The Process 101: Critiquing A Short film

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Since I always encourage people to send me work here is the result of one of these emails. I thought this letter would also give some insight and help others who might find themselves in the same predicament. Enjoy :)
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So lets get down to business. (excuse my misspellings and forgetting to CAP my sentences and much much more) Here is a rant of questions I have regarding your short film

       Why is he writing, for who, for what? Does he get what he wants by the end? What does he even want? Why does he not want the skeleton to read the paper, how does he know if its the same paper he was writing on? why does he want to keep the skeleton in the closet, doesn't he want to show off a walking skeleton thats alive?? If it represents something i dont see it whats the relationship between the skeleton and the boy. who's the boy in the photo, he looks like the main character, is the skeleton also writing a story, why are the crumbled papers so important, why does the skeleton go to the door, does magic already exist in this world, why is the boy not freaked out, what does the skeleton want and why? (on a side note, another reason your story is confusing is because you have to hint to all the elements of your story in the beginning. You introduce magic but the story is under way and it came out of no where. It is possible to keep the supernatural part of your story but that I can discuss later if you want)

      So that's a little bit of a rant. They're all rhetorical questions so no need to answer them. But one thing is apparent, your intent and your symbolism is overtaking your story to the point that the story isnt making sense. So this is how I would fix it:

       Lets keep your theme. "Coming out of the closet." ..thats not a theme by the way. The theme is more:"Accepting something about yourself" So EVERY decision I make is going to be based off that sentence. 

       Since by the end of the story the boy has to accept himself ,then to make a full character arc, we shall in the beginning make him not accept something. (original story: you have him being frustrated. thats one reason your story feels like its all over the place. unless you would show at the end of your original animatic that he was overwhelmingly calm)  

        Another thing I want to change is your symbolism.. or.. at least tone it down, One thing to remember is you can not carry a story based on symbolism alone, symbols have to support your story not take front and center. I'm going to keep your symbol of the closet but ditch the literal skeleton. I'm also going to take the magic out of your short. It doesn't need it. So bear with me and read along my version of a story about accepting yourself. I'm changing a lot so dont get scared. But notice how in the beginning our character isn't accepting and through things that happen I force him to change. (change shouldn't come easy it has to be hard, if it was easy then there wouldn't be much of a story to tell bc he would change in the first scene)

STORY:

-Its a boys 8 yr old birthday. All the cool kids with their flashy clothes are there at his party 

-He gets a jacket as a present, he is embarrassed of it because its ugly.

-First day of school. it's windy outside. He chooses not to wear the jacket and throws it to the back of his closet. He's very cold all day

-Second day of school. It's raining. He looks at his jacket. walks to the closet and reaches for--- a magazine. walks to school and uses it to block the rain. He gets very very soaked and is very cold all day and gets sick

-Third day, ITS SNOWING. He reluctantly takes his jacket from his closet. He arrives at school. He anticipates the kids making fun of him and his jacket bc it's ugly. But they don't even notice his jacket. They tell him to hurry up and join them in a game. 

-alterante ending- he gets to school and is so happy being warm and not wet and cold he doesn't care about being made fun of. he's warm and everybody's fancy jackets don't even come close to keeping them as warm as his does.

DONE

       Super simple. lots of opportunity of cool character animation especially when he's making decisions. Sorry about taking out the magic. I really liked it but it's too much trouble for what it's worth. You can still use a skeleton, just put it on his jacket :) See how the symbolism is there? but it's now lowered to a supporting role. :) This is a lot of stuff happening for one story your sanity will lie with how efficiently you story board it. I will do one supper little pass to get you started. 

NOTICE HOW I ONLY USE AND SHOW WHATS IMPORTANT. AND IF IT''S NOT A SUPPER IMPORTANT STORY POINT, I SHOW IT AND THEN MOVE ON. DO NOT LINGER. 

I wont linger doing unnecessary shots if doesn't add/show new information to the story. 

NOTE, 

       I over simplified and of course it looks like a 3 year old story boarded it. BUT it's clear and when you redraw these with cool angles and such, make sure you make your drawings just as clear. are your main story points clear. All the detail you add to your drawings should some second to the story telling elements. Besides, you shouldn't focus to much on story, you want to animate then right? Then get to it. also notice how i re-used some camera shots. YOU ONLY RE-INTRODUCE A SHOT if you have something new to say. the less shots you use, the less confusing your short will be.That is super important. Try to do the same if you are going to change the shots. You can add shots but I wouldn't recommend it. Its already a lot to animate. 

