The Motion Graphics Design CRASH COURSE - DaVinci Resolve Fusion

okay this is probably going to be one of the most valuable videos that you've ever seen when it comes to multimedia design production if you take what I'm about to say in this video and you actually put it into practice everything you make is going to be better I don't think that's an overstatement let's jump in so we're here in the fusion page of Da Vinci resolve and the one thing I've done is go to workspace and uncheck show page navigation but we're not really even going to be focusing on Fusion a ton it's mostly about how to in general make things look good look better when it comes to design and motion graphic design that kind of thing so this applies for Fusion it applies to other pages and resolve it applies to After Effects and motion and hit film and blender and all of those here we have our comp it says Motion Graphics are my passion and it doesn't look very good but I wonder if you could actually tell me what doesn't look good about this why doesn't it look professional and I think that's a big key to making work that is good is understanding what makes something not good and look at the very specific factors that make a design design just not as pleasing so I'm going to break this down just from the most obvious start first of all this is black and white and it's not that you can't make things in black and white but it only works really if it's a certain style if you just have a logo in white on black that might work uh text just white on black doesn't tend to look really professional unless you stylize it a certain way now I think one of the main reasons that just text on black doesn't really look professional is because anybody can do it anybody can put text on black there's almost no skill involved something to keep in mind though is this is really high contrast that means that there is a big difference between the brightest parts and the darkest parts of this composition and what contrast does is a couple things is it separates your subject the thing that you want people to look at from the background and it also kind of draws your eye to the place that you want somebody to look so for instance if I were to take this text I'll just take the blend down in this merge and take it down like this then we have less contrast it's less Stark and Punchy and that has an effect on the viewer it's harder to know exactly where to look because you don't have that contrast if we were to do something like add a white circle pretty much anywhere we put this white circle that's where your eye would go and so depending on where you want your viewer to look you want that part to be the highest contrast for the most part and this works both white on black as well as black on white same kind of thing your eye is going to be drawn to the area that's the most different the biggest contrast right so that's not a big deal if you know that you're doing that so we're coming back to why does this look bad well it's a really high contrast but it's also really big on the screen and so we're not really giving our viewer a place to look they're kind of looking everywhere just because this text is so big on the screen now we can fix this we can make this so much better just by literally taking our text and taking the size down and pushing that down get this okay we have this smaller in the frame and yes it still looks bad but this looks better than this because there's some semblance of a focal point okay the high contrast area is right here where we want our viewer to look and then there's area of rest around it so it's not overwhelming okay now to back up a little bit this isn't necessarily wrong again if you know that you're doing it for instance if we were to take some other text like this and make this really big and black and white and stretch this all the way across the screen if we were to cut to this in our movie we can cut to say that it's you it's May you know it's the month of May and so this kind of graphic would work really well if it was like you know somebody was waiting for something and waiting and waiting and waiting and we know that it's March or early April and then it just cuts to may like he's been waiting so long and it's a huge freaking deal so that's fine if you know that you're doing that okay but having something great big in the frame that's really high contrast makes a really huge big bold statement which isn't necessarily what you always want to do so going back to Motion Graphics are my passion this isn't probably something you would just want to say like that it doesn't feel like this person is dead it doesn't feel like the world is ending you aren't going to be like Motion Graphics are my passion like that's a weird thing to say it's not this great big bold statement it's just a fact so we can take this size down like this okay it gives our eyes a place to rest it shows us where we're supposed to look now in addition to contrast and size if we look at this composition we want to think about where this is on screen if we were to bring up our guides if I right click and go to guides show guides or I can hit contrl G we get these little crosshairs here and we can see that this is not really centered really it's not in the middle it's not a lot to either side it's just kind of slightly off center and a lot of good design has to do with doing things intentionally doing things that look like you are purposely choosing to do it a certain way rather than kind of accidentally kind of throwing something together so with this it's like this weird Middle Ground between having it perfectly aligned and having it off center okay and so a quick way to make this better is just to pick one or the other either have it perfectly aligned or have it far enough off that you obviously couldn't do it on accident okay so I can take this text and let's move this more towards the middle here so now we have our text in the center and it looks a lot better because it's like okay they meant to put that in the middle this is intentional the other thing you could do is put this off to the side like this and again I'll just hide our guides here does this look amazing no but it sure as heck looks