ATA: The Art of Visual Storytelling | Daniel Gonzales | Skillshare

ATA: The Art of Visual Storytelling

Daniel Gonzales, Animator

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4 Lessons (38m)
    • 1. Slideshow Presentation

      0:05
    • 2. First Lecture

      16:08
    • 3. Second Lecture

      18:12
    • 4. Wrap up video and Conclusion

      3:17

About This Class

*** Special Congrats to my co-workers at Disney for Producing the Oscar-Winning Animated Short, "Paperman". 

"Visual storytelling is not new. It's been used since humans started depicting images in caves. Today, it is ingrained in art you see everywhere. From childhood fairytales to Oscar-Winning films, from your favorite Superbowl Ads to friend's Instagram photos, and from business models and pitches to every website landing page... Someone is trying express themselves and tell a story through visuals.

Although it's not a new form of communication, it has been one of the most effective ones at getting points and feelings across to any audience quickly and accurately. Daniel has been practicing and perfecting this skill since I met him in middle school, and now he can't wait to share his best tips and advice with you."

- Jayrell Ringpis, Skillshare Eduaction Producer

Wreck It Ralph, the Ocar-nominated feature animated film I worked on

In this class, you will learn how to effectively create an image to support and communicate the emotion of a story. You will learn the underlying fundamentals of visual story telling. I promise you will never look at a painting, image or a movie the same way again!

This class covers the following disciplines:

  • Animation/Drawing/Painting/Graphic Design
  • Advertising/Marketing
  • Photograhy/Videography
  • Entrepreneurship

___________________________________

“Whether you are making a short film or you are just doodling, these skills transcend all mediums because storytelling is universal. Every Pixar Director, every Disney Animator, and tons of artists and painters in the industry know these fundamentals INSIDE and OUT. I cannot express how essential these skills were to make it as far as they have.”