      Your longest shot should be the walk to school! also notice by doing that you are spending the most amount of time on the most important part of the story. Not the end, not the beginning, but the whole part before he gets to school on the last day. Thats his most emotional part (he should be thinking, 'omg what are the other kids going o think of me, omg omg etc) I could of spent more time in the beginning at the birthday party but then I'm going to make it compete for importance with the walk to school on the snow day. REMEMBER, how much time you spend on a moment = how important it is. So DECIDE whats your most important and what isn't important. And use your time accordingly.

I hope this helps!

Animating a Shot: Part 4 (End)

A still from a my Dialogue Piece

 


      It's funny how different you can feel in a span of ten minutes. Before your work is done you are begging, "No more, let it be done... take it away.. take IT AWAY" ..but ten minutes later when you realize you are done, you discover a craving for more; Another idea, another project, the sole possibilities of what might be your next art piece, is too much to bare. You'll find yourself nose first in your sketchbook roughing out and brainstorming your next big idea..

     So here is my finished piece of animation. I do like it but I hate it as well. 3 weeks it took me to complete it and I'm pretty proud that I kept myself to a constant pace of work. I always learn more form completing a piece than I have things to boast about it. IT's always possible to FINISH, just set your mind to it. the more you follow through and finish, the easier it becomes.

-I wont fill in the characters unless I have to, it's a personal choice. I like seeing the lines. I personally like rough animation and pencil test more than I do finished "tied down' drawings of animation.

-ATTENTION TO DETAIL
     -A few explanations of my choices in this animation piece. 

     Why a sunset background? The mood wouldn't be the same with a bright sunny day. The audience would be questioning the setting if I staged it at 4 in the morning, 'Why are they out there that early?' I chose sunset because it is the END of a day. It's when you have to call it quits and accept that theres no more daylight. similar to how my character is accepting that, "It's not for me." He too is accepting his fate.
      When making small decisions such as background and setting, The amount of attention you give each choice can only improve and add depth to your art. It was a conscious choice of mine to keep all shots of my Main character clear and just leave sky in the background. He has his mind made up, he is thinking clearly and knows exactly what he wants. So I chose to represent that with a clear background of the sky.    
     On the other hand I chose to crowd my secondary character's composition as much as I could with out making it obvious. I added power lines in the first shot and a expensive car in the background. Not only do they crowd the composition and made it 'busy' but the power lines added a diagonal that I enjoyed. With the secondary characters next shot I crowded him yet again in the composition. A little bit more to show some progression. I am mainly crowding him to contrast the main character's composition. The secondary character's mood is a bit more sour, aggravated and indifferent. I think a crowded composition with a few diagonals represent that just fine in comparison to the main characters shots.

(diagonals, straights and other visual story telling vocabulary are all real elements that animators, directors, and other artist use when making an art piece. If you didn't know, go out and educate yourself on it. It'll change your perspective on film dramatically)

-ORCHESTRATING A CLIMAX
      I added one subtle thing I'd like to point out. I had established in the opening shots that my main character was Screen Left and my secondary character was Screen Right. But in one shot I switched the main characters orientation in relationship to the screen. I put him on screen right. 'Whats the big fukn deal DANNY!!!!!??' you ask. Well this is an example of emphasizing a point within your shot.
      In the beginning I listened to this dialogue and tried to figure out where was the POINT, where was the Umph and climax of the line of dialogue. It had to be "It's not for me." That part of the dialogue seemed to me to carry the most weight. So without doing a cliche' gesture and over the top acting to point out and say,"Hey everybody look at this, its the most important part!" like how most people tend to do, I took step back and asked how else can I emphasize this part. While taking a story telling class with Mark Andrews back in college I remember one thing story boarders tend to do to emphasize a point in the scene, it was to mess up a pattern or a 'Normality' that has been established. So decided to break up my screen direction. It didn't bring attention to itself or disrupt the flow of the animation piece so it was a success to say the least. It's not a big deal BUT, it does add that layer of complexity to the pice and keeps it from looking bland.