a lot better over here to the side than it did kind of awkwardly thrown in the middle it looks like a bad children's book that didn't hire a professional designer right so over here on the side this looks like you put it there on purpose so we either do that on the side or we do it right in the center another thing to mention about this is if you're going to put something on the side you don't want it so far on the side that it's almost to the edge the reason for that is because it feels uncomfortable and and generally if you're wanting people to look at your art and your projects you want them to feel good when they look at it right it's not supposed to be an offensive thing most of the time and so having something that close to the edge it makes it feel like this composition is going to like fall off the edge it doesn't feel balanced you can think about it as if this text had weight to it right and it was on kind of a a teeter totter right in the middle everything's balanced if it's over to the edge the Teeter Totter starts to go like this a little bit but when it's way way way off the edge like this then it's just plop and it dumps it off the side and so you want there to be some space between the outer part of your subject especially your text and the edge and that's mostly because of balance it's also because again of the kind of focal point and rest thing for your eyes if it's over here it kind of subconsciously makes you anxious a little bit and so as a general rule unless you're breaking it on purpose I would say 90% of the time you don't want stuff that close to the edges you don't want them touching the edges you want them kind of a third of the way in across the frame or centered okay same thing goes for up and down we don't want something down there on the bottom it looks really weird even if you are going to have something you know let's say this is really small and you want it really far down at the bottom you're not going to put it way down at the bottom that looks really sucky you want it at again probably in like the lower third or so something like that that looks intentional it looks like you know what you're doing and all you did was just move it a little bit it's the same exact design it's just moved up a little bit I see this probably more often than I see most other things is this alignment and spacing and space around things you got to give stuff room to breathe okay so you can really make your design better just by thinking about where it is on the frame making sure that things are somewhat balanced and essentially the more extreme you go in One Direction generally I'd say the closer you get to the edges the more of a danger zone you are and the more you have to really know what you're doing in order to do that effectively okay you never see like a Hollywood movie with their Graphics off the side like this that's a great indication to show you that this is important right okay now sort of related to spacing is the alignment of the text now when you have something that's in the center generally you want the text to be Center aligned for the most part and so there's a problem with this text in that I added some Extra Spaces here on purpose so if we were to take those out by default this is Center aligned okay so again this is already looking better than it was because again it's about the balance right so if we have these off to the side like this it looks kind of weird it looks like it's going to fall almost it makes you nervous but if we take this off then everything's okay again if we were to take this and left align it like this obviously right here is no good because it's off to the side just a little bit I would rather have it over a little more like that if we're going to do it but really if we're aligning this to the left we should have this closer to the left something like that because we got to think about how things line up on this left side if everything's lined up on the left side and it's closer to this left side that's an easier way to kind of compare that things are straight right whereas here on the right side this and this are not lined up but they're also farther away and so it's a little bit harder to tell so if you're going to align something to the left make sure that it's kind of screen left if I were to align this to the right like this we would put this more towards the right and that's going to look better again because of the same reason we're closer to the right Edge and the right Edge is lined up I'm not really going to put this in the center again because it looks like it's falling so if we're in the center we want to do a center anchor like this all right so we've done a lot of work on this already this looks a lot better than it did now let's address the elephant in the room the font fonts when it comes to design are very very very very important there are in many people's opinions a black list of fonts that you almost never want to use unless you're using them ironically that would be a reason why I would use it in this circumstance that's why I'm bringing it up comic Sands comic Sands this is a font that is notoriously ugly and the reason isn't necessarily that it's a bad font per se for what it is it's okay with everything with a design you have to think about it in context now if we were going to make something like Jane's kindergarten class dude comic Sands probably the perfect font yes there is a time to use comic Sands I'm pretty sure it starts and ends with literal kindergarten stuff like you're actually making something for a actual kindergarten that's when you can use comic Sands if there's any other time I probably would not do that if it's for playtime or kids or crayons or things like that that's probably the only time you would ever use that because if we were going to say Revenge of the Mummy are you really going to take this seriously there is no way you're going to take this seriously you're going to say wow this looks looks like the least possible scary movie in the history of mankind because it looked like Mrs Jensen from Spring Creek Elementary made a movie called Revenge of the Mummy let's talk about some other fonts shall we here's another notorious One impact impact