- Daniel Gonzeles, Sklilshare Instructor

Transcripts

2. First Lecture: - Hi, - everyone. - Um, - sorry for the delay, - but let's get started. - I tell you about stories and sequences and all that. - Good stuff. - Um, - before we get started, - I want to go over a few fundamentals. - I know some of you guys might know this, - but it's always nice to go over it for the ones that have no background knowledge on this - stuff. - And, - you know, - it's always good. - A refresh your memory as well, - even if you do know this information, - Um, - if out of all things I would definitely this should be that the first thing you know of - that story, - it's that, - um it's a graph. - There's a graph, - and almost either graph is in 10 city. - You know, - decide a graph is time. - When the story starts off, - it always starts low. - And then it builds up in your most intense part of the movie that your climax and the - resolution is very fast. - So golden spot, - Um, - this is the resolution right here. - This is the climax of this, - and this is the ramp up. - Every story follows this, - um, - structure. - And you're like Danny. - What about the ones that start off with action Well, - that graph just looks blew up. - But the climax is always bigger than the first part. - See, - this old overall shape still happens. - So even if it's that this graph is also true to, - um, - not just the overall story, - but parts of the story like the sequence, - um, - or seen or the smaller you get in chunks of time. - Still, - the pattern and the graphs should be the same. - Um, - and that's because of the overall concept of this graph is there is a point to the san or - the movie and everything you do before it is to lead up to that point. - And then resolution is how you end it, - Um, - a few terms I want to go over before I start. - Um, - with my example. - Story is, - um, - a few things to say about story is old, - By the way, - um, - this is a lecture that I was given by, - um, - a teacher I took back in college, - and he used this story that isn't It's not my story. - It's This is everything that I remember from my memory from his lecture, - because it was a really good lecture into stuck with me for a while, - and I learned a lot from him. - And everything I'm about to tell you right now is stuff that he passed on to me. - Um, - So, - um, - so just remember, - it's, - um it's not a Danny original. - This is just me patting you on the information with, - um, - all right, - back to the knowledge with story. - It's, - um you can't use all your good ideas. - So forget about doing your epic Lord of the Rings story. - And, - um, - and in this assignment, - it's just not possible. - You have to be a slave to your story. - Your story is not your slave. - What I mean by that is that you can't do what you want with a story. - You must always pick the solution that is best for the story. - Because when I try to fit all your ideas in there, - sometimes it breaks the story, - and your story needs to be concise. - That has to flow everything in. - It has to work towards something which is your your your point, - your aunt, - a sister climax, - and and when it's not working, - you have to figure out why and be willing to take out something that you might actually - like But if it helps the story, - it must be done. - Um, - a few terms I want to go over. - You're gonna hear me say, - Intense ST intensity. - A lot intensity is whenever the stakes are higher, - things were getting exciting or when new intensity rises. - When you show new information, - it rises when you do a camera cut or whenever there's whenever there is a visual noon - visual information or when you're revealing key information that adds more to the story - than anything that's new and it changes or when you're setting up a pattern, - and then when you break that pattern, - all the all that is helps raise your intensity and contrast and progression goes hand in - hand with helping you raised your intensity and you're gonna see that a lot of that in here - . - And as I flipped through the story, - I'm not always been. - Opponents point out everything I all the tools I use, - but you should be able to recognize when I use the diagonal or when I'm using ah contrast - to emphasize a for focal point. - But I'm gonna mostly deal with talking about how to deliver the information in this lecture - . - Another word. - I'm gonna use this simplicity. - And that's something I emphasize a lot. - Or that was emphasized a lot to me that the more complicated your shocker story is does not - make it better. - The best things are elegant and simply a deep with meaning. - So every choice you do on your screen must be motivated in its simplest possible. - Do your job and tell the story. - Don't get caught up with the details. - Um, - an example is Ah, - hate when an action movie shows you five different shots of a very simple action when you - could have done all of that info in one shot when I mean info is like you show you cut five - times to someone picking up a glass of water when you could have just shown in one shot. - It's It's It's You don't do it. - Unnecessary things to keep it simple. - Um, - course affinity, - in contrast, - knowing when to pop things out with the values and what went to muddy them up by keeping - the values the same. - Let's see, - um, - emphasis. - I'm reading off a document on the side. - So if I pause and I sat on monotonous, - then you know it's just cause I'm reading off of it. - Everything you do to set up everything you do before this before the climax is to emphasize - the moment. - Emphasized is one of the words one of keywords right here I have is a bullet point. - Um, - your audience will use this to sum up everything that you have shown them. - And let's see, - um, - or whenever you emphasize something, - it's just a week's wake. - People up lets them know to pay attention. - It doesn't always have to be a smooth buildup to emphasize a point. - It could just be a surprise, - or as long