Let's Talk About Animation Mentor

every year animation mentor releases a video some of the work that has been done by the students of the school at various levels to celebrate what they've made while going to school we get to talk to some of those animators i've interviewed i think 10 or 11 different students who work at the school some of them are now alumni some have jobs now because it's great to get to hear from people who are veterans in the industry and have been working in animation for years and years and have tons of experiences and insights that they can share with us but we very rarely get to hear from the animators we're just getting started in the industry this video is going to be kind of a collection of the best moments highlights and different stuff that i felt would be really valuable to share all edited into one super helpful video some of it is practical workflow advice things they learned in the classes some stuff about getting hired getting jobs so it's going to be a really nice variety of advice and if you end up going to animation mentor and signing up for classes please tell them that you came from this video or that i sent you i appreciate it and with that let's jump right in enjoy the animation mentor student showcase interviews so the funny story about that audio is my parents are like support systems so like when i was going through am they were like we'll help you find audio for class six like let's say it's the final push oh my dad's the one that found the audio it's like anne hathaway from a tv show called modern love you want to know who i am here's who i am i'm in a supermarket looking for some peaches like a craving for peaches so i didn't see the audio he's like do you want to see the clip i was like no so like i specifically refrained from seeing what the actual clip was i had sean sexton for classics as my mentor and his whole thing yeah sean we love sean okay everyone you've gotten to the point where you can animate now you need to differentiate yourself from everyone else i was trying to find any audio you know brainstorm the first dumb ideas that came out you know your first idea is like never good say oh i could have her like in a supermarket like being crazy like i was in a supermarket looking for and she's just telling the story maybe to someone else but i was like well how dumb can you go with it i remember actually seeing it shot by i think the animator she's at pixar now her name is jennifer mageeta and she did a shot back in a.m of i'm sure you probably know what i'm talking about because sean chose it yeah it's like the interview and like she's being interviewed and she's they're like what do you like to do for fun and i was like that would be a really fun kind of thing like have narration of one thing but show something crazy that's awesome that's such a i mean that's that's such a good way to like take inspiration but then make it your own and do something fun with it so i did uh get the cartoony workshop i registered for it but i haven't thought of any idea yet and it i did go to this famous temple in india and yeah they have this offerings where you kind of eat at the end of the you know visit of the temple and we throw them in the dustbin and this old guy was actually getting into that pushing it deep inside so that he can get more trash in it and i thought okay that could be nice where i could have like a alleyway and you could just jump around and basically like not walk and do all this crazy stunts with the cartoony stuff like different ways one could put a trash in the trash can and i came across this amazing piece of reference of this girl swinging across a bouldering obviously i liked the action and i thought it would be a good one to animate i started to think about well how would you use this when would you use it if you had to do this action what would motivate you to do it there'd have to be a good real reason for you to want to sort of put yourself in danger in this way and i thought well okay let's put it into a modern vernacular and a contemporary setting and um and that was when i came up the idea of someone trying to get to work and there was a series of incidents that sort of stopped them from getting to work that's a fun little exercise like i have this action what would it take for me to have to do this once i had the original idea my planning process mostly started with who is this character that wanted it to feel as genuine as possible she's been working on the storyboards for like maybe two or three weeks and it's been rejected each and every time and she's probably like stayed up all night this is like her final revision and it needs to be finalized that's why there's coffee and everything everywhere and then she's like there's dragons please are we really gonna add this in because if we're not gonna add this in i'm gonna damn it so my planning process was a little chaotic because it was classics you know and you have like your one week to kind of get all your planning done and i'm a very reference heavy animator in terms of planning i can do it quick and get ideas out there and just be what about this what about that my main process for any shot i do but like this one specifically was she's kind of like doing double speak here where she's saying one thing but she's making something else right my whole thing was okay now i'm gonna break down the subtext of like here's the line go in what is she actually thinking and then i would film different rough takes of you know different acting choices based on what was she really saying you know i wasn't a super early person peaches like a craving so maybe she's thinking oh i love stealing right she's like a kleptomaniac yeah so i did some tests this basic uh technical problem was how to use that trick do you draw a lot like is that no that was like i don't know how to draw that was my actually first take on doing a 2d animatic and it turned out good i spent a lot of time but it was rough but it sold the idea oh my god i love the rotate yeah that was actually