-CLOSING THE BOOK
     So I will turning this in for this months contest at http://www.11secondclub.com/ If you'd like to participate and vote be my guest. We'll see how it goes. I do not believe it will win on the count of how limited my animation is, people tend to like the cartoony stuff and appealing acting. If I could do this again I would not change it, I felt this line of dialogue called for a limited acing role and performance that in some cases might be more powerful than overacting. What will I work on next? I don't know... actually I do know. But I wont finish it till June or July of next year. 


I hope you enjoyed and found these 4 post helpful or at least insightful. Don't stop sending me work, I always love critiquing and giving advise back to you guys through email. I liked it so much I'm doing it professionally now. I just started at Animation Mentor as a mentor. But you could still send me your work for me to critique here for free :) like how I believe all information should be.

-Daniel Gonzales

Animating a Shot: Part 1

Once you start something, you have to commit. Like Ajax here preparing to fall on his sword.

       Animating a shot can be just as challenging as starting a painting, turning on your camera, sitting at a piano, or even picking up a pencil as you are looking at you blank pagel...

..because after you grab your tool... then what.. where do you start? HOW do you start?

      So instead of telling you a few pointers I will take you along how I go about starting a piece, in this case animation. But the same amount of thought and detail of my procedure can be put to any art form. Since I had mentioned the 11 Second Club last week, I will be using the dialogue segment they provided for this months contest. The clip is roughly 12 seconds long. I will have about 4 posts of my progress and problems I encounter and finish by the end of September. So lets get started then shall we?

So Get Your Dialogue... 
      How many of you out there do this: You get your dialogue or assignment and your ass giddy as Richard Simmons on a treadmill, you think about what you are going to do, you toss out the first 3 ideas because that's what you where TOLD to do, then you ask EVERYONE what they think about your fourth idea, you take ALL the good ideas you heard and mush it into one super idea, then start working!
Only to find out that half way through you lose all motivation and drive to complete the assignment you have now lost interest in...

      Sound familiar? I bet it does, especially to you animators. Painters and others are mostly by themselves any way but animators, as natural collaborators constantly go to each other. And they usually fuck themselves over. So before I go into how I go about starting a piece I want to just say, that I am not saying by any means MY WAY is the right and only way. There are millions of ways to come up with good pieces of animation but this is a way I find highly successful. Take it for what it is and hopefully it helps you out.

FIRST STEP FIRST
      -I went to the website and downloaded the dialogue. (http://www.11secondclub.com/) I read in the description and it said it refers to football since football season is about to start and they wanted to be festive about it. (First unintended obstacle I encounter: I read an interpretation of the dialogue, and now have to try to stay un-biased when I hear it.) So now I'm thinking of footballs and helmets and stadiums... this is a bad start already. The line of dialogue reads:

"There is no end zone. You never cross the goal line, spike the football, and do your touchdown dance.. Never. It's not for me."

       So I start cussing out loud because the line has NOTHING to do with actual football but now I'm stuck visualizing 50 yard lines, players and locker rooms. The line is a metaphor. For what? I don't have a clue, I do not know any context or a hint of what the hell I'm dealing with. I sit down and think for 5 minutes. What first comes to mind? Stupid ideas, like always. So I get up and forget about it. I have to! And I don't plan on revisiting it till tomorrow because what I'm doing is setting myself up to listen to it again with a clean un-biased plate. I let my girlfriend listen to it, she doesn't say anything because she is use to the routine and lets me be.


TIME IS YOUR FRIEND


      As the day goes on, I'm in the middle of washing dishes and NPR plays in the back ground, I think about my line of dialogue. It sounds like the man talking is giving advice.. He is using 'you' in the first part of the sentence. Who is he talking to? Better yet, who is he??? These questions plague my brain through out the day..  maybe he is giving advice to a guy who is about to get married?

      I am content with my conclusion that he is giving advice to some one else. So the next day I sit down and start to write down on my 'X-sheet' (for the non animators, this means that I am starting to map out what words and sounds land on which frames of the animation. In other words, a tedious process) But as I finish and walk away, I'm thinking about the dialogue in my head.. WHY DOES HE SAY "IT"S NOT FOR ME?" I try to forget about it and go along with my day. What I am doing here is trying to let as much time go by so my ideas 'marinate' in my head. The longer they stay in my head with out me acting upon it, the more chance I can think of something critically about the ideas and solve potential problems..


