What was it about Tennessee that made you want to come to this team? Is it a goal or a goal? An offer helps. I mean, that was a big part of it. But also, Kevin Hogan is my college quarterback here. And just hearing what he had to say about the culture, about Coach Rable, about John Robinson, just understanding the men they are, how they lead, how they go about their business, just aligned with a lot of the values that I wanted to experience in this part of my career. So I mean, it was an easy decision to me once an offer was presented, talking to Kevin. And just watching this team from afar and being a fan from afar, just seeing what they do and how they go about their business. To be able to get a legitimate opportunity to be a part of it, it was an easy decision.  Yeah, for sure. I mean, everyone has a similar kind of run game to a certain extent, right? Like zone, gap schemes, and pin and pull stuff. I mean, so yeah, very similar stuff that I've been asked to do in the past. So hopefully it'll be a smooth transition. What kind of player are the Titans getting in you at this stage in your career? A hungry player every year. I mean, every year is a new year. Every year, you're unproven. Every year, you've got to prove yourself to the world. So I mean, I'm just excited for the opportunity. Excited to get after it. Excited to compete and earn my role within this team. After a couple Pro Bowl seasons, Atlanta was more disappointing, more surprising that things didn't go better for you in Cleveland, or? I mean, yeah, I mean, there's definitely some frustration there. I mean, I'd be wondering why they gave me the deal and they wouldn't really involve that much. But at the end of the day, I mean, I've always been the type of player to accept the role that I've been asked to do. And in Cleveland, it was to be a predominant run blocker and split reps and split time with other guys. So I mean, I always value myself as a good teammate, first and foremost. So again, whatever my role is here, I'll accept it and do my best to excel. Because of that frustration, as you kind of alluded to, do you look at this? I'm not going to. I mean, will you look at this opportunity with the Titans? It's kind of like that bounce back. Next opportunity is your best opportunity. Every day is your best opportunity. I mean, yeah, absolutely. I want to be the best version of myself. I can be. So I mean, yeah, absolutely. I'd love to, whatever answer you want, yes. What do you think your strengths are?  Versatility. I mean, I would probably say that would be my best trait. Because I mean, I can line up in multiple spots and I can do what's asked in multiple spots, whether it's in the slot outside or in line, pass blocking, run blocking, whatever you need. Routes inside, outside. I've shown on film, I've been able to do it. So I'll definitely say my versatility. Are you looking for an opportunity to be a guy, not so you want to be Travis Kelsey or George Kill, but a guy who has the opportunity to put up those kind of numbers with that kind of chance? Yeah, I just want an opportunity to compete and just be a part of a good locker room on a good team. So I mean, this was an opportunity that was presented. And it was a no-brainer for me. I mean, just good culture, good team, and just like I said, an opportunity to compete. That's all I asked for. Traditionally, you've been a pretty big tight end centric team. Got away from that last year. You're conscious of kind of what kind of tight end team this has been and what it might be. You mean when Delaney was here? You mean? Frank Wajek before that. Yeah, I mean, the tradition, yeah, for sure. I mean, what Delaney did here is special. I love Delaney. Great dude. Yeah, what he did there is special. And I'm going to let Delaney be Delaney. He's the best to do it at. So I'm not going to try to say anything about that. I mean, I'm just going to try to be the best version of myself and go out there and compete every day. You're weighing an opportunity like this. Do you like sit down and look at film, look at the offense and start to see if you can envision yourself in there? How do you approach that? Not really. I mean, most of my stuff was done with Hogan, honestly. I mean, I called Kevin and talked to him for about a half hour. I was in my college quarterback, one of my best boys. So I mean, once you kind of laid it all out, I didn't really need to ask any more questions.  So I mean, I've watched the team from afar for years. So I mean, I know on some level what they're trying to accomplish, but just talking to Kevin, just put everything out of use for me. How did that process just kind of go about, just as far as it from the release to the titans offer? Like, does that seem like it was rapping for you? For sure. Got cut Thursday and then agreed to terms here Saturday. So it was pretty quick. So yeah, I went through that process, get released, and then field, you know, erasional field some calls.  