[0:00] My name is Kira Omorei. I am a VTuber
[0:03] who rigs and illustrates other VTuber
[0:05] models. I'm a VTuber maker. I have been
[0:07] rigging for about four years now and I
[0:09] have brought to life several indie and
[0:11] corporate VTuber models like Emirichu,
[0:14] Lafy, Lumen, and Phoebe. And recently, I
[0:18] also rigged the model of an Apex Legends
[0:21] voice actor, but they haven't debuted it
[0:23] yet. I've also received a live 2D
[0:25] creatives award and I have built my
[0:27] channel by posting live 2D tutorials
[0:30] hopefully more this year and I'm also a
[0:32] member of a guild called rigger mortise
[0:35] and I'm surrounded by a lot of awesome
[0:38] people. This is the overview of my
[0:40] segment for today. First I'll be going
[0:42] over live 2D tools and features and then
[0:45] rigging basics. Live 2D has a lot of
[0:48] things that you could use to the point
[0:49] where it gets overwhelming. I'll be
[0:51] introducing a few tools and features
[0:53] that are most essential so we can take
[0:55] things one step at a time. And before
[0:58] you start rigging, you'll need model
[1:00] art, but you don't have to worry about
[1:02] that since I'll be providing you with
[1:04] free resources. Just take a picture of
[1:06] this slide for access to exclusive
[1:09] content for this segment.
[1:20] There are three things or terms that
[1:22] modelers use a lot when talking about
[1:25] Live 2D. Let's start with the art mesh.
[1:29] Each layer in the PSD is going to be
[1:32] imported as an art mesh in Live 2D. And
[1:35] the vertices/ dots that surround it can
[1:38] be created automatically or manually.
[1:42] Next up is deformers. Deforming using
[1:44] the art mesh itself is going to be
[1:46] cumbersome at times. Deformermers allow
[1:48] the rigger to change the shape of the
[1:51] mesh without having to select each
[1:53] vertex or dot and move them around.
[1:56] These are good for rough to
[1:57] semi-detailed shape changes.
[1:59] Deformermers can warp, scale, and rotate
[2:02] art meshes. They can also modify the
[2:05] opacity and color of the meshes, too.
[2:08] parameters allow you to save the shape
[2:10] changes that you make using deformers or
[2:13] moving the vertices around the art mesh.
[2:15] Each green dot that you see here is
[2:17] called a key. Each key can have a
[2:20] different shape or change and the
[2:22] inbetweens are automatically created. So
[2:25] you don't have to worry about the
[2:26] transitions between each key. Now we've
[2:29] got those important terms out of the
[2:30] way. Let's tour the editor workspace. We
[2:34] have the work area where you'll be doing
[2:36] most of the work stuff. It's similar to
[2:39] the canvas area in drawing programs.
[2:42] Next one is the toolbar at the top. I'll
[2:44] be going over some of the most important
[2:46] tools later. Next is the parts palette.
[2:50] This is where Live 2D shows you the
[2:51] contents of your PSD file plus the
[2:54] deformers that you create. The folders
[2:56] in the PSD carry over, but there is a
[2:59] limit to the folders that you can create
[3:01] depending on what version of Light 2D
[3:04] you're using. Next one is the deformer
[3:06] palette. This shows which deformers
[3:09] modify art meshes. Deformermers can
[3:11] modify other deformers too. And also you
[3:14] can see the hierarchy of the deformers
[3:16] and art meshes here. Lastly, the
[3:18] parameter palette. It just contains all
[3:20] of your parameters and they can be
[3:22] organized into folders too. The folders
[3:24] cannot be nested though unlike the
[3:26] folders in the part palette. And let's
[3:28] move on with an overview of the tools.
[3:31] These buttons create your deformers. The
[3:33] curved square one creates the warp
[3:35] deformers and the other one creates the
[3:37] rotation
[3:38] deformers. Live 2D has different
[3:40] selection tools. The first one is the
[3:43] regular arrow tool which is most similar
[3:45] to a regular mouse pointer. The next one
[3:47] is the lasso tool which allows you to
[3:50] select things by enclosing them in a
[3:52] circle. Lastly, the brush selection tool
[3:54] allows you to select things as if you
[3:56] were shading with an airbrush. The next
[3:59] tools deal with moving around vertices
[4:01] in different ways. The first one is the
[4:03] deform path edit, which sets control
[4:06] points on the art mesh and allows you to
[4:08] move vertices with a single curve. The
[4:11] next one is the deform brush tool, which
[4:14] is my absolute favorite. It's super
[4:16] useful for making small changes. And if
[4:19] you are familiar with the liquify tool
[4:21] in Photoshop, this one is pretty
[4:23] similar. Okay, Live 2D looks like this
[4:25] when you first open it. But if you want
[4:27] to have dark mode, go to file and
[4:29] environment settings and just change the
[4:32] color theme. You would need to restart
[4:34] Live 2D after changing this
[4:37] one. Click on okay. And for the pallets,
[4:42] you can actually drag them around. I
[4:45] prefer to have my pallets on the right
[4:47] hand side since I use a display tablet.