as it's progression as long as you're using progression. - And I'm gonna show you how I use how the my mentor used progression in this story in a bit - , - um, - well, - those are basically the terms I'm gonna use, - but let's get on with the story. - I'm going to buy this like shrimp into two because I don't want the videos, - didn't terribly long and and not to be able to upload it because of time. - So, - um, - you're established. - You shot should set the mood of right away. - It's ah. - Does this look like a happy mansion? - Is it Well, - what's what's the mood? - And my mentor chip goes to put the mood dark that nine times a dark mansion. - It's just sets the tone off. - What's to come? - Cool. - Continue on then Gates and a car with a headline is showing through the gates. - When you start off the story, - you're gonna your audience is gonna be in detective mode, - which helps you out because they're trying to figure out what the story's about. - So your first few images can. - You could use that logic to help you tell the story, - because and you're drawing should help, - too. - Is worse this gate at Is it at the Is it at the beach? - Are Is it at a school knows it's The logic is we just showed a mansion and we just showed a - gate. - It's probably gonna be the gate of that matches. - So it's just, - oh, - trust your audience and you don't have to do like a camera pan today to the gate. - Um, - you see the horizontal that, - um, - that he's using, - and you could see that there is much more contrast in this shop in the last one, - and that's just ah, - it's all that's done on purpose is it's just progression. - Let's see, - maybe cut to this man working on the computer and audience is gonna ask, - Well, - where we now and when you get the audience to ask questions, - that's that's a good thing. - But you don't want to confuse them because they're gonna assume, - well, - we must be inside the match. - And now what is he working on? - Does he know that the car is outside? - It's called these questions that you bring up you should intend to answer as the story goes - on. - Um, - let's see. - Oh, - questions. - When you make your the audience, - start to ask questions. - That's intensity slowly starting to rise. - Now let's continue now. - Others two cars were still with the horizontal lines, - and, - um, - well, - we just showed one car earlier. - Now it's two cars. - Progression of information. - Don't show your information at once. - We're gonna walk the audience along through the beginning of this story. - What is my documents say two cars. - Now, - when you reveal information that is a strategy to master. - Now we're outside the passion again. - Um, - I said notice the horizontal element of the whole image, - Um, - as audience members, - what do we know now? - These cars are arriving, - the guys working on something inside the mansion. - This all has to mean something. - And remember, - it's at night. - So the mood is dark and and so this story is you're going. - Two people are getting outside the car now. - It's some I found. - Now there's. - And with two horizontal line elements, - that's it's It's just even though you're just showing regular information, - just use your tools, - use and tools to nose used them in a progressive manner. - Two guys and now strong horse on horizontal vertical lines. - This, - it's it breaks the pattern that we used. - Abolition, - it's telling the audience, - Look at this shot. - It's an upshot to what does that me remember Everything. - This would have been very different if I wanted to show too happy Grandma's coming out of - the car. - I would probably, - um, - chosen to draw this differently. - Or but I'm not. - I'm showing that these guys were Madison upshot. - Their business, - their obvious. - Not here to, - um, - it's not gonna be a very happy reunion. - Whoever they are are not see, - and you have to put together in the back your mind that it's at nine time Who visits at - night? - Wise enough. - Happy all this. - All the information in there must be specific. - Well, - we go. - We're back at this shot again. - But it's the same shot. - But it's closer, - so you can use the same shots. - Just make sure that there's not just something different, - but the progression and our progression is zooming in. - Um, - what is he doing on the screen? - Because if you're going back to the same shot, - it better have something new about it to tell us. - Information wise. - Let's see. - Um, - What did I say? - That is anything about this image. - My document? - No, - no. - Just talks about recycling shots. - Takes the disk out of the computer and oh, - whoa, - whoa! - Before I move on notice What? - What? - What am I using for the first time here? - I know dago nose. - If it's the first time I use it, - it's emphasizing something. - Town audience, - Pay attention. - Putting the death, - Putting it away. - We're back to verticals. - Cut back outside now their entry. - And, - um, - your camera angle is important because since we're cutting back and forth from inside the - mansion outside the mansion, - you have to use a light angle just to remind us Where are you? - Just showed these guys without enough information of the background. - We wouldn't know where they were at. - We would still think they're probably outside their cars or are the inside yet? - Be very clear and make sure you have the right camera angle to give the right information. - All right. - See, - on this march, - tag alone there. - All right, - then we cut. - We don't look at me still and they're coming in and the reaching inside their shirts. - Look what they're doing so that it's a close up. - It's a diagonal. - It is. - It's it's the intensity just went up. - That's a big key information shot. - Um, - I'm gonna cut this lecture off right here and continuing in the next video, - but notice a few things that my mentors doing end this story. - He is using close ups when he needs to give you key information. - There has been no dialogue