.."it's not for me"...
       Without these few words the line would be a straight forward advice sentence. Some guy would be sitting next to another guy, slaps him on the shoulder, and basically says there is no happy ending. That's that :) but these last four words.. (it's not for me) hint of something deeper, some subtext of: been there done that. What situation could you be in to say something like that? A specific one. I fall asleep staring at the ceiling and say screw it, I'll just do a cinematic close up of a mans face and make him deliver the line. Forget trying to think of a context and a setting. I'm losing time over this planning shit... I nod off to sleep.. (First Mistake, settling for something sub-par)

      I go the whole next day with no new ideas and here comes night time so I sit down ready to animate. I haven't tested my idea yet.. but I already know it's crap. That's why it's been ten minutes and I'm just staring at my screen. (by the way I animate using a 2D program called TVPAINT.. it's cool) I need to bounce my idea off someone. Someone I trust. Not just any thinking piece of meat out there, I need someone who knows what they are talking about. When you go to idiots for advice you get just that, idiotic advice. So don't ask them. I look across the room at my girlfriend and say, ok im ready.

THE BRAINSTORM (warning. this is an unedited rant)
      So we stand up in the middle of the room, I tell her my idea, she says that's lazy and we start to talk about ideas. back and fourth.

     -What if he's like Clint Eastwood? -No first off ,what is he doing? -Maybe he's a coach and is about to quit! -No I see him outdoors. -Out doors doing what? -Walking. -NO DOING WHAT? where is he walking to? -His car as he's talking to a young football player? -Why? -Bc the kid needs advice! -Why is he walking with the coach? Is he his son? Are they going out for ice cream, or did he just catch coach as he was walking home? This is going to affect the acting
-Maybe he's not giving advice...
     WTFfasdsafdsfdsg?? We were getting somewhere! -No think about it. Why, if he's giving advice to some other person, then go around and make it about himself by saying "It's not for me."?
 -ok you are right.. -maybe the kid is asking him to do something. Like come continue coaching for us?? -can we make him talk with a cigar? -What?? -Yes a cigarette or something. I see him cool like Clint Eastwood saying, yup been there done that... not for me. -I saw him more modest, old and fat. -No he has to be cool! -Maybe he's WAS cool and a hot shot, that's why they are coming and asking him to coach again. -Who are they? -The kid. -No it can't be a kid now. Listen to the dialogue, he doesn't even sound like he's talking to a kid.- Fine another old guy. Does he know the guy or is it a stranger? -He knows him, nobody gives meaningfull advice to strangers :) -So they are in a field? doing what? -Maybe the guy came to his house. His house has a field next to it. -ok ok. so man at home. guy comes to visit.    
-Make him wear a suit!!!! -YEA!!! Contrast! one guy is in everyday work clothes and dirty, other one is out of his element he doesn't belong in the field.
     -So regroup. this guy is asking the other guy to come join coaching the college team again, our 'clint eastwood guy' is saying no, he likes exactly what he is doing, he doesn't want to go BACK. It's not for him. -What is clint doing when they are talking, NO CIGAR bc if he was athletic he wouldn't be smoking. -Working on his field as they talk? -Isn't that rude? -Maybe but he's making a point that he doesn't want to go with suit guy so he doesn't even look up from his work.-Hmm. I see him just standing there talking but is about to walk away form suit guy to go back to work. Lets listen to it again.


-ok standing up it is.

PLANNING and EXECUTING
      So after this LONG brainstorming session, I decide to work on what camera angles will best represent my idea and context. I was happy that we came up with something SPECIFIC and not generic for my actors and story. Now I need specific camera shots. When you have something specific you can make specific choices in regard to acting and camera angles.
     The context that we came up with reminded me of a Clint Eastwood movie called 'Unforgiven.' It has a scene similar to mine where one young cowboy is asking a washed up cowboy to join him, but the old cowboy declines the younger cowboys offer. I go to the movie and study the directors camera choices in that scene. I do this because I want a sense of cinematic story telling to my piece. A lot of the times you get 'one camera shots' of animation exercises and it looks sort of.. bland. Animators do not change camera angles a lot bc they like to see the ANIMATION carry the art piece. but me, not being an animator but an artist, think it's very foolish to leave the camera out of the equation. the camera is a powerful tool to use, if you know anything about Alfred Hitchcock you know what I'm talking about.