[4:51] Um, it's easier for me to see the
[4:53] changes that I'm making. Like I move the
[4:57] parameters around and see what's
[4:59] happening to the model. Yeah, it's
[5:00] easier that way if everything is on the
[5:03] right side. You import the PSC by just
[5:05] dragging it into Live 2D. And you will
[5:08] see that there are a bunch of parameters
[5:11] in the parameter palette. The first
[5:13] thing I would do is to organize a
[5:15] parameter into folders. And I'll also be
[5:18] deleting some parameters that I think I
[5:21] won't be using for this model. You can
[5:22] create new folders by clicking on this
[5:25] button and just double click to rename
[5:28] it. Just select the parameters that you
[5:29] want to be in the folder and just drag
[5:31] them in. I'm going to be doing it for
[5:33] the other parameters, so I'll be
[5:35] speeding that
[5:37] up. The next step would be creating the
[5:39] art meshes. You could select all of the
[5:42] art meshes and create the meshes
[5:45] automatically by pressing on control A
[5:48] and clicking on this button. Sometimes
[5:52] automatic mesh generation doesn't result
[5:54] in the best meshes. So what you can do
[5:57] is to edit them or create the meshes
[6:00] manually. To do that, click on the mesh
[6:03] that you want to edit and click on this
[6:05] button over here. And you have several
[6:08] tools under the tool details palette to
[6:11] help you create your meshes manually.
[6:13] I've sped the whole process up. So this
[6:16] is just me adjusting the meshes. It is
[6:18] important to adjust the meshes manually
[6:21] sometimes because you can see here that
[6:23] when I drag these vertices, there's some
[6:26] weird
[6:28] um modification going on. So, it is
[6:31] important that I place the vertices
[6:33] properly so I could control the edges
[6:36] better. It's also a good idea to keep
[6:39] the meshes not super dense, especially
[6:42] when the rig is going to be really
[6:44] simple. So, you can delete the vertices
[6:47] inside these automatically generated
[6:49] meshes like this one in the on the
[6:52] inside and replace them with a very
[6:54] simple shape. And after you're done with
[6:57] the meshes, you'll notice that the
[6:59] blushes of the duck's cheeks isn't
[7:01] clipped properly. So to do that, just
[7:04] select the part where you want the
[7:06] blushes to be clipped to. Right click on
[7:09] that part, click on copy, select both of
[7:12] the blushes, and then go to the
[7:15] inspector palette, click on clipping ID,
[7:18] and paste the ID of the head. And now
[7:22] the blushes are clipped to the head of
[7:24] the duck. I think I spent around 30
[7:26] minutes just setting up the file for
[7:28] rigging. So, it is very important that
[7:30] your file is properly set up before you
[7:34] do any actual work. For rigging, I
[7:36] usually rig the facial features first,
[7:38] like the blinking, mouth opening, the
[7:41] brows, and then the next stage would be
[7:44] the physics, like all of the hair
[7:46] swaying, accessories swaying,
[7:49] jiggling, and lastly, the body movement,
[7:53] the turning of the head, the turning of
[7:56] the body, maybe some arm movement as
[7:58] well. And if the model has any special
[8:01] emotes or toggles, I reserve those for
[8:04] last. And so for this cute little duck,
[8:06] I'll be rigging the eyes first. I'll be
[8:08] making it blink and wink. I first select
[8:11] the art meshes for the left eye. Left
[8:13] and right are actually flipped in live
[8:15] 2D if you're wondering. And then select
[8:18] the IL open parameter and click on this
[8:21] button to set the keys. And after that,
[8:24] I can start rigging. So, what I'm doing
[8:27] here is modifying the art mesh of the
[8:29] eye close layer and just making it fit
[8:32] to the eye open one. This is actually
[8:35] for the eye open key. But yeah, I'll be
[8:39] fixing that later. I just make it match
[8:41] so the transitions will look really
[8:43] smooth. Okay, this is the point where I
[8:45] realize that I did it wrong. So, what
[8:47] I'm going to do is to select a key and
[8:51] wait for that little menu to appear and
[8:55] click on reflect. And now it's on the
[8:58] proper key. Next thing I'm going to rig
[9:01] is the closed eye shape. I'm going to be
[9:04] using the deformed brush tool for this
[9:06] to easily manipulate the mesh. I try to
[9:09] hide the eye open layer inside the eye
[9:12] closed layer so it doesn't look jank.