where i thought it was impossible to do it but then i used animbot the temporary pivot and it was so easy with that [Music] that's where it got interesting obviously you had sean sexton as well he very much prefers straight ahead but i found class 3 in particular very difficult like you do you do the bouncing ball and then you do the you do a few tests in class two and then you get to class three and it's like oh okay okay maybe this isn't actually as easy as i thought it was i swore i would never go straight ahead after class three oh god it was terrible in class four i had raymond ross amazing mentor and poster pose and that's the first time i really felt comfortable with animation was in class four so when i got to sean he was like no you've got to go straight ahead and i was like i can't do this i don't know what to do like that was like mental breakdown moment because it's like i can't do it i can't do it i don't i don't know how to go straight ahead i don't know what to do but anyway i i came out on the other side and it is now my favorite workflow straight ahead it is so quick i cannot believe how quick it is i don't know everything just clicked sean sexton straight had changed my life that's crazy so what changed for you between the first time you tackled straight ahead and was it just the experience of the other stuff in between yeah i think it was experience and i was working full-time as well as doing am in class three and class four i retook class four not because i failed or i or i got um like a bad grade i just did it because i felt like i hadn't learned as much as i needed to learn to progress to be where i needed to be getting intro to acting is such a fundamental part if you don't get it right i think you're gonna really struggle moving forward i think that's really i mean that's really insightful that you recognize that so early on like i didn't think to do that i rushed through it as quick as i could because i thought for some reason that like oh yeah you just moved through them and just oh i passed good enough go yeah i was not at all thinking about like i'm gonna suffer for that later so yeah that's brilliant drawing it out and making it animatic was really useful because i could really get the timing right beforehand so i think that helped speed me up a lot because i was able to instead of playing around with the poses and the timing in maya i used adobe animate to just kind of like get the frames there because i used to be a flash animator so that i'm much faster than that in some ways so just getting that all set up and then be like okay using this is my reference now i can pose where i know the frames are supposed to be and the timing is all there so sean's workflow is a little bit different he doesn't like you to block in the face immediately so you kind of like close the character's eyes and just block in the body and the body is kind of like if i remember correctly like blocking every eight frames that's true and just like stay very close to and so that's kind of like i did like the first place i blocked like every eight frames there's like a very large point blocking and you break it down like every four frames and every two frames and that's like the first boss with blocking then like you just continue like breaking or breaking up and then after a while is just switching to spline and i think that's not true i'm setting it to be but your blocking shouldn't be much different from the spline so if you hit the spline button it should look the same and i'm blocking the face and hope for the best i really liked what i learned in class three with drew drew adams and his approach is going um straight ahead with it so that resonates with me a lot gives me the creative liberty to figure out what's gonna happen next even though i have reference so i do stick to reference at the beginning just to get it all in roughly and then i do another best it was basically just like the whole thing animated on twos i was really focused on getting the performance so i was i wasn't you know preoccupied about the curves or or all that stuff i just i just wanted you know feedback on performance feedback on how how to push it more and all of that so one thing i do have a trick for the mechanics part i usually when i shoot reference i want to get the most out of it i just you know put it in in after effects and then do a little bit of editing like time warping and do all of that just to get the spiciness coming from games i learned that uh motion capture just looks awkward uh so if you sort of preserve the same timing as your body it would have like a weird type of visual effect that i don't want to achieve in my animation so i usually speed things up that i learned from motion capture like you speed things up a bit like 30 to 10 so that it looks more stylized i use pretty much every workflow in the book for the shot sean sexton like has a very structured way he likes you to do it so i did that like where he does you know key down on twos basically take your reference get it into maya then do the fun stuff later my workflow's changed a lot it's weird to think back like a year ago because i i've changed a lot as an animator in terms of like what my workflow is like what i did back then thinking now i'm like oh like it hurts me it physically pains me um i was a very scared animator back then i would just key everything down and be like okay sean says it's good i'm gonna leave it like don't touch it but um now i have a very like spline heavy workflow i get my bass poses in and then i just spline like i immediately get into there i get my you know maybe depends on how long the shot is but five to ten poses and then i go in and just starts flying like crazy and just making sure that the movement works which is very different and would have probably given me a heart attack back a year ago the way i'd originally sort of structured it there were three um shots first shot she gets she gets across the bridge because of the road works she gets on her bike and then drives down the road and