And then from there, narrowed it down between here and somewhere else. And then talked to Kevin, and Kevin just really, you know, was everything. How much of the confidence that people wanted you right away that you didn't have to sit around and wonder? Yeah, I mean, yeah, I'll take it. How much has Nashville in this organization changed in the NFL landscape and the perception of being a destination for players? Oh, that's a good question. It's a great city. If you like music, you like having a good time, like having a bunch of different options in terms of what you can do. For sure, I mean, Nashville's just a great city. The people that are here are awesome. And yeah, that's a good question. I mean, I love Nashville. I don't, you know, we're strictly professional, no Broadway, but yeah, it's definitely a destination for a reason. I mean, great, great fun city. If you like music and culture, it's one of the best out there. What is it about the culture of Mike Briebel that made the Titans? I mean, I just got here. So I don't, I mean, from Kevin, they'll just shoot it too straight. And I mean, that's really all you want. You know, it's man to man, like he'll tell you when it's good, he'll tell you when it sucks, and everywhere in between. And I mean, as a man, I appreciate that.  Not saying anyone in the past has done that, not trying to get a sound bite, not saying anyone else has done that. I'm just saying I appreciate about that style of business of, you know, how he operates from what I've heard. You said you were watching the Titans from afar, kept up with him from afar. What did that look like to you? What kind of work has been the reputation of Tennessee from the outside looking in?  So I mean, not all teams are like that, but yeah, playing the Titans and watching them, that's definitely some characteristics I've picked up. Talk about all the things that you're willing to do. What do they tell you when they're selling you on the job that they want you to do? I mean, for able, I mean, trying true is just like, I'm one opportunity to compete. I was like, absolutely.  But anyway, like 90% of everything that they were saying, not to be disrespectful, I filtered out. It was just like, I'm just here for an opportunity to compete. Like, I'm not here to say I'm gonna get X amount of catches, yards, tugs, nothing, none of that. Like, it's one opportunity to compete, get out there and get after it, help this team however I can. What are your thoughts on the quarterback part of the tournament? Yeah, I mean, like watching him from afar, haven't met the guy, but yeah, seems like a nice enough guy. Yeah, I'm excited. I watched him, throws a good ball, definitely has a good command of the huddle, has a good grip on the offense, you can tell. So yeah, he's a good dude too, so I look forward to meeting him whenever that time is. No, no, I know my guy, Kevin, that's about it, man. If Hogan's been chasing the dream here, hadn't had a lot of opportunities, how confident are you that he can play in this league if he's needed to at some point here? I mean, I've seen him play in this league and do it, so I know he can. And, you know, obviously that's my college quarterback, that's my guy, I've seen him do a lot of cool stuff on a football field before. So, and he's a selfless guy who's, I'm sure you guys figured out, like pretty quiet guy, but does his work, handles it, true professional. So, I mean, just based off his work ethic and how he goes about his business, I know he can do it. Three down a guy? Yeah, I mean, yeah. You were here for Tite and Tite, ain't you, right? Great time. Do you plan to come back here to work out? Yeah, absolutely, plan on being here and now that, you know, obviously signing here, I'll probably, I should probably talk to George before I say it on camera, but yeah, I'm probably, George, I'll probably be coming over here soon, yeah.


Hey everybody, welcome back to a week in Geekdom, Gio here and today we're gonna be talking all the geeky stuff I acquired in the terrible month of March. Welcome back to the channel everybody and yeah, another haul video. What a strange month, what a strange time to be living in, right, as of this video. I hope everybody's doing safe, everybody is doing well, keeping yourselves occupied and healthy. I didn't pick up too many items, of course I got some delayed packages, but not because of the current situation, instead when I made the order, instead of them shipping things out as they were coming out, they decided to wait and group everything together until the last second, so now I'm still waiting for some packages. So you'll see them eventually, but I do have some pretty cool stuff here that I wanted to show you guys. If you have not, tune in to my channel before I do weekly content on books, shows and comics and all that stuff, specifically manga and graphic novels. Do some reviews and just geek out over cool stuff that we all like, right? So in these haul videos I like to mention all the stuff I got and if you want me to review a specific product that I'm gonna show you guys, let me know in the comment section down below and I'll add it to the list and I'll get to it as soon as humanly possible. Speaking of possible, a couple, like I want to say two months ago, I did a review on Magical Girl Apocalypse, sort of manga, first impressions and I was intrigued a lot. I read the first six, seven volumes, so I went ahead and picked up the rest of the series. The last haul I showed you two of the books and over here I got a bunch more. I am missing one because that is stuck with that late package that I just mentioned. So yeah, here is volume 11 of Magical Girl Apocalypse. Here is volume 13, so yeah, I'm missing volume 12. 