      So after an hour I came up with this. I drew and timed out my shots in story board form.  just to represent the shots I want. I think it works and my go to person (my girlfriend) agreed as well :) So here it is. My next step would be to start animating. That will be another post. I know this one is already terribly long.

Remember not to go with your first intentions if you have not already thought out your idea inside and out. Planning and inventing a context will set the foundation for creativity and specific spontaneity in your animation. THINK, brainstorm, and THINK some more, research your idea. Then start to animate.

Animation Schools: Looking for Them?

Animation Schools... There are tons,
There are the The Art Institutes, up north is Sheridan College, Westwood, Academy of Art University right across the bay, Savannah College of Art and Design, ITT Tech for the gamers, for the eager Animation Mentor, and the big one with a lot of weight to throw around: California Institute of the Arts (Cal Arts)

But I want to Talk about one: California College of the Arts

     I went four years through their animation program and now I'm animating at Pixar. Yes I am 23 years old.. If you haven't guessed what this post is by now, get ready, I'm about make THE CASE of why you should go to California College of the Arts for animation. And since this is my school, hell yea I'ma go ahead and say this school is one of thee best, this will be hard-core juiced, ultra favorably biased, and VERY VERY DETAILED, the good the better and the best of CCA.

California College of the Arts: Is it The best Animation School?
     -Danny explain yourself..

     First I'd like to get to the point, It is unbearably close to Pixar :) I leave the parking lot of Pixar and can get to California College of the Arts in 5 minutes, Mapquest.com says it's seven minutes, but what do they know.
     And the consequences of being so close to pixar..  a lot of our animation faculty who work here lead double lives.. Pixar Animators by day, teachers by night. The student to teacher ratio is TINY. An animator teacher rarely has more than 12 students in their classes. They like the intimate face-to-face time, it seems to help the students learn more and develop better. Revolutionary.. I know..
  
Who's Teaching now at CCA? 

     We've got story artists, animators, directors, art and design... To throw a few names out there can tell you that Andrew Gordon is amiably teaching animation, director of future Pixar film Mark Andrews is teaching his brutal Visual Story Telling class, Anthony Cristov amazing drawing skills are also at work here, Brett Parker teaches in experimental animation and as well as Film based classes, Don Crum is on top of good old traditional animation and making sure the students are exposed early in their curriculum to the basics (His class I can say was AMAZING) I can not leave out Stop Motion! Doug Sheppeck is busy in those trenches teaching this fascinating style of animation and keeping it alive. I can go on and on with our faculty and the classes CCA offers.
      Do not get me wrong, Pixar is great but we also have other faculty that are also worth boasting about. They hail from Tippet Studios (awesome place) and other Animation studios that conveniently in the area CLOSE to California College of the Arts. (Tippet is located just up the street from CCA towards Berkeley as well.) We even have teachers who worked at Disney in their Second Golden Age that work here now. Yes CCA is spoiled when it comes to faculty... but it doesn't stop there. Connections baby..
      You want complete connection to professionals who still have their feet wet from the business, This is the place to be. With the small class sizes they are not only your teachers, they end up being your friends. I was going to save this juice 'till the end but I'll just spit it out now. -

Monday April 25th, Pete Doctor will be giving a talk at California College of the Arts. Why?

       Because he can. He's a boss. He can talk where ever he wants, and he wants to talk at CCA. (He was originally just going to talk to just a lucky class of students, but he ended up choosing to talk in our lecture hall.)
       This is open to the Public. And will be either around 6:30 pm or 7pm in NALL HALL (Right around the corner to the animation department) Be there, you know I will. *cough *cough.. It's only 5 minutes away.. Are you applying to CCA yet? Fine, ok here's some info on the Anim Department..

The Animation Department: 

       Has a lot of good things going for it. The Department is still in it's infancy (only barely on it's 3rd graduating class) and it's growing exponentially every year. CCA will supply you with anything you need. You need Down-shooters for your 2D short? We have a whole room for them. Animating on maya? They have rows and rows of spanking new powerfull imacs for you, each one with a Wacom tablet. Have you ever animated on a Cintique? Well you will here, tons of new Cintiques to use for animation (seniors get priority on these.. nice..), there's nothing like Animating 2D directly on a screen and pressing the arrow key for a new blank page..