yet, - and you should be able to follow up along what is happening. - Um, - look at how values helped draw the eye where you need to look how? - See how there's lines at the very back of this shot that just enforces the diagonal. - I'll always be clear what your perspective. - And when you do your story, - you don't have toe do masterpieces of drawing. - Just make sure it's clear there's a lot of storyboard artists is that this is one - storyboard art? - Is that Pixar who gets the stories across with the most simplest drawings? - And they're just flat. - They're just they look like No, - I'm not being mean, - but they look like he doesn't so fast. - It could have been done by it like a seven year old, - but they're clear and the stories are great. - Um, - all right, - I'm gonna cut this video off so you get started on the next one. - But I hope you guys are enjoying this so far and just pay attention about to the - information information information on to spend most of this lecture talk about information - and not about the tools and how I'm using the tools. - Teoh, - emphasize the image. - This lecture is about information. - Story is how you give information. - Just think about it. - When you tell a joke, - you have to give the information in the right order for the joke to work. - Same thing with a story. - All right. - But I mean this one 3. Second Lecture: - Logan. - This is the second video of the second lecture, - and on the last shot was showed in the first video. - Was him putting the silencer on the gun with that Dagnall? - So it was a good place to live off on the story. - Um, - one thing that I want to give you a few examples of progression real fast. - I want to show you how you can use. - Let's say you're using progression with value, - um, - and pretend you have You have all your shots lined up in a row on your table and let's say - I want to start off the beginning with, - You know, - it's basically it's kind of great kind of gray, - you know, - there's a little dark one there. - It's mostly gray, - a white one. - But as soon as we get close to your no, - actually, - that one's not white suited to be a close to your climax. - We start making a very dark, - very dark. - And then let's make that one very white, - and then we go back. - Two. - Great. - So see the progression in here? - Let's say this is the whole story. - This is the whole story. - This is just to give information this area. - Oh, - this right here. - This since a kind of it's not very different from what we just showed. - But it's different. - It's starting to say Tell the audio a pay attention, - pay attention. - Here's the contrast. - There's a contrast. - That's the climax. - And then we go back to normal really fast to end it. - That's one way to use value across a story. - Um, - a few ways to use contrast in a story. - There's, - I think my mentor told me it was three ways to use news contrast there was. - You could use it in a shot where obviously we know how to do that in an image where, - let's say that figures dark and the window behind him, - his light, - the rest. - The room is dark contrast in an image shot to shot two sides, - which means the image before was very dark. - The image after is very light and sequence to sequence, - which means one part of the story, - let's say, - is very dark. - The next part of the story is very bland. - That was a different disease progress, - mission value and contrast into value. - What else do wanna point out? - You could do this with anything. - This is just with value. - Anyone in your tools, - you can use us progression. - Ah, - the distance. - Um, - we go from wide shot, - too. - A medium shot to a close up. - Partly ever do you see a white shot to a close up? - Unless it's to emphasize something, - you don't contrast unless you want to emphasize something. - All right, - let's get back to this story After we showed the gun. - Now their entry notice how? - Um, - there is a very busy shot line wise, - but you could easily see where the focal points are because the selection value there - inside the house. - Now, - let's go on. - Okay. - Whoa. - Who is this lady? - Well, - that's what exactly what the audience should say. - Um, - she's was the information of the shot, - telling her telling us. - I mean, - she's reading a book, - drinking some wine. - Maybe in the living room. - Who knows? - List. - That's it's. - But, - um, - when you tell a story, - you gotta figure out what's important. - Britain to your story. - She must not be that important because she's information s wasn't given to us in the - beginning. - You The information I got in the beginning beginning was the guy working on the computer - and the people get out of the car. - So since more time and more images were spent on them, - we could tell it there a bigger part of the story than she is. - Uh, - let's continue on horizontal lines, - by the way. - Notice. - Oh. - Oh, - Well, - course of my other photo. - What do you know, - Miss? - You know, - trying. - Hold on. - Um, - Intermission. - Intermission. - Where is? - Well, - I'm just gonna import this drawing very fast. - Two seconds. - Two seconds. - Forgive me. - Let's do this. - You know what? - I'm just gonna start this video over because I got a bad start and I'm missing a I was in - an image or there it is. - There it is. - Save me some time. - So the 1st 1 was this one on the 2nd 1 Is this one? - Well, - was this a while? - She's young. - Must be a daughter. - Something in the room clear that she None of these people see what's going on. - She's on the telephone and you're some guy at the door. - Now this shopped Notice how the contrast here from the prior shots was the point of view. - In the last shots were we were the We were the the family members. - But now the camera is behind one of the armed men in suits for the very first time. - It's from their point of view from the first time. - So that means, - Hey, - everybody pay attention because something's about to happen. - Moving on, - What's