is I would say a more acceptable font than comic Sands and the reason for that is because impact is a little bit less specific on what kind of subject you would be designing for you can put impact on just about anything and at least it's like somewhat believable like Revenge of the Mummy and impact it's like M okay maybe maybe with some other style and things added into this maybe but comic s it's not going to happen the main reason why you wouldn't want to use impact is just because it's overused everyone in their mom has seen this font at some point and it's honestly just so overused that it's almost distracting right it's almost distracting of like why would they use that font why wouldn't they use something that's a little bit more obscure and then I can be thinking about how scared I am of the Mummy rather than why did they use the font that they put on all of the memes in the history of the world that said it's all about context right if you're making a meme perfect font absolutely perfect you should do it use impact there is no better meme font than impact the other notoriously bad font would be Papyrus and again Papyrus not a bad font it's not you can fight me on that it's not a badly designed font the problem with Papyrus is that it's really really specific Papyrus would be okay to use if you are making a film about Egypt and you're literally talking about like kings and pyramids and things like that in fact as crazy as it is if I change this font to Papyrus it actually almost works we just make this mummy that sort of feels like it could be a mummy right like the mummy's tomb that that sort of works and so that's like the major big reason why you wouldn't want to use a font is because it doesn't work in the context of what you're actually talking about right for instance you would wouldn't want a corporate training you know that's like your new forklift in this like scratched out crazy font you know you'd want something like murder sauce right that totally makes sense to be in this font but not like my new puppy unless it's a a a horror film where the puppy is like a demon puppy or something you don't want to use that font for that same reason why you wouldn't want to use a plain font like this for something like a scary movie murder sauce doesn't make any sense to be in this like nicely typed font this this is new forklift territory right that's looking better so it's all about the context when it comes to the fonts so let's just say Motion Graphics here like this let's think about our sizing and let's pick a font that says Motion Graphics a lot of Motion Graphics fonts actually it's nice to have a font that is more boxy in general because it's easy to align it with things it's easy to think about it as it it's almost like it's its own picture so for instance this font League Gothic maybe even make this all caps like this oh see this is looking really nice one of the reasons is because you can see I can kind of draw a box around this and that tends to work for things that you're going to animate a little easier because you can think of them as their own object whereas if it's kind of like spread out and you know if this was something like a script font you see how this font it doesn't really feel like it's one big block it feels like it's soft and swoopy and so if you're going to use a font like this this it have to be something where it looks like it's being written on or it looks like it's on a piece of paper it looks like it's like on something that is boxy because it just doesn't feel like it's its own thing that can move around and be animated which if we're doing Motion Graphics it's nice to have something that feels natural to kind of exist on its own so even something like amatic is really nice because again it feels like a box here's another example dream MMA this looks like a font that's you know for an action movie or something right but it also kind of feels like a box right everything's kind of lined up on the edges and even though the sides are kind of turned like that it's like a talisis it still feels like it's its own thing like you could print it on a strip of tape and put it anywhere you want you could use a font like Lakers and this is pretty good again for something to animate on a lot of the time I like to have it feel like it has substance right so generally a bolder font so here under regular I could do bold which actually adds a little bit of texture here which um I like I like okay let's just go back to League Gothic here size this up and yeah that kind of feels like it's its own thing and this right here black and white right in the middle of the screen looks pretty good in my opinion because yes it's black and white there's a lot of contrast but you know exactly where to look right in the middle of the screen it has good spacing around it it's a nice size in the frame it's not too big not too small it's in the center so it's balanced and even though it's really really really basic it looks intentional from here we can even take this and do something like rotate it and again I'm going to rotate it enough to where it looks intentional I'm not going to rotate it like just a tiny bit because then it looks like I just kind of messed up a little a little bit it's like just slightly off to the point where it bothers you right but if we have this slam like that it's like yes that's intentional boom Motion Graphics let's actually get rid of that rotation and I'm going to copy and paste this and just put some new text here and we'll say subtitle take the size down and put it down below so up to this point we've essentially had one message one kind of big focal point but now we have two different elements that are kind of competing for each other and at that point it's going to be important to realize there is a hierarchy of where your viewer is going to look if everything is the same contrast then there's going to at least be a little hiccup of where do I look what do I read first now for this one people are probably going to read the Motion Graphics thing first for one reason and that's because it's bigger in the frame so if I were to take this subtitle and I were to push the size up and make this a little bigger