      The facility got a make over with a new lay out that include new classrooms and a new sound recording studio included. The thing I always repeat about CCA is that they don't have any other agenda other than to make you the best artist YOU want to be. You just want to be a modeler or story boarder, go ahead, you only want to do experimental animation, fine! Character animation is your interest, CCA will help you be what you want to be. This is no cookie cutter Art College, these teachers will FAIL your ass if you suck garbage, or maybe they'll just let you know that your work is bad and then tell you how to fix it. But ultimately you are your own person and the Medium of animation is at your mercy. You will not be FORCED to changed, but you will be showed how to become great. 

     With all the improvements to the department, you are missing out on a great experience if you pass this school up. The sweetest addition to the department in my opinion was the Light Table bar that lines both sides of the whole entrance way to the animation department. It is open 24/7 you will always find some one flipping their animation there. 

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California College of the Arts:  

     CCA is over a hundred years old (1907). It didn't start out as an animation school but was founded during the Arts and Crafts movement. So this school is ARTSY. It has a very, very, VERY broad range of disciplines here. Here's a few:

Painting,

Sculpture,

Drawing,

Glass blowing,

Ceramics,

Printmaking,

Photography,

Furniture,

Stuff we don't even have names for!

        As well as.. Fashion Design, Graphic Design, Architecture, Illustration, Industrial Design, Jewelry and Metal Working, Tons of Drawing classes,Visual Studies, Writing and Literature, Fine Arts, Film, Community Arts, and more.

-CCA is an ART SCHOOL,

   ..no more no less. It's not just filled will tech heads or JUST animation students, you get EVERY possible kind of artist you could think of! (Fine art, Abstract, Impressionist, psycho, emo, hipster, introverted, bubbly, troubled, conscientious, yoga enthusiast, urban, B-boy/girls, activist, face value type, passivist, too serious, partyer that always has a funnel, the stoner, the straight edge, the coke fiend, the zen master, the liberal, the conservative (Very rare) the rocker, the gay the straight the in-between, black shades beat poet, promiscuous, nerdy, and All the internationality's you can think of..etc etc I can go on)
     Being an art school so close to University of California, Berkeley has history of being involved in social issues. Being so close to San Francisco and hippie lifestyle Oaksterdam University it comes kinda expected that The Princeton Review would name CCA one of the most 'Green Schools of 2011'. The bottom line is that CCA has a diverse population of artists. And you constantly get to see their work and mingle such as Spring fair help on campus for selling and trading art.

     HOLD UP. Don't think it's all fun and games. This school is accredited. You do earn a REAL bachelors that can be used to get a job other than animation or art.. you WILL have to to take english and science still. And being right next to Berkeley, one of the best universities of the world, we do get teachers from Berkeley teaching at CCA. (Art school producing well rounded artist?  whaaAA!?!?)

-CCA has two campuses,
     One San Francisco and one in Oakland (animation is in Oakland) There is a shuttle between the two campuses. Sometimes you might have a morning Life Drawing class in Oakland  and then Philosophy class on San Francisco campus. :) San Francisco offers the urban modern feel while Oakland keeps it Old school and full of nature.

 






Student Life:
       Hands down what CCA is good for is scholarships.. I wouldn't be here today if it wasn't for those scholarships. California College of the Arts might not be the biggest school on the map nor the most famous one, but it is one of the best. CCA has tons to offer. Your experience there will be one of a kind. Your first year you will most likely be in the Dorms.

 

     Dorm life IS the business..

 ..for like only a year. You could only handle so many dorm room parties haha, and with Berkeley down the street and San Francisco 15 minutes away, you will never run out of fun things to do. And Oakland has some fun spots as well. I've been here 4 years and am still finding new spots here in the bay. You can go hiking, bomb fire on the beach, drive to the snow, visit one of countless museums here, be a tourist, I can go on for a while and this post is already quite long.
    
      So I hope I made my case of why you should pick CCA as your animation school or just as your art school in general. I came from no where, a slummy, run down, druged out, hood banging neighborhood, single parent mom making under 25,000 a YEAR and Look at me now. You would of never known. Maybe it was CCA, maybe it's because I worked my ass off, maybe it's no ones credit and it's the way the cookie crumbles...

Either way, California College of the Arts a bad ass school and it's waiting for you.

-Daniel Gonzales