Hello and welcome to the presentation High-Efficient Three-Phase PFC with SIG devices and digital control. With the design boards offered by ST, you can shorten your time to market when designing with silicon carbide devices. Both ports there to be discussed here are based on the T-Type 3 level, a widely used topology in applications like DC chargers, solar inverters and UPS systems. The boards are complete designs, which include both hardware and software portions. In ST's website you can find the full documentation of the boards, including schematics, pilof material and layout. Under special license agreement, you can also get access to the firmware of the controller device. The two design boards you see on this slide are based on the T-Type 3 level topology both rated for 15 kW. On the left-hand side, you see the unidirectional PFC board, implemented with 650V SIG MOSets and 1200V SIG tiles. In addition, there are also passive components as marked on the picture, as well as all sensing and signal devices, several of them from ST. The control of the full board can be done in two ways, fully digital, with ST's electrical controller STM32, or with a mixed signal device like the ST-energy 388A controller, whose information you also find in this presentation. On the right-hand side, there is the bidirectional active front-end board. It has the same topology, but the SIG tiles have been substituted by SIG MOSets in order to offer the bidirectional power processing. All other components are quite similar, and the control is done with a microcontroller from the newest STM32 G4 family. In both boards, the silicon kW MOSets are driven with K-Triver ICs from the STGAP2 family. Along this presentation, you also find a dedicated session about them. Here you see some practical results from the unidirectional PFC design board. On the upper left side, the waveforms during the system start up. On the upper right side, the circuit behavior during a step load variation. On the bottom right side, the measured power factor as function of the output power. And finally, on the bottom left side, the efficiency of the board also as function of the power. As you can see here, it goes well above 98%. The silicon kW or SIG is a wideband gap semiconductor material. Power devices out of SIG are ideal for applications that aim to high efficiency at high blocking voltage and high switching frequency. ST is the worldwide leader in SIG devices and offers an extended product portfolio. Our SIG MOSets have low parasitic capacitances as well as an extended junction temperature up to 200 degrees C in some packages. They enable fast commutation speed and safe operation at the same time. The SIG diodes have different optimizations according to application needs. Both SIG MOSets and SIG diodes have very low dynamic losses which allows the operation at high switching frequency. This enables the reduction of the passive elements inside the circuit like chokes and filters. In addition, high performance means also less semiconductor losses to dissipate, relief in the overall circuit thermal design. The chart represents the technology roadmap of ST SIG MOSets. On the YpsoN axis, the specific resistance of H-technology is plotted. The X-axis contains current and planet SIG MOSets The generation from ST is starting from generation 1, launched in 2014. Its portfolio contains devices rated for 1200V. Moving to the right, you find also generation 2, available in the market since 2018. It brings a great improvement on the specific resistance of the MOSFETs. In addition, the portfolio is now extended also to 650V devices and the operational gate voltage is reduced from 20 to 18V. Both Gen 1 and Gen 2 are based on the planar MOSFET structure. Same valid for Gen 3, now in development. Generation 4, still in pre-development, shall introduce the trench oxide structure. These will allow not even a further reduction of their own resistance, but also of the operational gate voltage to 15V. This is the product portfolio of ST SIG MOSets generation 1. They include 1200V rated devices in S-Song classes from 52 to 520mA at a gate voltage of 20V. Package offer includes the HIP247, an exclusive package able to operate up to 200°C junction temperature and pin-to-pin compatible to the standard TO247. In addition, the SMD components, like the H2Pack 2 and H2Pack 7 pin. The product portfolio of Gen 2 SIG MOSets contains devices rated for both 650V and 1200V. With the improved specific own resistance of Gen 2, it is possible to go down to 18mA devices in