14 right here, which looks really interesting. Can't wait to find out what's happening. Here is volume 15 of the series and the final one, volume 16. Cannot wait to dig into this series once again and do a proper series review because I did receive a lot of comments on my previous video like, oh, keep reading because it does get better and I'm interested in your final opinions and I'm excited too. I want to check it out. I was impressed at how zany and wacky the series got. I went from zombies to time travel and then friggin' giant mutated creatures. I don't technically know what I read, but I will be reviewing the rest of the series. Volume 12, sorry, it will be arriving shortly so I can, I'm waiting for that to get started on the series again so there's all the spines lined up. A little show-and-jump action from Viz Media, I got Demon Slayer volume 11. Here we have Dr. Stone volume 10. I also picked up from Seven Seas Entertainment as well, the ancient Magus Bride volume 12. Technically the series hasn't ended in Japan, but this is the latest volume over there and now over here as well. So I got this and I can sort of say it's completed, quote unquote. I also got this bad boy Berserk deluxe edition volume 4 collecting the, as you can see here, the smaller volumes collecting volume 10, 11, and 12. So I just know that people that are reading this for the very first time, they're going to be in for a treat and they're going to be shocked by the end of it and will not wait for volume 5 because the cliffhanger is epic, of epic proportions as I like to say. So they're going to be looking for volume 13, but if you want to wait, it's going to be worth it because, yeah, the finale of the Golden Age arc is something to behold. So yeah, Berserk volume 4. Anime was just one Blu-ray, I got the second Eureka 7 high evolution film, Anemone, and this is pretty cool. I thought it was just going to be a regular old Blu-ray, but it comes in a slip or like a little box slip cover, I guess, and a regular slip cover. So here's the actual movie. I always flip the inside artwork if it's reversible. There's the back right there. And again, I had no idea. This comes with, what does it say again, a mini shikishi with character art inside, which came like this, super glossy right there, cut this open, and inside we get character artwork from the movie, which is really awesome, of course, yeah, look at that, that's really cool. I don't know if these are supposed to be rare or not, but this is the first time I even own a shikishi, so I'm really excited about that, that looks fantastic. I think there was another one with one of the mech designs, so I much prefer this. I like getting like the character designs and stuff. So yeah, there's Eureka and Anemone. Long time viewers are probably asking, Geo, where's the comics? Where are the comic books? I know. I've been on a super strict budget and these were mostly pre-orders, however, I do have something really cool that I've arrived in the mail.  You know, I've been so lucky in life to meet such wonderful people and it's always a surprise and it baffles me that people, you know, they do this and Josh is a great guy, he's a good friend and he was ticked off on the last haul where I mentioned that I don't own any Hulk books. Right there with the immortal Hulk oversized heart cover, that was, I think that's my first ever Hulk book that I own. I've read stories but I don't own any Hulk books because, you know, space is limited. Josh went out of his way and sent me this. This is the Incredible Hulk by Peter David Obnebus Volume 1, brand new, brand spanking new. Man, I cannot thank you enough, bro. I mean, this is just so awesome and I've already started reading some of the stuff in here and it's great. I'd love Peter David, this Supergirl stuff is great, his Aquaman run is legendary, one of my all time favorites and I've never read his Hulk material so I'm really excited to dive in and just check this out. You know, I'm not a good overviewer, you've seen videos about this book so I don't need to show you every single page I guess but, and this is so awesome. Here's a cool fight between the thing and Hulk. So yeah, I'm honored, this is incredible. Thank you so much man, you didn't have to do this and I am a lucky SOV because I meet such wonderful people and they care. I've never, I don't want to leave off with a bad impression but I've never asked for anything. I just do these videos and like to geek out and spread the word about stuff and along the way you form these awesome relationships with people, with friends and yeah, that's really cool. Thank you so much. I really do appreciate it.  