[9:16] And then there you have it. Theisle open
[9:19] is rigged. And then I noticed that in
[9:21] between these keys, the eye open doesn't
[9:25] look super nice. So I'm just going to go
[9:28] to a certain value and then click on
[9:30] this button to set a key for the art
[9:34] meshes. And then right here, I am just
[9:36] going to be doing some cleanup. It is
[9:38] important to do the cleanup after you've
[9:41] rigged the main keys because if you do
[9:43] it at first, you would have to rig each
[9:46] key. And for this one, since the
[9:48] transitions have already been generated
[9:50] by Cubism, I can just easily set a key
[9:54] anywhere and make it look cleaner. The
[9:57] next time I'm going to rig is the eye
[9:59] smile. For art meshes and deformers, I
[10:02] usually don't go beyond keying more than
[10:05] three parameters to it because the
[10:07] combinations will get complicated. For
[10:09] example, all of those IL open keys are
[10:13] different for each IL smile value. So
[10:17] this set is different from this set. So
[10:20] it's important to just have maximum two
[10:24] parameters keyed to art meshes or
[10:26] deformers for beginners. And for the eye
[10:29] smile, I am just going to key that and
[10:32] use the deform brush tool to make the
[10:36] duck smile. And after that, just do the
[10:38] same thing for the other eye. And we're
[10:41] done. Doesn't that look so
[10:44] cute? And after we are done with the
[10:47] eyes, the next thing that we're going to
[10:49] rig is the mouth. I'm just going to
[10:51] select the bottom part of the beak and
[10:54] key it to mouth open. I'm going to be
[10:56] using the deform path edit. so I have an
[10:58] easier time controlling the art mesh.
[11:01] Just click on where you want your anchor
[11:04] points to be. And you have your
[11:05] deformation path. Make sure that you are
[11:08] at at value one. And then just move the
[11:11] anchor points to make the beak open. I'm
[11:14] then going to use the deform brush tool
[11:16] to modify the top part of the beak. And
[11:19] now the duck looks like it's opening and
[11:22] closing its mouth. After rigging the
[11:24] facial features, we can now move on to
[11:26] the physics. you know, all of the
[11:28] jiggling and stuff like that. It's
[11:30] important to rig the physics first
[11:33] because deformers can get pretty
[11:35] sensitive with the hierarchy. Physics
[11:38] movements are also generally under the
[11:42] control of the angle movements. So, for
[11:44] example, in my model, the hair swinging
[11:47] is categorized as a child movement of
[11:49] the head turning. Breaking the physics
[11:51] first allows you to avoid any problems
[11:54] with the deformer hierarchy because you
[11:57] always have to make sure that the
[11:59] movements the parent movements have big
[12:02] enough deformers that can cover the
[12:05] child movements or child deformers and
[12:07] art meshes. So for the physics I'm just
[12:10] editing some existing parameters over
[12:12] here changing the name and ID of the
[12:15] parameters. I'm going to be using just
[12:18] two parameters for the feathers. To
[12:20] start rigging the physics, we need to
[12:22] create deformers. So, select these parts
[12:24] which correspond to one of the feathers.
[12:27] After clicking on that, just rename your
[12:29] deformer. And make sure that as parent
[12:32] of selected object is selected. I also
[12:34] changed the number of conversion
[12:36] divisions to 6x6 because it it just
[12:39] looks neater because the vertices go
[12:42] through those green bezier control
[12:44] points. Deformermers have these
[12:46] properties that you can modify, namely
[12:49] the number of conversion divisions,
[12:51] bezier division number, and bezier edit
[12:55] type. Those are the most important ones
[12:57] for now. You can change the shape,
[12:59] scale, and orientation of the deformer
[13:01] by holding down on control and moving
[13:04] around the bezier points or the red
[13:07] bounding box thing. And after that, we
[13:09] can start rigging the physics itself.
[13:11] I'm going to key this deformer to the
[13:13] first feather parameter and then hold X
[13:18] and move the pivot point to there so I
[13:21] could make some really nice rotations.