it? - All right, - So and we cut to him. - This is the first time we see the guy's face that was working on the computer. - How do we know it's going to come here and look at the pipe? - The pipe was in shots before it won't first saw this guy. - So all that information helps you connect shots. - You make sure that you could connect shots with backgrounds. - You connect shots with props. - You can connect shots with, - um, - tools, - diagonals, - the values or anything like that. - Um, - this could be a shot where he stays a piece of dialogue. - Dialogue is only used to give information. - You cannot give through visuals. - If you could give the information for visuals and you don't need dialogue because they're - two different art forms is audio and visual, - and both of them have their strengths, - and you could use them efficiently. - Um, - let's say he say something about? - Hey, - say something bad about the but my your where sent You wouldn't get away with this - something cheesy. - That's what all action movies have. - And then who? - Why they're here we go. - What is going on? - Everybody there? - That's the shot I was trying to get to. - It was this shot, - this shot, - this shot, - strong diagonal. - And it's an upshot. - And it's very dark, - very dark. - Notice how all the shots before this was like there was You can imagine the women, - the living room, - drinking wine, - well lit, - a girl in her room, - well lit. - And then everything just started getting darker. - Up to this point, - there's been more shading. - I was continue on. - We don't have to show the guy die. - We just need How can you show it? - In an interesting way? - Simple would just shut show his hand, - flopped down and show the type fall out of his hat. - That's all you need to do, - because unless it's important, - you don't need to show it. - Sorry. - My computers. - It's freaking out on me there and then tangles. - Why is he going through his robe? - Oh, - yes, - We showed the audience earlier what he put in there. - 01 thing I really remember my mentor saying about this shot when he drew it was, - um why drew this one. - But when he drew his, - he turned The decision to turn the head away from the camera is because faces are automatic - focal points. - The focal point needs to be this guy reaching into his shirt. - So he turned the head away so it wouldn't be distracting. - Does he get it? - Yes. - Look, - um, - vertical with a strong horizontal behind it. - Notice how the connection between only the guys in suits had diagonals and only the the - disc had diagonals, - innit? - Connecting those two. - And then we'll couldn't. - So now we're outside of the cars were speeding away from the mansion. - We have the opportunity for a time cut. - No, - no time could on acceleration of time. - Um, - well, - we get to do that now because the climax just happened. - Or was it? - We'll see. - We have to show what happened to everybody, - which should be. - Guys can tell. - It's a pillow over her face with a bullet hole through it. - And that's blood. - I got Danny. - What is this? - What is this. - We'll just show it to people dying. - Two people dead. - And then we cut to this bomb. - We could, - um that's this is where we trust the audience. - Will, - Danny will. - How will the audience know what this bomb is? - Who put the bomb there? - Why? - I doubt the guy with the mustache put the bomb there because who keeps a bomb in their in - their mansion set at 15 seconds. - Nobody does. - Nobody I know. - Notice how bright this shot is. - Very, - very bright. - And then we cut to our last shot, - which will be our darkest shot. - And it's a dark. - Imagine the cars racing towards us is the darker shop ever and in the background Boom - explosion. - Where's explosion from? - Obviously, - we just showed the bomb. - We see explosion. - We couldn't segments. - The mansion that's blew up and that is where the story ends. - It was mostly visuals, - I hope if my drawings weren't too bad that you guys were able to follow the story. - If you could tell if if you could come away from the story and knowing what happened, - then it's then as a one director want a storyteller? - You are very successful of the audience can come away until you Yeah, - I know what happened. - This guy was working on some top secret chemistry stuff, - was probably a scientist, - and these guys in suits came in and took away the information and just whack the whole - family. - That's that's what happened. - And it's a It's a very simple think about it. - There was. - It's a very simple thing. - If someone told you to do this story, - Um, - can you show scientists working some information? - Some people claiming and murder in the family to, - um, - take the information and then getting away as fast as possible? - Sure, - I could do that. - And then you do it. - Uh oh. - In Terminator two. - That actually happened. - Remember when Sarah Connor is about to go, - um, - I think, - kill the scientists that it's responsible for sky in it. - And it's a whole buildup of her sneaking up to the house, - starting in the red laser on his head, - and then just watch that scene again if you get the chance and notice how it builds up some - really good stuff in there as well. - Some get acting. - It wasn't much acting in this shot in this sequence. - It was mostly just for the visuals to see if I can successfully portrays story. - Um, - all right. - For your Simon for assignment. - This is a fun part. - I'm I am. - Okay. - I'm gonna give you guys two choices, - two choices, - but the end outcome is the same. - You're still gonna make your own sequence, - try to keep it short, - trying to not keep it around 20 images or less. - I really don't want you guys doing ah assignments with 100 drawings and then that its not - efficient about efficient. - If it takes you that long to tell the story than something's wrong, - you have too much information or you're doing unnecessary shots. - Um, - all right. - You guys have the