I will always post stuff on a regular basis here. I've been trying since summer of 2019 to keep a consistent schedule of at least a video per week lately with the current situation, the world climate and all that stuff. I've been trying to put out as much content as possible so that I can entertain you guys in these difficult times and yeah, things get a little rough sometimes so I don't, I'm not picking up as much as in previous halls or videos so I won't try to do more hall videos but I won't guarantee it because I'm just not getting a whole ton of stuff so I don't want to do like hey here's the hall video I got this that's it goodbye everybody you I know that you guys like looking up like the massive halls and stuff so I get it because I watch that stuff too and I enjoy when I see my favorite youtubers with huge epic halls so yeah that's sort of what's been going on but yeah it is going to continue from here on out for the foreseeable future but I oh it doesn't matter right oh my kidding that what matters is getting content for you guys and reviewing stuff and hopefully working on some video essays that I talked about previously that I want to get out there it's something I want to take a crack at because I love doing that stuff I've already done like two or three of them and I really enjoyed writing those things up recording and doing overlays and stuff and it looks so nice and I I like it gives you the opportunity to flex your muscle your brain muscle I guess but that is it ladies and gentlemen short but sweet haul I would I would like to think manga anime and of course this massive omnibus so thank you Josh once again you are the true MVP son thank you so much that's so kind of you for everybody watching thank you so much for tuning in thank you for liking commenting subscribing being a part of a week in geeked him as always hit the bell icon so you know when your videos pop up and you don't miss a single one follow me on social media Facebook Twitter Instagram all that fun stuff I've got to go I will catch all of you on our next review


Okay folks, Larry Pesavento and we're going to take a look at the mid-morning update. We're halfway through the battle today and we've got that little bit of a volatility. The Dow was down 250. It was then up 600 and then back to up just 100 and so it's been all over the map. The S&P has already gone up and down over 200 handles folks. It's $10,000 today. It went from 07 up to 97, 97 down to 37, 37 up to 87, up and down, up and down, up and down, all over the map. We're seeing bonds selling off a little bit. The Treasury rates are still going higher which is a sign that there's a possibility of recession on the horizon and there's all things going on. And also we've had a big move in gold yesterday, $40 down, $50 up. We've had a $100 move in gold here in the last 24 hours which tells you that some people are looking for some kind of a vehicle that will give them a little bit of gauge I guess against inflation. I don't know if that's it or not but to see that big of a move is really quite amazing. Now the chart that I have posted here in the room today for you folks is a chart of the weekly S&P and we are sticking with our target down there at $31.75. That's where we'll complete a three drive to a bottom pattern and we'll be setting right at the 61% retracement of the low that we made back in the COVID era which was 2019. That's what this goal happens to be. But we are having tremendous volatility up and down. We saw some of it of course on Tuesday with the market moving 1,000 points into Dow Jones in a matter of three hours. They didn't say that it went up for three hours, up 700 points before going down 1,000 points. They don't mention that it had a 1,600 point swing but those of you that like we are that follow these, yes it did have that big biggest swing. So we're having great volatility here. Make sure you use stops folks. News could come out of left field, right field, center field or from behind the catcher. Who knows what's going to happen because these markets are very, very nervous as they should be. We've got a lot of things going on in the world you know with Ukraine, China elections I mean just everything is just all coming together at once and it's not going to be easy to transmit this stuff to folks. So we'll be right back.