the 650V class, as well as 22mA in 1200V class. Some of the devices are automotive-qualified and are identified by the car symbol at the right side of the table. The package offer, in addition to the packages already available in Gen 1, is also extended with the HIP247 4 pin, which, in addition to the junction temperature max 200°C, includes also a calving source that improves the dynamic behavior of the MOSets even more. The 650V SIG SHOTIC PARADYLE from ST are divided in two families. On the left hand, you see the table with the low forward voltage family. It contains devices rated from 8A to 40A in different packages like TO247, TO220 and TO220i packages. On the right hand side, you see the table with the devices optimized for high surge current mode capability. It contains devices from 4 to 20A, also in different packages like TO247, TO220, D-square pack and D-pack. Brand new are the Powerflat devices 8x8, a low profile and very compact package offered in the range from 4A to 8A. The 1200V SIG diodes from ST are offered in an extended portfolio, from 2A to 40A. Available packages are D-pack, D-square pack, TO220 and TO2F7. Some of the devices indicated with the car symbol are automotive qualified. STGAP2 is the newest gate driver isolation technology from ST. Due to its very short propagation delay, typically 18 nanoseconds, and a high common mode noise immunity above 100V per nanosecond, STGAP2 is the perfect partner for SIG MOSSETs. The devices from STGAP2 have additionally very compact and clean designs. The single channel version contains indeed only 8 pins, whilst the dual channel has 16 pins. Two isolation categories are planned, the 1.7 KV inside an S1 error package is already launched in the market. The 6 KV version in SOI package is to be launched within 2020. The isolation technology from STGAP2 is the Coraless transformer. The first products launched in the market are inside narrow packages, 8 pins for the single channel called STGAP2S and 16 pins for the dual channel called STGAP2D. Both are rated for 1.7 KV and the current capability are 4A per channel for both sync and source current. All devices are qualified according to industrial grade. STGAP2S is a single channel driver. It is available in two configurations as shown in the block diagram at the lower side of this slide. The separated output version named STGAP2S-CM have turn-on and turn-off pins separated. It allows the use of different gate resistors for both commutation flanks without any external circuitry. The other configuration on the right side named STGAP2S-CM contains active mille-clamp function, an extremoset in addition to those from push-pull that clamps the voltage on the gate during the entire off-time of the main switch. This is the recommended part for operation with high-speed switches like sigmosfets, especially in double-end topologies like half-bridge and full-bridge. STGAP2D is a dual-channel driver able to drive two MOSFETs in half-bridge configuration. It includes all functionalities from the STGAP2 technology in addition to specific brake and shutdown pins for higher safety of the systems. Finally, it includes also an integrated interlocking, which avoids short-through of the lag due to bad sequence or disturbances in the input signals. The STNG388A is a mixed signal controller that can be configured to control a three-phase T-type converter thanks to its 6 PWM outputs. It offers mixed mode control, partial-digiton partial-analog that can be simply and fastly designed. Its dedicated programming software, ESuite Design, is a simple and efficient platform for designing and implementing the circuit control loop. STNG388A is a digital device designed for advanced power conversion applications such as PFC-LLC, Intellivet-LC-DC-DC, Intellivet-PFC for smart power supplies, as well as the full-bridge for pilot line drivers for electric vehicles. STNG388A features the unique high-resolution hardware-based configurable PWM generators, the SMEDs, state machines event-driven. Thanks to its 96 MHz clock, the integrated comparators and the hardware-based configuration, the SMEDs sustains the real-time requirement of power conversion applications, offering both precise timings as well as protection mechanisms in case of external failure. STNG388A integrates 32 KB of E2-Prom, 6 KB of RAM, NADC, op-amp, I2C port, and GPIOs to help implement a high-performance converter. Thank you very much for watching this presentation. For more details, please visit our website, www.st.com. Have a nice day and see you soon!