[13:24] And you can see that there's some weird
[13:27] shrinking and
[13:30] inflating shrinking and scaling up going
[13:32] on. So to fix that, we go to this menu
[13:36] and click on extended interpolation.
[13:39] Choose ellipse interpolation. And I'm
[13:42] just going to set the points to three.
[13:45] And now it looks smoother. This is good
[13:48] to use when you are doing rotation
[13:50] movements using warp deformers. After
[13:53] that, key the deformer to the second
[13:55] feather parameter. And using the deform
[13:57] brush tool or maybe even moving the bezi
[13:59] control point, just move the tip of the
[14:03] feather. For physics in general, the
[14:05] first parameters are the bigger
[14:07] movements and then the movements get
[14:09] smaller and smaller and closer to the
[14:12] end of the object for the latter
[14:15] parameters. So the first parameter here
[14:17] is a big rotation at the root of the
[14:20] feather and then the second one is a
[14:22] smaller rotation closer to the end of
[14:24] the feather. That is one of the ways
[14:26] that you can rig physics. And after you
[14:28] rig both of those parameters, select
[14:30] both of them. Click on this menu and
[14:33] click on synthesize corners. Make sure
[14:35] that both of the parameters are there at
[14:37] the top and click okay. And now it's
[14:40] waving. And then we're going to do the
[14:42] same thing for the bigger feather. To
[14:45] actually make the feathers move, we need
[14:47] to go to the physics window. So click on
[14:50] modeling right here and click on physics
[14:53] settings. You'll see this window. The
[14:55] first thing you have to check is the
[14:57] FPS. We usually set it at 60 because
[15:00] that's what most VTubers use for
[15:03] tracking. The next thing that we're
[15:04] going to do is add a physics group for
[15:06] the feathers. So, click on that button
[15:09] and rename it to feathers. The first
[15:12] thing that we're going to do is add the
[15:15] inputs, the parameters that will control
[15:17] the movement of the feathers. For this
[15:20] one, it's going to be angle X, Y, and Z.
[15:23] For more complex models, there are going
[15:25] to be separate physics group for each
[15:27] angle, but usually it's angle X and Z
[15:30] and then angle Y. Make sure that your
[15:33] effectiveness is not zero. And for each
[15:36] angle input type, it should sum up to
[15:38] 100. You can see here that angle X and Y
[15:41] are at 50. That adds up to 100 and angle
[15:44] Z is at 100 cuz it's the only input
[15:46] parameter for the angle type. And then
[15:49] we're going to add two pendulums for the
[15:51] two parameters. And lastly, add the two
[15:54] parameters as an output. I'm going to
[15:57] drag my mouse around. And you can see
[16:00] that the feathers are shaking. You can
[16:02] click on increase or decrease output
[16:05] over here just in case the output
[16:07] numbers right there are below or above
[16:10] 100. And after that, I'm just going to
[16:12] play around with the pendulum settings.
[16:14] Duration is the length of the pendulum.
[16:16] Shaking influence is how much it shakes.
[16:19] Reaction time is how fast it responds to
[16:22] the input. And then acceleration is just
[16:24] how fast it shakes and goes back to its
[16:27] original position. Just in case you want
[16:29] to reset everything for the output
[16:32] settings, you can just click on reset
[16:34] magnification and reset output maximum.
[16:36] And there we have it. I'm pretty
[16:38] satisfied with that. And now I'm going
[16:40] to continue rigging the physics for
[16:42] other parts of the model.