Everybody forced here up in 22 23 prison basketball hobby 4 box number 3 pick your team style Sorry, this is number 4. This is number 4. They didn't change style yet number 4. We are number 4. Sorry Jake Yeah, I have the right list up and everything see the alphabet ties it now and I'll read off the names for us names and teams Aaron with the Bulls Andrew calves Andrew a calves Andrew H Hawks Anthony Spurs Bohia Pacers Brian with the 76ers Christopher C Jazz Averick W Thunder Felix with the Knicks Jean a Celtics Grant W Nets Harper with the Nuggets Jeffrey H. Pistons Jeremy H Mavericks Kevin T Grizzlies Kevin Same Kevin T as the Sun's Lursak Warriors Lee Z Raptors Lee Y Rockets Lee Juan with the Lakers Mark s heat Paul E Pelicans Peter G magic Robert P Blazers Ryan s Kings Tongue with the Bucks Trevor T Clippers Victor F Hornets way Ming wizards when shun with the T wolves. Good luck everybody Let's get started. Here we go 4 box number 4 Tell the worker dresses Mando. I think I'm actually going to Hollywood studios next Tuesday purple eyes Larry marksman for the jazz to 149 Wendell more junior rookie base auto for the T wolves hyper Jalen Brunson Knicks Jibari Smith junior rookie base Rockets We got a few more prison breaks today guys. You also got eminence random hits now with two to go Every spot hits and random hit of course silver prismatic Zion Pelicans Silver rookie Trevor Kiehl's for the Knicks Tyrese Martin Jaden Ivy rookie hyper Vacelle Spurs Keegan Murray Kings David Roddy silver fearless John Morant with the Grizzlies silver McCollum Pelicans Random Spurs rookie have on here. You are definitely winning it life It sounds like Vaughn is either like a baseball writer or he's hit rock bottom Blue Lugans d'Orte Blugans d'Orte to 199 for the Thunder hyper McDaniels T wolves Tyrese and rookie blue eyes Carl Anthony Towns for the Timberwolves that was number to 125 No, I have not James silver John wall Clippers Ryan Rollins, Arabia To be fair if I had league pass I would probably always have something on if I was home Red DFS Mavericks to 299 Blazers jibari Walker rookie base signatures Colin Sexton. I think it's NBA league pass MLB It's like I don't know Colin Sexton pull-start jazz MLB Will be extra like I don't even know extra innings. Is it extra innings Ruby wave Kobe Cody Martin for the Hornets Silver Grayson Grayson Allen Bucks, but it is the same thing. It's the same exact thing Patrick Baldwin NHL center eyes That's all Sunday tickets all same thing Ruby wave Kevin Love for the Cavaliers Hyper Tyler hero heat. I will say one thing about NFL Sunday ticket is that with a raised price on YouTube TV There's gonna be a lot more pirated streams should be a lot more Purple Jarrett Allen Cavaliers to 125 Sure, it's a 99 of the purple to 99 Yang silver all the depot heat about a Ruby wave Pat Ewing for the Knicks Pulsar Lakers Anthony Davis Jalen Williams thunder rookie silver Aaron Gordon for the Nuggets Johnny Davis, all right. Let's see a better second box here And while we're at it, I'll check spots for the next one Clippers and Knicks everybody clippers and Knicks got antenna Give you the internet. I mean you obviously have they're just using like you just uh Streaming on 5g right now Anthony Red El Coro Cavs the 299 Pulsar Horford Celtics AJ Griffin Vince Williams Jr. Purple Jarrett Allen to 99 again for the Cavs 80 of 99 this time another one Silver poison gets wizards Red rookie Christian Brown.  They're hyper Paul George Clippers Nemard E. J. Liddell silver fireworks Damian Lillard Blazers Silver rookie Christian Brown Feel like we're in the Christian Brown cinematic universe right now So there was a Keegan Murray rookie base Ruby wave Boucher Raptors hyper Elijah on Rockets now look hi Branham Have 5g relive Anthony. I like 5g plus now apparently that's what I saw on my phone last night Blue Ice Melton Sixers to 1 to 1 t5 Silver Jimmy Butler going to the heat Tari Easton base Jake's hair gives everybody here 5g blue warriors Moses Moody It's a 199 and warriors base auto Jason Richardson Sweet vet hit there good good Warriors pack hyper Gary Trent Jr. Raptors Come on Red Sox They're gonna lose for sure Ruby wave Franz Wagner magic luck of the lottery so Hans Silverbrook Lopez for It's a good one though a sports fans. I think we can all understand Ruby wave Branham rookie spurs. That's a nice one Keegan Murray luck of the lottery hyper Barkley Sixers So you're superstitious Do you think that the rays are good because your hair hasn't been cut The rays are a good baseball team because Jay hasn't got his hair silver a chew up for the Raptors Bo champ Hardy Baseball is definitely the most suspicious sport I would say It's that like hockey got a hyper Cole Anthony magic Williams rookie Silver widescreen LeBron James Lakers LeBron Silver rookie Coloco Raptors after Baldwin it jr. You know, it's weird is all I keep thinking about is playing Mandalorian pinball and getting a crumble cookies Silver luck a lottery J Dub Thunder Silver are you know we spurs Wesley I think Jess said they're they're putting one in Hamlin Do when I think opens I'll be there every day Red John wall for the Clippers That was number two 99 Hyper John wall Clippers Just what we needed another John wall. Just what the doctor ordered. All right. Next one is at two to go still Still at the Knicks and Clippers everybody both wars are a fun