Good evening, everyone. And good evening to Olia Lialina, who is connecting from her house in Stuttgart, Germany. I am Emanuella Mazzonis and I have assisted Francesco Bonami in creating the MiFamily platform, MiFamily Project for the Muda. Before starting, I want to thank you, Olia, for being with us tonight and for having accepted to be part of this online public program. With you tonight, we are already at our seventh appointment and we started in October and we will conclude in June. So, before we start our conversation, I would like to make a very brief introduction about Olia and her work. So Olia Lialina was born in Moscow in Russia. She graduated from the Moscow State University as a journalist and a film critic at the beginning of the 90s. Olia founded the first RealNet Art Gallery and the last RealNet Art Museum. You are now currently professor at the Merit Academy in Stuttgart where you are actually based and you started to teach as a web designer professor at the end of the 90s. Olia, you are a prominent net art figure and pioneer. You have focused your research since the beginning of the 90s on the role of the internet in the society and in the everyday life. Your career began in the world of film. You started making webpages for your film club, the Cinema Phantom and for yourself as well. In 1996, you decided to do something that was diverse that looked differently from what people could normally watch on the net, no animations, no sound, but you used all black and white. At that moment, you have produced your first online work entitled My Boyfriend Came Back from the World and that was produced in 1996. In this piece, you were already using intertitles, flickering imagery, close up shots of actors in the interactive multi-linear format of an hypertext. The user could advance the story by clicking on hyperlinked fragmentary phrases and images and which with each link, a click, the browser viewport subdivided into smaller and smaller frames. You yourself have defined this work as a narrative experiment with the brand new technology of the HTML frames. So already in this work, and again I underlined that we are talking about the 90s, it was evident how much the role of the internet in the art world was considered as an artistic medium leading to the creation of the term net language. So I would like to ask Olya if you can tell us more about this work, My Boyfriend Came Back from the World and what was your aim, the goal you wanted to reach out. Thank you very much. Thank you very much for inviting me and being a part of the exhibition and the program and for asking this question. A question that brings us now quarter of the century back. It's 25 years ago, like one day, but completely different time and different intentions and so different relations one would have with this medium that was a new medium. Yeah, and as you know, as everybody else at that moment who got internet access and got an idea that you can make a web page yourself and to make it about whomever or whatever you like, I started to do it. I started to make a web page about our film club and was really as everybody else collecting materials, scanning stuff, thinking about how my buttons, how navigation of the website should look. So all these things and of course also surfing around the web and being as a film maker, film critic at this moment, being also sort of puzzled by why people do it so loud and so bright and why things are so, you know, I would at that moment say not professional. And, yeah, so on one hand I wanted to make really my intentions were to make something what would be different from things that don't look like, or let me put like this to make something that would look more like a film, look more like a story than a web page about something. And another intention was, as you mentioned, actually to try to speak another language, of course, the intention was not so artificial, I want to develop and bring to the world and that language it was, you know, it came later all this formulations all these terms, but this recognition that there is another language that was already there, the language that you can talk, you can write, and by this you create something that in fact is not just a film that may can be more as a film. So, one thing was to, you know, intentions going into different direction one was to bring the web aesthetics closer to the film and another one in no way to make a web page about the film but to create a story, the film. And this is why also this black and white aesthetics and the frames. Yeah, for me at this moment, this will also frames like in film stock something what you can cut and edit and now you finally you suddenly sorry, see that this is another logic of a frames that the screen can be divided into them. Yeah, and you can make, you can make editing differently. And also you sort of give your viewers the chance to go through your story, your film, net film I called it at that moment in the order that I don't totally control. So I don't know who will choose what phrase what image. Yeah, so it was very exciting to try it at this moment and I was very lucky that the work attracted attention and people also were using it as an example yes you can make art online. Thank you for this explanation and I think that after this experiment in a way about a new form of language. And after different works you, you made the year after is also the beginning of the new century and then think about works as yours as a zombie and mommy midnight or