the idea there was a piece of paper was gonna flap into her face and that she would uh swerve and then hit these roadworks which would scoop her up into the air and then she'd fly through in the in the last shot she'd fly through the window and land inside the office in the process of working the first shot together with michael amos's sort of guidance we decided that it'd be better for me to spend my time polishing working the first shot because it was such a good interesting shot to do to work that really simple it sounds like it got really simplified but it ended up working out really well yeah well the very first draft of it was too long i had too many poses and too many things going on and the part at the end where he crashes and backflips around it almost looked like he was doing that on purpose like he was part of his performance so we changed the the way he grabs the board in the air and we changed the way he goes into the double back flip so that it's much more out of control and you can tell he's not doing it on purpose he's kind of going along for the ride and hoping not to die and polish actually changed a big part of it there's this moment where he kicks the boots and he does like a boom and kicks the boot yeah i didn't like the way it ended up granted by sean and initially it had a one beat but the song had two beats in it so i just redid that whole bit a bit and just added another hop in it to kick so that was something that i majorly changed and polish i don't know because usually people just when they get to polish they should they change little things i just wanted to mention that you know it's from my point of view it's okay if you get to change bigger things as well as long as you know they make the shot better it didn't evolve that much at all because i always know what i wanted to do like i had the audio for ages like i always knew i was gonna use gallifan i knew that it was gonna be some sort of medieval sort of eerie sort of thing and then i was really really lucky um like i showed sean my first reference pass for this and he was like yep love it go with it um just refilm reference for this this and this and then he was like good to go get it blocked out so i was really really happy with that because he's like signed off my idea straight away one thing i i changed from the beginning she was yelling at her saying you can't come home and more more stressed in the third week i push down this character and i do it like strict character and quiet and self-confident you can't you can't go to your home and the and the girl is more shy and insecure right and this helped me to to change at the end because the and the guy at the end uh became more insecure what is happening and underground self-confidence bye see you there i think was pretty fun there's this change of roles right that's that's a really cool evolution because you you went from presumably something that was a little bit more flat to now both characters actually get to have a change um my mentor he didn't think i should do more than two persons like he said just focus on one character but i still wanted it to be in somewhere in the animation industry and so i was talking to some friends like a meeting and we were shooting out ideas and then we came up with like oh what if she's a storyboard artist and then after that we came with the joke of like having the b-movie story wars and i was like that's the whole reason why i'm doing this right now the thing that i find like most important like feedback that i got was you use the reference as reference but then when you get to certain parts where the reference can no longer help you you need to think creatively and find solutions and test out you know solutions for what you need to do that's what michael's made me do he said well just just concentrate on 50 frames you know isolate the 50 yeah the first 50 frames work through the critiques and obviously i had my action list so that i could do that and it was just taking a small section at a time and working your way through i tried i suppose it's like burying your head in the sand you don't think about all the other all the rest of it you know you just just concentrate on this a little bit having blinkers on and you take care of the next bit a little bit later i had a particular note from one particular person they'll probably know who they are when i say it they said to me poppy you need to learn to be happy doing less movement less is so much more you need to stop drifting between your poses and just live and breathe in that pose because if you have a good pose that's solid enough and you don't need to constantly move and turn and shake and gesture you just need to figure out your timing and your texture and it'll be good just stop doing things i feel like that's one of the really hard things is when you're i mean really through all of am um i feel like that's a lot of people struggle with you have a pose and you have another pose and then what do you do in between yeah just like tween machine drift it like not necessarily so it was kind of the same thing of how i was animating of like okay i'm just going to change a little bit here in a little and then i'd do that throughout my whole shot and nothing really felt like it changed or got better until i kind of came to that approach of like okay don't animate scared delete this whole curve if you need to and just like redo it like and once i started doing that i got faster which i thought it would make me slower because it seems like more work but you're actually doing more work but creating way less work for yourself in the long run and less iterations because you start to get what you want quicker don't animate scared delete things if you need to animate confident in how you're animating and don't second-guess your animation whenever i would work an effort in a shot and i look at it and i say oh yeah this is okay i need to take a step back take a little break come back flip it maybe and then watch it and say oh no it can't be pushed further so it always