than Motion Graphics even if it's under it you're probably going to read a subtitle first and then Motion Graphics before it which is pretty crazy so size is really important and it's as important as contrast and it's I would say more important even than the position on screen so a subtitle Motion Graphics again if I take this down you're probably going to read Motion Graphics first and then look at a subtitle to kind of contextualize it right it's pretty wild just these little changes but now check this out if I were to make subtitle and Motion Graphics about the same size on screen your eyes is going to be confused like what do I look at first but I can influence where the viewer is going to look by using contrast and position so if I take the position down like this what's in the middle is going to be read first and then what's under it this is also because Motion Graphics is above a subtitle but even check this out so if I take a subtitle like this I still think you'd probably read Motion Graphics before a subtitle because it's in the middle and it's really powerful to be in the middle but let's put this here and then let's take the color and just take that down a little bit so there's less contrast we'll just make this kind of a neutral gray and look at that Motion Graphics boom obviously what we look at and then a subtitle in fact there's a point where you can make a subtitle bigger like this and you still would probably read motion Graphics first if I put it up above I don't know it's starting to get iffy but the thing is a good design isn't iffy so I wouldn't leave the design like this there should be no question on what you look at first you should always be in control of what people are looking at and so to kind of do this I would take the size down take the subtitle probably down here in fact I would even take the size down a lot more make it really obvious why not use a couple different tools to influence the viewer since you have them at your disposal right so Motion Graphics a subtitle beautiful of course when we're talking about Motion Graphics then we can use timing to influence the viewer even more so we could have Motion Graphics come in first and then a subtitle right and so timing if something arrives first that obviously gets the attention first and lets people kind of sink in first so we could do something like take this Motion Graphics and we're going to fade this in just with the blend and so I'm going to go to let's say 20 frames and then go over here to where it says blend and click on the key frame diamond right here for blend this is like the opacity of this merge that's putting this text over our background and then I can go to frame zero and I'll take this blend all the way down that's just going to fade it down and so as we play up to frame 20 it's going to fade in like that so we could have that fade in first and then we could have a subtitle you can take the blend down and turn on the key frame and then we'll go 20 frames in and turn it back up like that so now we can play this back and it says Motion Graphics a subtitle and we're controlling what the viewer looks at and how they process their information by using timing so these are really the basics and if you can nail these things everything that you do is going to be better so let's take just a couple minutes and add on to this and make this kind of a finished Motion graphic keeping these principles in mind we want people to look at Motion Graphics as its own thing and we want them to look at subtitle later and I think instead of having these fade in I'm just going to double click on each of these blends to reset it we're going to make this a really cool Motion Graphics design based on these principles by the way if you're new to Fusion there are a bunch of tips that I would really recommend you check out in our Fusion Survival Guide that's a free video course with the essential tips for Fusion you can get that here or in the links down below my gift to you okay let's keep going so let's take some of these lessons that we've learned and make this into an actual nice looking motion graphic and that's the thing is it doesn't need to be complicated really I mean as it is this almost works so let's just keep this really simple when and doubt keep it simple and let's just maybe do something like this let's just move our background over and instead of this black background let's make this just a little bit more interesting over here in my inspector where it says solid color let's switch this to Four Color and I love this trick I can just push the maybe the blue and the green up a little bit in the top left corner and do a similar thing for the bottom right I can just grab this eye dropper and just drop that same corner and look at this we just have kind of a green on each side we could probably just call it good right there that looks nice just have a little bit of character in the background and notice I still keep the background dark I don't have it really really busy like this actually still works okay the more contrast you get in the background itself the harder it's going to be to have what you actually want the viewer to look at kind of stick out and so you know the crazier it gets the more you're just competing with this focal point so it's good just as a general rule if you're not really confident in your background skills just take the background up a little bit but keep it pretty dark and now everything in Motion Graphics should really be some kind of reveal it's almost like a little magic trick right and so we shouldn't just have it cut to this it'd be more interesting if this animated on somehow and there are a ton of ways that we can do that I'll show you a little trick that's really easy and I like to call it like a drop in you just drop in and just smack the Li and how you do it is you just take something like a rectangle mask so right here can grab this and plug it into my text I could also probably just plug it into the merge either way it's going to do the same thing and we're going to put this rectangle right around our text like this and then we can take the text itself and we can move this text and it's going to move the text but not move