gravity where you were using elements of the early web. You collected this type of elements in order to create this kind of words. And then, again, you changed a little bit the language if I can say the topic, and you have made three gifts models out of your image. You're using you who la hoop and you playing an instrument and you made this gifts models in order to suggest to the viewers to use these gifts in their own web pages. So at this time, so we are in 2006 people didn't make many web pages by their own anymore. And you suddenly discovered that many web pages have actually used your images your gifts. I would like to know what was the aim of this particular work and what did you want to achieve letting the people the viewers using your gifts. Yeah, that's a long story. And in fact, it's 10 years in between my boyfriend came back from the war and me becoming an animated give model so they're becoming a little animation that is there online to be offered myself that people please use me on your web pages if you still make web pages because I am transparent. So the background is transparent. I will look great on every background and my movements are looped so smoothly that it will be nice. Yeah, so this is how I was trying to show myself in the showroom my virtual showroom at that moment. Yeah, and this I was actually making a message about the web pages and amateur web productions of the last 10 or 12 years pain attribute to people who were producing things like this because of course I was not the first one who made the animated give that was made on purpose to be used on other pages. And so I wanted to actually to continue this tradition of free graphics and to enter collection of free graphics. Also, it was in the years preceding this I really used a lot of graphic and audio elements and also the pieces of code that were made by amateurs for their web pages. So I was feeling that I want to give back. Yeah, I also want to be part of this culture. Yeah, and then also, you know, another intention, somehow can be formulated maybe a bit in a bit pathetic way but I wanted to become immortal in digital realm. So it was already time then people started to talk a lot about memes about meme culture so this posting spreading stuff. And but for me it was not so interesting I thought that the real immortality if you are used on the pages of the people if you become part of something not just posted somewhere, but you are part of something bigger. So this was the intention. And yeah, but I couldn't know in 2005 2006 where was I used and also I saw and I felt that less and less people make their web pages as you mentioned. But then in 2011 then Google introduced their image search where you can search for similar image. I finally looked and was again happy and pleased to find myself on a lot of fitness sites on a lot of music sites on some personal pages. Sometimes I was used as a reaction gift so I really at a certain moment I found out that I succeeded as a gift model. I had a career. Kind of a immortal career we can actually say. Hopefully it's not the end. No, exactly. So now I would like to talk about your book digital folklore that has been published in 2009 and in this book in the title of the book you actually use a subtitle in a form of a question and the subtitle is do you believe in users. This sentence, it's interesting because you took it from the movie The Throne and you quoted the sentence that has been used in the movie and in 2012 the word user was eliminated from the interface design business and here I'm referring to Facebook or Twitter and you have explained how the following three words have been changed meaning that computer became technology user interface became experience users became people So in your work you are underlining the importance of ourselves as users of the net and you want to remember also our rights as users in order to protect our rights ourselves. I listened to a conference of yours in 2014 where you were underlining that in the end of the 90s there was a tendency to let the browsers disappear. And you explained very well in your website this topic and then quoting now some an explanation of yours where you're saying that there is there has always been a tendency in digital cultures to render the subject and technology invisible naturalizing the gestures and habits of the users. It is precisely in apparently obsolete styles or in abandoned internet platforms where the trace of the user's presence taking creative and unexpected decisions became visible again. The development of the invisible computer, you said, gives birth to the invisible user, a standardized user oblivious to his rights, particularly one that sums them all up. The user right to literally use the net to adopt and customize technologies in creative unexpected and unpredictable ways beyond the expectation of the regional programmers. Now I would like to ask you if you can define the word user and explain to us how important is today to be still considered as a user of the net and if it's still possible to be considered as a user. Yeah, that's again thank you for this question for not ignoring this part of my artistic life and my research at my writing so there's so much sun now. And, you know, that's, then I say user of course mean computer user. Yes. This is clear. And also, I am, I know that it's quite unpopular word. Also, yeah, there was a lot of effort made by it industries by it giants to get rid of this word, as well as what computer itself as well as