can be pushed further at least in my case you know some people you know go too much and they need to bring it down i'm the kind of person that you know i go like and i can push it up not animating the face that's like one of the biggest ones like just focus on the body don't focus in the face another like biggest step was your face animation you do not need to copy your reference like the face needs to look appealing that's like the biggest thing and from like i looked on my previous works i always like copy directions for exactly of the face and i look horrible that's like this one shirt but like as like i cringe when i see it like this is horrible and then when i asked sean he told us like don't copy your vfr from your facial expressions i'm like this is amazing and something i can like pose which is great so it's more about getting the subtleties of the mechanics and stuff on the reference but the face is its own thing to push and make interesting this was finally the time i buckled down and learned constraints properly because i went through all of am just kind of like faking it with my constraints which is bad don't do that learn from my mistakes so this shot and i had to because she was like holding on to different things and i had lots of space switching with like karate hands switching from fk to ik like i had never done that much technical things in one shot and dealing with all kinds of gimbal issues because she was like going down and like falling off a rope and you know showing up back behind somewhere so my cog rotations were an absolute mess like and then i learned a lot technically from the shot because it was kind of the most technical shot i've done just in terms of like there was a lot going on to use the grease pencil tool in maya so you can kind of push your poses right by drawing inside of maya and the earlier draft that i sent you you can see there's actually a hand drawn section where he spins along the rail just to try to test that out you can really push your arcs and your your your line of action without having to spend all the time of posing it out so i would definitely recommend that for cartoony animation and you found maya's grease pencil adequate for those uses uh actually i used a souped-up version of maya's grease pencil there is a paid plug-in called blue pencil 2 which i purchased and it's got some additional features that maya's grease pencil doesn't have including layers so at one point i had a layer for the skateboard and another one for the character and i could turn them on and off i would recommend it it was so awesome oh my goodness it's awesome i love it because i never had any of my stuff lit before so it's like this is amazing i went like i showed it to everyone it's like sitting it's like just watch it it's beautiful it's gorgeous most people worked on the shot but didn't light it didn't render it and so when they saw it like this it was like a shock like oh my gosh it looks so good you actually did all this yourself is this is the version you made the version that's in the showcase they added extra sound so they did the the tippy tap toes they did this the cat sound yeah but other than that it's what i did is that something you had experience like you mentioned you had learned a lot of that for this is that right like you hadn't really done much to that before actually i started out watching your video on how to get lighting in maya oh and then i just went crazy after that i learned i learned all that i learned that i did like a bunch of other research the first thing that i put on am was a a nicely lit shot like last year's showcase where i had my shot with the why i don't know the pizza guy and i lit it all up nicely in mine i was so proud of it and that eventually i turned to blender because blender's faster and so i had you know an idea about what things should look like but i just learned as i was going so with this uh with this show with i'm in hell i i was learning as i was going the one thing when i started am it my goal was to get in that showcase i was gonna work my bottom off to get in that showcase and it wasn't so much seeing like i loved it like seeing it lit and rendered was amazing like it was it's like the icing on the cake it's just it was it's beautiful and they've done such a good job so thank you i still don't know who lit it whoever you are please let me know because i it's amazing and i want to say thank you ever so much because you've made it looks beautiful gorgeous it was seeing my name for the first time in lights like i've i haven't had that before and hopefully it will be the first credit of many like that's what really that that's what really touched me that's awesome and i i mean based on the quality of the work i'm sure it's the first of many yeah that was really cool and i kind of have a weird place in the showcase where i actually had seen my shot lit and rendered like months almost a year before the showcase came out like because right after um animation mentor i graduated i ended up talking and meeting with a extremely talented lighting artist named diana lee and she was like hey i want to like test light in your shot would that be cool can i test render i'm like absolutely i was like go for it and i was still polishing at that time so i was like hey can i polish this up first because my my last classic submission versus my polished pizza shot don't look like the same shot because there was a a lot of polishing that went into that so i was like can we wait until i polish she's like sure so i got to work with her for um a few months on like being able to see it and what was cool is she would give me a note of like hey the eyes look a little weird here because of like i'm adding reflections now so you can actually sit on the eye direction look like she's like cross-eyed sounds like can you fix that so i'd go fix that and go back and forth with her that's awesome you got to actually kind of work with the lighter that was a big surprise it was it was amazing yeah i think everyone thinks the same so