option to do two things. - One pick a story that you guys want to do. - Like a very tell or just something that you haven't itching to do. - Or if you can't think of a story to do, - I want you guys to do. - The story of thing is a Greek story with the miniter about the, - um Just look it up. - Look up the story about the miniter about the guy going into the maze and I think they - leave a string, - you know, - for them to come out, - there's two people in there. - Oh, - make it your own. - You could change the story if you want. - But use that because I tell you that to use that is because I remember for an assignment my - mentor had the whole class do that one story and there was, - I think, - eight of us and you got eight different stories. - Some people chose to do it very dramatic. - Some people turned it into a comedy. - Some people, - um some it was. - Every story was different. - You could choose to tell the whole story. - You could choose to tell a moment how. - Just tell the story of just the point of view of the miniter bar. - There's a 1,000,000 different takes. - You could do that story so I would prefer if you guys did the story of the miniter. - So you guys can see how each of you guys are doing it differently. - And if you guys want to do your own story, - that's fine. - But I would recommend to the miniter I think I think I still have the drawings from what I - did five years ago. - I don't know. - If not, - I think I could try to redo it, - but I'll give it a shot. - Help each other out. - There's a lot of information that these drawings have that I did not point out Look at, - um, - the guy, - but different ways that use contrast. - Look at how the images were built to get how I'm asked unnecessary objects with within the - same value of other. - There's just toe make the stuff that I want you to look at pop out with contrast. - Um, - just keep your drawing simple. - They're all beets. - Beets are just at one image that sums up the whole shock. - You don't have to animate anything. - Just tell the story. - And, - Well, - I feel like I'm a broken record now, - paying a lot of stuff I said at the beginning of lecture. - You guys have fun with this one. - Have fun. - Don't sweat over it. - Big note is that I'm gonna extend this class about nine more days, - so I want you guys to be able to turn this in by next Monday. - So you guys got a week? - Get on it. - And I will. - I think I'm only gonna really critique just two or three this time. - Because since there's so many images in a story its own, - I think you guys will get as much out of it as if I would do 30 which I don't take a lot - out of me. - I don't think I'm gonna do that one for these stories. - I'm have fun. - Sorry for the delay again. - And I will catch you guys in a week. - Maybe I might pop in when you guys are uploading your projects and help you guys out of it - , - because this is very difficult. - Story is difficult, - but is one of the oldest art forms. - People were doing it in caves, - so don't get frustrated. - Just tell story. - How would you tell this story to her grandma or your mom? - Right out. - All right, - I got to go. - But thanks for putting up with me and, - uh, - talk to you guys in a bit. 4. Wrap up video and Conclusion: - Everyone just wanted to say thanks for a good time. - Things for participating in the class for those who did and things were just signing up in - the class in general has made it a really cool experience, - especially making the community that you guys did on Facebook. - What did you haven't done? - I recommend, - um also just wanted to tell you real fast that I do plan on teaching. - I actually plan on teaching three classes. - One is, - ah, - continuation of story a bit more advanced, - and you guys will start the story and then we'll finish the story. - So you guys will be left with your own story that hopefully that you guys were satisfied - with, - Um, - the 2nd 1 is a more fundamental and just are in general. - I want oh, - go even more fundamental on how an image is designed because I I saw that there was the bit - of two classes. - There's the ones that were a little bit more advanced are the ones that were barely hanging - on. - There were a bit lost, - So I thought I'd make a class just for you guys. - And even if you know your are, - I would still recommend taking it, - cause I'm gonna put a lot of things, - a lot of inspiring things on there. - I think it would be a good class overall just to refresh your knowledge. - But your fundamentals, - um, - my third class is I'm excited about because I haven't bringing on two more Disney animators - they want to teach, - and they wanna actually the first class they want to teach. - They want to do it with me, - and that's gonna be great. - And I'll tell you more about it in the lecture. - Um, - but eventually they do want to teach on their own. - And so one of them was a bit more in the tech side, - so he's gonna be more associated with classes on that, - and the other one wants to deal more with just animation. - So hopefully that will please, - is the animators in my class that we're expecting me to teach animation. - As for me, - I'm stay with General because I like teaching just classes that introduce a new concept or - a new art form to people because I think it's important to be ableto have that outreach to - people who want to do our, - uh, - never find a chance to do on. - That's gonna be our plan of attack. - So expect a lot of classes from us. - They should start about just about May 1st try to get him online so people can start - signing. - Not like a week or so, - but, - um, - Hope to see you guys there. - Oh, - just things were taking this class. - I hope you guys enjoy the last lecture, - and, - oh, - I gave myself to know to try to give some encouraging words, - but I guess I would have to leave you guys with something is just you don't just add to the - end of my lecture. - All right, - Well, - thanks again. - And I will see you guys hopefully soon, - but