the interface. Yeah, and also to address people who are using computers as people. To, you know, to not that we don't feel that we are in charge of something when we are interacting with the computers. So this is that we don't even come to the idea that something depends on us. That we are using that we forget that it is a system in front of us that was programmed and programmed by somebody and the somebody can reprogram it at any moment. Unless we also shouldn't think about the camp. We shouldn't come to the idea that the system can be maybe reprogrammed by us ourselves. So everything what has to do with control with initiative with knowing how things work. This was on purpose eliminated from the on the level of language. Yeah, because it's maybe the easiest and maybe most important thing. And you ask what the user mean, and this is actually the user is a person who brings originally in computer history. It is the person who brings the system in function. And there is also another very good explanation that was started to be erased from the vocabulary, even before computers. But in another story that what user was replaced by the what consumer, when it comes to in general to the life, even before the personal computers. And it was, you know, because the user at that time meant the person who knows how the things work. And that's again, of course, what was not something what market would want to, to you so that's why the water it was in the 60s in English language the word consumer very much replaced the the word user. Yeah, and I am. I don't want to lose. I don't want to lose the worldwide web and the browser my environment as an artist. Yeah, I also I teach students who I hope would become net net artists me who would become web designers who will create interfaces that make sense. I don't want to make what is called to the user experiences but I want them to be responsible for what they are doing innovative you know to do something what nobody else did before but actually all the time remembering that the users on another site and we everybody is a computer user at a certain moment. So to give power to these people I think that the user is a noble and computer user is a noble and powerful role. And it's would be a good to fight for it and not just to disappear in all this invisible, you know, mass that everything is invisible ubiquitous and you just talk to something with the voices yeah Alexa or mobile or something what will come next. Everything becomes so to say, natural intuitive and it's very easy to forget that there's a program systems and this is also what I as teacher as an artist, try to prevent. And those in my artworks, one can say I what I do I my audience are computer users, these are people address computer users. Right. I think to this topic about the importance of the user the importance of the program system. My last question is linked to this topic and is the question about the work we are showing in our platform self portrait that you made in 2018. This is probably one of your most recent works. We can consider it as a network installation as you underlying to me, many times when we start talking about your project. And in this particular case, you are taking a step forward. You created a self portrait with three different browsers. The work is a self portrait fragmented into three parts, each of which, which is accessible through the use of specific browsers, whose windows are reduced to occupy a third of the desktop screen with in order to create a digital triptych. So what you are most interested in is not the final results but rather the creative and experimental process of using the browsers. The process of the three browsers is not left to chance. Rather, you give precise instructions. So the first browser is in every in an everyday one. The second is tar, a browser that guarantees anonymity and secure browsing. The third beaker is a peer to peer browser. So the aim you want to achieve is to convey through a network installation how important is the dissemination of an alternative web, one that protects the user through the tools of the network itself, but is used in less than a commonplace format. So I would like to ask you more about this work. What was also your source of inspiration and of course the fact that we are presenting the work on in our platform in a different way. So we, we were obliged to change the way of presenting the work because it's in a virtual platform otherwise should have been presented as a real network installation in the museum galleries. The way it is shown, it is online. It is not really interactive at this moment. So the viewers, they are not arranging the browsers themselves, but it's absolutely great how museum handle this and you are actually running it. Yeah, so the system administrator or the museum itself is a person who made an effort and put the three browsers windows next to each other in a perfect way. And this is how lazy people who don't want to make it themselves can enjoy the work at this moment. Yeah, because I don't like to show, I don't show at all my work as video, you know, this is screencasts for me it's important that it's live. Yeah, that maybe that you can see the clock on the desktop that shows the real time. I understand that this is happening right now. Yeah, you know this is the inspiration and how the worker was made was again to address the computer users or web users, internet users at this moment. And to ask them for some action they could do not to be passive and