watch orange wave James Harden 76ers 21 of 60 Nice card silver Westbrook Lakers Isaiah Mobley Dyson Daniels It is we've seen a lot of orange though, not like a lot, but like we've seen a healthy amount Ruby wave rookie D about say Clippers Rismatic a D pulsar RJ Barrett Knicks. It really has grown so much. I gotta get the Cookie butter lava. I gotta get it. I might just get a half dozen of those cookie butter lava Biscoff cookie butter lava. We got Ruby wave the Cowbridge's sons. They have an Oreo Pete they have a peanut butter Oreo one silver Malik Beasley jazz strawberry cheesecake one also Yes, yes strawberry cheesecake cookie. I Have such a sweet to this. It's like crippling almost Hyper Nicola Yolkich Nuggets Look at the lottery shade on sharp silver Jalen brown for the Celtics Covers is so good man. Covers is pretty fire Christian Brown rookie. Wait, they're not open mass I'm assuming that's where you are going, right? Vaughn lives in Nova Scotia actually Blue Thunder Darius Basely number to 199 and a Jaden Hardy Mavericks rookies and seasonal signatures Congrats again maves Another Hardy hyper rookie Jalen Doran pistons. They got a draft another Hardy. They called the Hardy boys Walker Kessler Palo Ben caro Yeah, Hardy definitely like Vaughn said earlier in chat. He said the nicest signature in the class silver fire exion It's true silver rookie Doran pistons. I'm surprised. They don't have one up there I know it's like a Ruby wave PJ Tucker Sixers Hyper Jordan Clarkson jazz it started in like Wisconsin Jang and but not Ohio that's not that bad Two-day trip blue ice din't witty Mavericks To 125 it's not that good It's not that good on a road trip to just go over silver Beale wizards shade on sharp Chet Holmgren, you know, it is worth that that type of road trip though Crap I don't even know the name of it now That'll come to me. Hang on red Diabatae rookie Clippers.  I got pulsar Pat Bev Lakers Caleb Houston. What is the name of freakin place? I'm thinking of Portillo's that's what I'm trying to think of Portillo's that's worth a road trip No big-time Chet's today Not yet. Anyway, purple Halliburton Pacers to 99 Pacers good stuff silver hardaway junior Mavericks Coloco Christian Brown Yep, I'm saying it's worth the road trip Ruby wave rookie Isaiah Mowbly Cavaliers Hyper Trayman Thunder Houston shade on sharps not the best area. It's semi or something. So it's Tough to get to Damian Lillard silver Caruso bulls Walker Kessler Palo Ben caro. I need some more rookie color here Red prism so on spurs nice card 299 32 of 299 and Keegan Murray sensational signatures Kings rookie auto What a hit Get that magged Hyper Christian Wood Mavericks Kenneth Lofton Silver prismatic Darius Garland Cavaliers silver rookie Agbaji jazz Nice Agbaji Mowbly Daniels Yeah, it'll happen now. Thanks to Tray. We'll definitely pull one blue prism towns T wolves to 199 Hyper conneton Bucks T Mac has Raptor SMH my head Marcus Raptor is not gonna play in the quarterfinal Europa League tomorrow. Okay Silver fearless Tatum Celtics Chet luck of the lottery silver Tray Jones spurs Jang Minot Clippers and nicks guys still the last two teams Clippers and Nicks Ruby wave Murray for the nuggets there Pulsar Derek white Celtics probably the second best player in the team shade on sharp Chet Holmgren Yeah, Lofton's a rookie His first NBA game was like a couple days ago, right? You put up 40 Red power Van Vleet Raptors color match To 75 on the red power got a silver Davion Mitchell Kings Houston Blue prism Davion Mitchell Kings to 199 Julian Champagne rookie Otto 76ers Champagne hyper Donovan Mitchell Cavs Doran and a Matherin popping some champagne out here Larry heat Ruby wave silver Van Vleet Raptors Agbaji Kendall Brown Last one. Come on now. Come on out something big hyper porzingus wizards Nemard We'll do it. There was a little delin there too. All right. All right, silver rookie Durin hyper Durin Ruby wave Branham red brown It's 299 red Sohan and red Diabatae It's all the rookie Decent rookie like silver stuff and all the rookie numbered stuff Autism Kelly Olanik Jason Richardson Christian Brown Jabari Walker Wendell Moore Julian Champagne That from a sleeve. It's on the card. I didn't realize that at first that one's I'll get a a Boxing wrapper out to the sixer spot here They realized that a dent was there and then we had the Keegan Murray Otto Anna Jaden Hardy Otto big cards Kings and Mavericks there. Thanks again, everybody moving on to number five


A level 3 predatory offender has relocated to another area in the Brainerd City limits according to the Brainerd Police Department. 57-year-old Terence Lee Lindmark moved to the area of the 200 block of 4th Avenue Northeastern Brainerd. He previously resided in Brainerd near Gillis Avenue. Lindmark has a history of sexual contact with male and female victims between the ages of 4 and 10 and he was known to the victims. The Brainerd Police Department would like to remind people that Lindmark is not wanted by the police at this time.