this is this is my shot really is because it's completely different this is much much better and you realize other people that is working after you you do your job and that's it but you think about in the lighting then the texturing the vfx the sound all these people makes your work much much much better so i'm very grateful to to them and and and to have this this really really nice shot so thank you instead of it just being a piece of body mechanics i wanted it to have some kind of um rhythm to it when she originally comes down the stairs it's obviously that quick quick slow bit where she like comes down the stairs jumps on and then you've got this slightly slower rhythm of her swinging across and then the quick quick slow bit where she jumps into the office space so i wanted to get that kind of beep going there's one technique i used that you see a lot in cartoony animation when you frame by frame it is when he actually lands on the rail i have a double of him so there's two rigs in there so it's kind of like a smear frame where you see him like this and him like that so that was a fun technique to try one thing i really wanted to tackle was body mechanics i guess and i guess the whole point of like the standing still parts like i really wanted to master that because i knew that like in my previous shots in am like i think that was one of my biggest struggles was the body mechanics and like keeping things still and alive for a certain amount of time so when i kept getting those notes like oh you got to keep it still people still lost like i know just like learning how to like get the curves to like just right so that it's moving but it doesn't look like it's moving all that much the sculpting part i had to sculpt in like at least the times where like 10 frames each pose i had to go in there and sculpt it slowly and make it make sure that it has that shape so i used to have another mesh which would be in that shape and match its clip itself to sculpt it slowly so that it matches that interesting so like when you wanted them to like be in a circle would you like put it there yeah i i feel upper sphere there i upped the transparency and i kind of get that i got i got the shape slowly using sculpt tools ah it's smart the feet she was she's wearing high heels and i didn't set up the high heels that a pivot on the heel was just like like the air before so he would like slip so they go frame by frame and animate high heels i'm never doing that again the mirror the mirror experience because he's looking in the mirror and you don't have a mirror in in my uh i had to set up a camera over the shoulder camera that becomes like the uh close-up camera and then i had a camera in place of the mirror and then i i had a put a mirror geometry with a like a green screen just so i can compete like in after effects later on and that was a pain because i was how do you make a performance that has to look good from two angles at [Music] once was there anything that you found easier than you expected uh no no i think it was it was as as as hard as i expected it to be there's a feature on the rigs which allow you to pin the elbow and the knees to a specific locator and that did help because at one point i was going back and forth trying to get out elbow pops and knee pops i think it was michael that suggested that obviously within the rig you've got this feature yeah if you activate it you can then polish out and make sure that those elbows and those knees are you know nicely following arcs and that that was a big um improvement i've never heard anyone say that use for those controls that it makes a lot of sense that's a good one easier that's a great question um no me starting from ground zero as an animator of like i literally started the maya um workshop at am and that was the first time i'd done anything i didn't know what a rig was so i am very much like the am poster child in terms of like starting from like nothing and actually kind of knowing how to animate by the end of it and um that was classics is a cool time because i feel like with me that was the first time i was like okay i have a workflow i get this and like i didn't feel completely just like i was thrown overboard like going into a shot like i had every other time because it was just like very overwhelming all at once and i think that's something that am does really well is taking students from zero to actually not feeling overwhelmed in a shot and like you still do there are still times that i get technical shots i'm like i don't know how to animate and i get scared i'm like what was it two years of nothing like i just get like completely like i can't animate anymore classics was the first class that i started to shot and i didn't feel completely overwhelmed that's i feel like that's the moment everything unlocks and you're like oh this doesn't suck this is good i'm glad you've been doing this for two years exactly i was like hey i actually might be able to do this as a career well on the way there is something that i that i did to make things a little simpler for me if you've ever animated a shot where you've got the camera and the character moving very fast through the scene it can be a little bit of a pain because you're constantly moving your perspective camera around every time you're changing different poses so i did a big cheat on this one they're actually at the origin the whole time and the background is moving backwards so i didn't have to deal with the constantly moving perspective camera i have literally sat in my bedroom in the same place for two years and i think mentally it's quite it's quite difficult because i'd like i i haven't been like meeting with people or you know going to work so i didn't have like the social aspect of it i was literally just by myself all day every day and one thing i would say is making friends or like animation friends is so critical to staying sane class one to four i didn't go to dailies and then when i started when i retook class four so class four to six i was in dailies four times a