the rectangle mask and so we can kind of hide the text just by pushing it outside of the rectangle and that's just animating this Center property under layout here and so let's just go I don't know 15 20 frames in or so and we'll hit this key frame diamond right here and then go back to frame zero and then we'll just push this up just so it's out of that mask so now if we play this back this just pops down like that let's also give this just a little bit more motion and I'm going to do this with the transform node I'll take this and just drag this here under our text and this will let me move the text as well as the mask kind of all together cuz anything that you run through a transform node it all kind of moves together okay so we can kind of move both the mask and the text as a group and sort of offset them and what we'll do is have this sort of Click into place and so let's say at frame 25 or so we're going to key frame this size and then maybe I'll move this over to frame 15 or so and then we'll just push the size up a little bit so now I'll double click off and let's play this back and it goes clun clink and so it sort of comes down and then it sort of Clicks in and actually let's play around with our key frames a little bit we can go up to the upper right and here where it says key frames I can open up the key frame panel and this is where we're going to see all of our nodes in our composition and we'll also have these little graphs here for anything that's animated these little tick marks and these red lines and so our text and our transform are animated and we can see this is sort of the graph of the values and so let's actually make this go a little bit faster I'll just grab the second tick mark and bring it to I don't know maybe frame 12 or so and let's take these on our size make everything a little bit faster just see how that feels so it goes click click yeah that's what I'm talking about so it comes down and then it clicks in now one thing I want to do is make it so this animation Isn't So jerky see how it comes in and then immediately stops and then it instantly scales and it immediately stops Again part of motion graphic design is being careful about how your animations kind of speed up and slow down and that process is called easing so to mess with our easing we're going to go to the spline panel so I'll go ahead and close key frames and go over to spline and that's going to open up our spline panel which gives us just a bigger graph of the animations that we have make sure that you have anything that you want to see checked here and here we can see our animations so we have one that's starting at zero and going to one one that's a little bit more and kind of going down to one what we want to do is take this key frame and mess with this handle because this is going to adjust the speed of the movement for our animation and you can think of this as a graph over time right so this is the value and then this is the frames and so for a few frames we want this just to start going really really slow and then it kind of speeds up just like stuff in real life and then when we come to the end of our animation we want this also to slow down and kind of gradually stop so that's what I would probably refer to as flattening the key frames or flattening the handles or the tangents that's what we want is this to be a nice soft S curve a lot of the time and check this out this comes in oh it's already looking a lot better we'll also do the same thing for our transform size a quick way to do this same thing is just to select any of those key frames and hit F on the keyboard and that'll flatten out those tangents like that and now check this out so now this comes in Oh and it just feels so much better yeah nice and easy there's no jerky movement to it it's just very natural so good so now we have the Motion Graphics kind of clicking in there and again just think of all of this as a magic trick like what would be the coolest way for this subtitle to show up that isn't just super distracting and way over the top right we want it to just come in all stylistic so right when this Motion Graphics Pops in let's just have this subtitle kind of pop out from it like this is sort of squeezing the subtitle and the subtitle has to kind of move out of the way so let's do the same thing we can either do it with our center of our text or we can run it through a transform I think I'll run it through a transform most of the time I like to run things through a transform but it's kind of up to you okay so right here as we're finishing that so let's see we want this to be out by frame 22 or so and so we'll just key frame the center of our transform this is going to adjust just where this entire image is this subtitle and then we want it to start moving out right as this Motion Graphics is kind of ending its movement and so let's put another key frame there and we'll just move this up sort of so it's under this text like that so now it kind of goes like that let's adjust this in the spline I can take this and hold shift and bring it to the left to make this happen a little bit quicker we'll hit F on the keyboard to flatten out these handles yeah good but we're going to do a similar thing here and have the subtitle not be there until it kind of starts moving so this is really doing a very similar motion to our text but we're just kind of doing this in a different way we could also just make a mask here on our merge it's going to be basically the same thing that we had earlier so as this Pops in kind of pushes out that subtitle I like that one thing I'll do is grab this second handle and hold alt drag this handle to the left that'll keep it flat but it's going to arrive at its destination a little quicker and slow down a little bit more gradually so justo yeah so that's looking really nice again this is so simple this is so easy this animation you can put this on just about any project and it's going to look professional you're not going to look like a noob because it has good design even though it's not the flashiest most crazy thing you could ever do let's take this one step fur further and just give it a little bit of character without being over the top got to keep