this action as yeah please install two more browsers on your computer. Yeah, it's, it's allowed it's legal it's possible and doesn't will not make too much time. And then also open this three browser windows in the way that it will the picture of me trying to bring my hair in order will work as intended. So by this you know it's a little thing to ask but it also to show that some some things are still in your What is what you are still in charge something you can be and also me as an artist I sort of show off with my ability to work across protocols, not just across browsers but across protocols there are three different protocols so three different webs. Yeah, that are coming together. And it is, it was very nice to try it out it is work that demands attention, because rules are changing that you have browsers protocols relations have to be re established. So it's not something what I can, I just made it can leave unattended so there's, yeah, a lot of under construction forever under construction that goes on. Yeah, but this, you know, I always since 1996 I tried to make work that also shows that is really net art net means that it only works if computer is online that. So the things are on different servers and your browser can bring it all together and you can enjoy something or or not. Who knows yeah and in this case really with self portrait maybe I went a bit. One step further and it's not just different servers but really different protocols yeah was worth trying it really hope that the work will still have some more time to to live because things who knows what happens with torn. Yeah, who knows what happens with peer to peer and also actually who knows what happens with our classic worldwide web it's all not stable. Yeah, I agree. I completely agree. And thank you all that this is was a very clear explanation, especially about your way of working your way of being across protocols across webs. And I really like your sentence about the war about the fact that it works if computer is online and it's really important because in this way you can really understand the concept of the net art and unfortunately we are running a little bit out of time so I need to conclude our interesting interview and I would like just to add a few words are saying that I could actually say that you are proposing an alternative web where you are recognizing Internet as a medium for artistic expression and storytelling. And moreover, I would also say that you have always considered the net as a place that faves the active participation of each individual user as you just mentioned before, inviting the viewer to be part of your project which is perfectly corresponds to the message of our project to the semi family platform. And so now I would like to invite everyone who is watching us to not only enjoy your work on our platform but also on your website, the art.teleportasia.org, which is an amazing website where you can really learn a lot about your work, your project, your your research, I would say about the net and about the users, about the protocols, about the web. So thank you Alia very much for this amazing interview and I wish you a good evening and I hope to talk to you very soon. Thank you Alia. Thank you very much for your questions and again for being part of this wonderful exhibition. Sure. Thank you Alia. Goodbye. Goodbye.


Who's talking? Master? That's my celeb It's a pleasure What's your name? Metwa Ambush What's your name? Soda Soda Siu What's your name? We'll discuss Biasara 112 We'll discuss Biasara 112 We'll discuss Biasara 112 We'll discuss Biasara 112 We'll discuss Biasara 112 Perfect combo Good to see you We too manzee Acha nipibayum reymo Nimogele sheki dego alaku I love you I love you I love you too I love you too I love you too It's okay it's okay Say you my love It must be nice So today I'm gonna be asking you 11 random questions Celebrity So, ma'am Madam, how do you manage to pay 90,000 rent You even younger than me Buti sana nili ppapua Kwa nimi nili ppavibaya because I don't get it I hope you can say I hope Secondly, I've always been a rich girl Nili anzaku haso nili ppapu dago sana Nikiwa secondia We puna duni mi secondia Nikiwa viksen Mano Palen gengeton After that, nikanza kumanejiya brand account The analysis I can get Fiam, then I also do travel content Okay, yeah you do Anelik your content Let me ask you when did you last travel And Uliyanda, your last vacation On my birthday I went to Masaimara To two hotels Then I was traveling from Seme hoteli moji kwa pa hengene kotao I was taking a flight to the next hotel Like it's such Because for you to be on the proof I'm not trying So if you have a link kwa bohenda I'd like to know After history I'll tell you No, I'm the one who took his number He didn't take mine I love si kubip Uliyanda nili kuna zima Nili save Uliyanda nili save But why Uliyanda nili kuna zima What can I say or do But I'm champigia Champigia for the interview I'd like to know If you have negative comments I've been reading your comments How do you handle all that pressure One thing I really don't care About what people say about me I know why I'm working hard I know where I want to go So I want to know I want to know I want to know what my mother is So sometimes I don't know I don't know what my mother is I don't know what she is But I don't think There are any negative comments In our language Yeah, dream destination Well, me and my husband In Santerini, Greece But husband is bad Please And this is a dream you can have I want