week i was getting extra feedback somebody was like tutoring me on the side of am as well these people that you meet now you're gonna be with them for the rest of your life they will they will hold you up and they will give you feedback and they will they they understand not a lot of people understand what it's like to be an animator make animation friends because they will save your bacon and help you get jobs yes that is true i i i only have a job because my friend works at axis it's that mix between like it's nice to know someone but you have to be ready if they happen to find something for you yeah exactly that perfect blend i definitely got really shot blind on this on my pizza shot is because you know you're spending so much i had the very thankful ability to be able to just be full-time student when i was in am i wasn't working at the time and so i was just spending probably a good you know 18 hours a day animating at my computer so you get very shot blind because of that and so i especially when i got to like splining because i was also wasn't super confident in my splinting skills at the time and it needed a lot of work so i would just look at it and i would get really frustrated because i was like i can't i know there's issues but i don't know how to fix them like and so that's when it is so important to like rely on friends and peers and mentors to be able to show them and be like help help please so being able to give them that and get like a fresh pair of eyes on your shot and someone to walk you through if anyone's in that point in their animation skill career right now it gets better just you gotta work through it so and it will come and go you that will not be the last time you feel that way so it's just one of those ebbs and flows of life in the third shot there's he does a hand flourish as he's dancing around and it was a complete happy accident like i didn't realize i had done it until i had done it and i'm really proud of it because it looks so good but no one else will see it only i will say it that's gonna be that's the best feeling when you're like you're like oh wait what's that oh i didn't that's great i'm not gonna touch that i feel like it's very like just like proud of the whole thing i'm like i did that it's it's rendered and that's like kind of very action like i'm like proud of it overall because it's finished it's like i love the lipstick i love the special stuff so it's like that's my baby and i'm proud of it the one thing that i really had fun with and i hesitate to even call it this mirror because it's not really it's not that bush but like when she falls off of the um uh rope like i did lots of fun like smear frames with like her head like kind of making like her eyes like i actually went in and like used uh js hand and polish and like sculpted everything like sculpted her head and like did new poses and like shades for it so that was a fun thing that like i'd never done before i was like i'm an artist whoa like i was so like happy with that because i was like this is so fun it's not just technical gimbal lock issues i was like i'm actually having fun with it so well my next question was gonna be what's next for you but i feel like working at pixar is a pretty good like next step i guess uh yeah it's kind of like when i like got an internship at pixel like that a week before i did a powerpoint presentation for my whole family like planning out my year i was going to do this and this and i'm going to get a job here and here and like like the next week pixels like hey you wanna do the internship i'm like okay and like i i don't have any plans out for that so they called you that's awesome yeah well i applied to internship but like i think like in the beginning of the year like the middle of the year like they just like sent me an email like hey can i have like a phone call with you i'm like okay let's do a phone call i'll have to check my calendar pixar i mean i started in uh uh in december at illumination mcguff so that's yeah yeah that's that's next for me how long ago was this shot like was this shot part of your reel when when you applied there oh yeah actually this this shot was opened a few doors for me so i finished this shot in february uh this year to 2021 and i think this shot helped me get the gig at uh set aside i worked on adam's family too and uh the current gig that i had uh working at axis so it it was very good you know in terms of getting me through the door and actually i i think it helped with the illumination as well because you know they reached out i mean i i didn't apply i wasn't so they reached out so i think it's because of you know the student work that's awesome congratulations i hope you enjoyed this video if you did please leave a like and leave any comments down below that you'd like to share of things you would you really enjoyed you'd like to see more of and so on a huge thank you to everyone who participated in this video wouldn't have been possible without you obviously and a huge thank you to animation mentor for helping me actually set all of this up there's a link to animation mentor in the description so you want to check them out you can go there and remember that if you sign up for classes please let them know that you came from this video or that you came from my channel in general i appreciate it thank you all so much for watching i hope you enjoyed and i'll see you in the next video [Music] to you

Channel: Sir Wade Neistadt

Views: 36,350

Keywords: animation interview, animation podcast, animator interview, animation mentor, animation school, animation jobs, get hired animation, animation students, animation advice, advice for animators, is animation mentor worth it, best animation school, animation workflows, workflow, maya animation, blender animation, character animation, character animator, animation software, acting animation, animation demo reel, blocking, splining, animation planning, spline, student showcase, 3d

Id: CVaNPA2FPik

Length: 35min 18sec (2118 seconds)

Published: Mon May 09 2022