it tasteful right let's just import a texture just right click here in our media pool and say import media let's just grab something like this paper texture I'll drag this down and I'll just merge it over everything and we can either take a transform node or we can just rotate this here in our merge with this angle either way is totally fine but I like to use a transform just so I know that I'm doing something it doesn't hurt to put another node there doesn't really take any longer and we know that we're transforming ing this before we merge it so now we have this kind of subtle texture and let's take this merge and switch this apply mode to something like multiply now multiply takes the darker parts of this texture and puts it over our title here and look it's kind of hard to see even but there's a little bit of texture on this and it just makes it look not so plain without it being really really noticeable I mean this is the difference this is before and this is after it's really not a huge huge thing but it does give it a little bit of character now if we want to take this up one more notch let's do something cool here right after we make our background that's going to be behind all of this text let's make a little effect where you know when we have this text kind of push back into the background maybe it affects the background somehow and so I was thinking maybe like a little water ripple effect or something like that so maybe we'll just do something like I'll just grab a brightness and contrast node you can do this a hundred different ways I'll do that and then maybe we'll just push up the gain Just a Touch so that's just going to make things brighter so right now all we're doing is just brightening the background but we can limit this to a mask with this blue input here and I could take something like this ellipse and just plug this into the brightness and contrast and now it's only going to do that brightness and contrast adjustment inside of that mask let's make this a little bit more obvious just so we can see it we'll probably turn it down here in a minute but now it's only brightening that background inside of this mask and let's actually switch this let's uncheck solid and then push up the Border width and now we get kind of like this little ring and let's make that a little bit smaller something like that and we're going to animate this ring growing so right here where it says width and height let's make a key frame right here this is after our text has pushed back so right about as it stops moving let's say right about there we're also going to make a key frame on width and height and we're going to put those all the way down this we're just squishing that down so look what happens it grows that Circle and I think maybe we want this a little bit bigger so let's just say width and height one like that and we can also key frame the level so we'll also go to our first key frame and key frame the level make sure that's at one the level is like the strength of the Mask it's like the opacity of the mask and then at the end of the animation will take the level all the way down so it kind of Fades out as it goes down now I did this dumb this is only like a two frame animation so we need to stretch that out a little bit we can go to key frames and since we have a lot more going on here under these three dots I like to say show only selected tools and that will just show me the key frames for whatever I have selected which would be this ellipse mask here and I can click this Zoom to fit button and to zoom in where I want to be I can take this little Zoom thing and just draw a box around this this and that will kind of Zoom that in a little more I can click it again to get rid of that tool and now I can take all of these second key frames here and we'll just push this down a few more frames let's see how that looks so now we're getting this kind of growing thing but it fades out towards the end so now we have this little ploop as it pushes back into the background it has this kind of ripple effect and I think that's still a little bit fast so let's take this and just move it down a lot something like that now when that pops in yeah there we go cool and same thing here on our spline let's again and show only selected tool and this time let's only make the last key frames flat like this because we want it to start at a constant speed and then kind of slow down yeah that looks like a water droplet Isn't that cool yeah cool I would say this needs to start maybe a little earlier too so let's take this whole thing and just move it a little earlier yeah cool the last thing is we're going to take this brightness and contrast we're not going to have this so bright let's turn that down a little bit keep it subtle also going to take this ellipse and make the edge a little softer there we go soften that so now we have this very subtle effect that just looks Dynamite looks so cool so easy and you can combine any of this stuff to make really nice Motion Graphics and you don't have to make them crazy in fact until you're really experienced with Motion Graphics keep it at this level I promise you nobody's going to think you're basic or unskilled if you make really nice simple things cuz that's honestly half of being professional is knowing when to dial it back and keep it simple so I hope this has been really helpful for you if you're new to Motion Graphics if you don't know me my name is Casey and I like to teach people how to use Fusion I have a ton of videos here on YouTube as well as some really in-depth courses and if you're new to Fusion make sure to check out the fusion Survival Guide that goes over the essential tips the things that are going to make your life so much easier if you're new to Fusion so check that out it's a free video course it's my gift to you just for being awesome okay hey if this was helpful let me know in the comments please that would be the best okay and if you want more goodness watch this video cuz it's going to be great for you all right hey okay sounds sounds wonderful

Channel: Casey Faris

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Id: gk5PYb8bBFs

Length: 32min 2sec (1922 seconds)

Published: Fri Dec 15 2023