to know How do I handle I want to know How do I handle I want to know How do I handle I want to know How do I handle I want to know How do you handle All your bosses What's been your best boss Buti taka Uliyanda nili kuna Hada Richman 500 100% So buti taka Dream car And my dream car For now TX5 We prayed about that car But can you not say TX5 killer star But eventually Jib You'd like to interview To interview I think I would love to interview Jile Brown Right now Which is the most important relationship in your life Most important relationship Me and my mother Yeah If I give you 1 million right now Before the day ends What you look by 1 million Kwanzara sii same Saving sometimes I say I don't know what to say I don't know what to say So say 1 million I don't know what to say I don't know how to finish How to finish I know you drive And I know you fly It's expensive But I afford it So you know If I can fly from here to town Why not If you had an opportunity to have dinner With one celebrity from Kenya Who would it be? Dina I don't know what to say I don't know what to say I don't know what to say So I will talk to you Dina let me see Jile Brown is my interview But for Dina I'd love to have dinner with Ketak Trest Ketak Trest If you are not hosting And travel content What should you be doing? I'd be a pilot I love flying Lastly celebrity crush Well Will you pose a zero Hey Celebrity crush Wait guys to Mombi To Mombi When you were young Stronger of camera Sister Well Jusa mbe kata will you call Haji jam kacha tu ikusawa Jibanda siste Jibanda But will you call He is very talented Look at him I agree he is very talented We will meet In a studio Like we will pose Goma and Niza The process But we will react We will say You will ask Kwa In a studio pose I will say Thank you so much for coming to my issue Kwa pause kofipo na affans beku wa uwali numisha w quite kima na onsali wa numisha w ku tweets Game nisha won komu tapoa niri mga yg ufili kwa f تم nwa damaikia we numisha w good So much for watching until next time bye


Welcome back to another FNA and today is part 6 of the most common animation mistakes and today I'm going to talk about one axis. All right, one axis. A very common thing for students is to engage only one axis on your character. Be it on heads, on the chest, on the body, all kinds of things. And the tricky thing about that is that it's going to look very mechanical, very CG because it's not very organic. Now there's going to be a range of style depending on what you're doing. You might get away with it.  It's just going to be very robotic and mechanical versus here going down, going up into another spot, going down into another spot with arcs. All that is going to help to make it more organic and less computer-y. That being said, depending on your style, you can have head nods like this. They're mostly engaging one axis like this. And that's fine. Again, it depends on the style. You have something very stylized and potentially limited time budget. You can get away with it. But if something that really goes towards more, I won't say for real, but it's a bit more advanced in terms of mechanics and the look and the style. You have to make things a bit more complicated, a bit more complex in all your axes. So even let's say someone is hunching over. So going back to this Rick, again, if you would select just the chest controls and the head and move her down, this is what a lot of people would do. It would just be one axis. But you have to think about, could it be going down like this with a slight twist? It's going to be a slight twist in the body and then potentially in the head with a different twist. Also think of it in terms of is the character left-handed, right-handed. I know this is very specific, but you just want asymmetry at all times, not just in the face. For lip sync, it's always said you want asymmetry in the face, but it's in the body as well. And if it helps you to think about the left-handed or right-handed person or character or whatever, that might give you the extra incentive when you do have a lean forward to have with a slight twist. Same thing for body parts. If you have someone wave, you wouldn't just engage one axis to rotate the wrist like this. It would have some complexities in there, again, depending on your style. But even in a simple style, going back to this previous example, you can see when that happens, you still have a complexity of changing where the head is going. It's not just in one axis. It has changes of where it starts, where it goes. It goes higher and higher and higher. There are many reasons for that to give you that squeeze appeal so that you don't just have that. You're just kind of more like into that. The main reason is also performance-wise. And of course, it goes hand-in-hand with arcs. If you just engage one axis, especially if you're like on the head, if you say no, that's going to feel very mechanical and robotic because it has no arc. Your head doesn't do this. Now it's up to you again in terms of the style and the performance. How much of an arc on the arc up arc do you want to have? Because then it gets very stylized and cartoony, exaggerated and all that good stuff. At the same time, it's understandable that you only do one axis, especially when you do walks. With walk cycles, you will drag a character left to right or whatever. But it's usually one axis because you animate it either on a treadmill or from A to B. The moment you have to animate a walk that has a curve or actually a turnaround, that is extremely difficult. It's completely understandable why you would want to avoid it. That being said, to make it a bit more complex and organic and again, depending on the style, it will help you to change the curvatures. It's not as straight as a slight curve to it. And that's not just in terms of mechanics. I'm just going to do this because straight is boring and curvatures are interesting. It can also be in terms of storytelling and to portray how a character feels. So if you look at this example by Alexis Vanaroy. Vanaroy, I'm always butchering names. I apologize. So if you have this, this would be a cycle, but it's a nicely broken up cycle with a change, as you can see here in the close-up. But this is still on one axis, but it's completely understandable because it's tricky to do. It's very complicated. But now if you look at this as the shock continues, you can see that is more interesting and dynamic to get out of that standing towards camera with that type of movement towards camera with my fantastic arrow. It's not just straight towards it. You can have a nicer line of action. It's just more dynamic. Same thing with the frog. As the frog runs away, it's more panicky. It doesn't feel like, ah, and I'm running straight away. Which would be okay too, because if you're just freaking out, it would just be, I got to get out of there A to B. This is not something that needs to be entertaining. I need to get out of there. So a straight path is, of course, also valid depending on the choice and depending on the energy I want to have. Going back to this, if you look at what the frog is doing, there's like every frame on the shot is so good, especially here. But anyway, let's go back. You have a pretty crazy path that is much more complex. But even when she comes back through here, there is a slight curve also because she is following where the frog is going. But it just adds a bit more complexity to it, a bit more of an organic feel. Just getting away from that CG, clean one axis, the computer did it all feel. And speaking of example, when I play this here, this is a shot by Leonardo Fernandez. He's one of my animation mentors soon. And you can see in the shot how she gets closer to what she wants to grab. And then technically there's cold water coming in. He will add that water later. And then she freaks out and runs away. So my comment to that was, it makes sense that this is A to B. She goes from here to here because that's her goal. She wants to go straight towards that. If she would start walking around like this, this would be slightly weird. I mean, you could do it. But to me, it felt like this is more logical. It would make more sense for the character, for her to go straight towards that object. That being said, when she freaks out, you could do this. So my suggestion was what if you mix up the path as she goes back. So again, straight towards the object. But now the cold water comes in and panic sets in. It's more like, ah, ah, and it's that type of path. Again, you don't have to do it. It would make sense to go, I want to get away from this cold water as fast as I can. And I want it to be a straight path. But subjectively to me, this seems a bit more entertaining. A, because of the complexity of the shot, you can emphasize the panic, also massively, awesomely referenced by him and also animated. And at the same time, it adds contrast. You have a straight walk with that type of mechanic. And then you have a curved walk with a different body mechanic. And all of that adds to the contrast so that your energy of the shot is not constantly still. So if you animate shots, of course, again, the complexity is going to play a big role in this. Can you do a straight walk? Can you do a curved walk? That's going to be a lot more work, a lot more time. Does that work for your schedule? If you're student, do you have enough time to do this until the homework is due? So there are many, many factors to consider. But on a smaller scale, when you do something like a head, yes or no, or smaller things like with hands, it has applications in many other things. Mechanics, the organic feel of it, the complexity, also the contrast. Is it more entertaining to then switch to something that's more complex? So everything that I say there's always a counterargument straight is fine. You don't need the curved path. But generally, I would just think about that. Would it be appropriate to make this not a one axis move in terms of a general move, a general mechanic, a general walk? But generally, I would just get away from that computer feel of it where you just do one axis where just the whole body moves down or one arm moves up in one axis, especially on organic creatures, characters, because it's going to be more complex. It's going to be more random because it is a character, a person or whatever it is that thing. That reacts, that moves where things are not repetitive like a computer. Speaking of repetitive, you know what I want to say. If you feel like this is helpful and you want to incorporate that into your shots, but you want to work with me so I can work with you to make your shots awesome. I have workshops you can sign up at any time. Link in description with all the information. And if you don't want to miss anything that I upload, you can of course subscribe if you want to hit that bell button to get all the notifications. And if you're still watching after all this time, as always, thank you so much for your patience and I will see you in my next clip.