[16:55] Just take note of how I created the
[16:57] deformers for this one. The rotation
[16:59] deformer of the knife is under the
[17:02] rotation deformer of another wing
[17:05] because the wing rotation deformer is
[17:07] apparent movement of the knife. And you
[17:10] can see here that the knife is
[17:12] influenced by the wing deformer. And
[17:14] then modifying the rotation deformer of
[17:16] the knife controls just the knife. And
[17:18] then I change the pivot point of the
[17:20] rotation deformers by holding down on
[17:22] control and selecting the center of the
[17:25] deformer and dragging them to where I
[17:27] want them to be. And after that, we just
[17:29] need to create two more parameters for
[17:32] the wings and rig them like so. And just
[17:35] like what we did earlier, just create
[17:37] some physics group, put in the inputs,
[17:40] create pendulums, and assign the physics
[17:43] parameters as outputs. And after that,
[17:46] you can just play around with the
[17:48] settings until you get the movement that
[17:50] you want. And there we have it. It's
[17:54] jiggling. I'm going to do the same thing
[17:57] for the tail, but I'll be putting it
[17:59] under a warp deformer this time. and we
[18:02] are going to key it under the feather
[18:04] parameters. For this one, you don't need
[18:07] to create new physics groups for the
[18:09] tail. And after that's done, we can
[18:11] proceed with rigging the turning of the
[18:14] model. I'm going to select all of the
[18:17] facial features and put them in a single
[18:20] deformer. And I'm going to key that
[18:22] deformer to angle X first. rig that by
[18:27] moving things
[18:29] around and then key it to angle Y and
[18:34] rig. I created a separate deformer for
[18:37] the beak because I want the beak to move
[18:39] differently compared to the rest of the
[18:41] face because the beak is going to be
[18:43] more forward. I do still want it to be
[18:46] controlled by this main face XY
[18:49] deformer. So I create a deformer under
[18:51] it. And lastly, since the head is going
[18:54] to be moving in a different way than the
[18:56] face, I create a separate deformer for
[18:59] that that is not under any other
[19:01] deformer. And I just rig the angle X and
[19:04] Y for the face and the head.
[19:25] After rigging those two parameters, I
[19:28] select both of them and synthesize
[19:30] corners. Sometimes the corners that you
[19:32] synthesize don't have the best results.
[19:35] So you can go to those corners and make
[19:38] the modifications that you want. And
[19:40] after that, we'll be rigging angle Z.
[19:43] Select the face XY and head XY deformers
[19:46] and create a parent rotation deformer. I
[19:49] noticed that the default name of the
[19:51] rotation deformer is labeled as eyes. So
[19:55] that just means that the rotation
[19:56] deformer is being created under the eyes
[19:59] folder in the parts palette. So at this
[20:02] point, it's a good idea to just look at
[20:06] everything, create new folders, and
[20:08] organize your deformers. Be careful not
[20:10] to drag deformers under other deformers,
[20:13] or else you might mess up your
[20:15] hierarchy.
[20:16] And right here you can just hold on
[20:18] control and put the rotation deformer in
[20:20] different places and rotate the deformer
[20:23] to figure out what has the best look for
[20:26] the head tilting. Then you can enter
[20:28] specific quantities of angles here to
[20:31] have a consistent amount of rotation.
[20:33] And after that we are going to rig the
[20:35] squishing of the model. I reserve this
[20:38] as a last step. Even though it is
[20:41] technically physics, I reserve this as
[20:43] the last step because it needs to cover
[20:45] all of the deformers that's in the
[20:48] model. So I need to create a deformer
[20:51] that is quite big and covers all of the
[20:54] movements of its child deformers because
[20:56] the whole model is going to squish and
[20:58] move. Then I create four parameters. Two
[21:01] parameters for the X direction squishing
[21:04] and then two parameters for the Y
[21:06] direction squishing. Feel free to resize
[21:08] your deformer. It doesn't need to be
[21:11] very small. It can be as big as you want
[21:13] to give yourself some allowance in case
[21:15] you want to create more child deformers.
[21:18] So just select the body squish deformer
[21:20] and key it to the squish parameters and
[21:24] rig them like that. And after that I
[21:27] create the physics group for the squish.
[21:29] And this time the inputs are just going
[21:31] to be angle X and angle Z. create your
[21:34] pendulums and put the squish x
[21:37] parameters there. And now the duck is
[21:41] swaying swinging. Now we do a similar
[21:44] thing for the squish Y, but this time
[21:46] create a new deformer called body squish
[21:49] Y. And you can takeick off this option
[21:52] so you don't have to worry about the
[21:54] size of the deformer. And then you can
[21:56] proceed to rig, create the physics
[21:58] groups and the pendulums and all of
[22:01] that. And your model is done. Isn't the
[22:05] duck very, very cute? Do you guys think
[22:08] the duck is menacing? Thank you so much
[22:10] for watching the segment. So now I'm
[22:12] just going to be answering some
[22:14] questions that I've received in the
[22:16] previous leg of the event. And one of
[22:19] the questions I was asked was, "What's
[22:22] the most interesting model you've ever
[22:23] worked on?" I remember that my answer
[22:26] was um Bows Bow mascot. It is the most
[22:29] interesting model I've worked on because
[22:32] of the water there. It's It was actually
[22:35] my first time rigging liquid. It was
[22:37] like a pretty long process because like
[22:40] how do I even rig liquid? How do I make
[22:43] the liquid look really liquid? Another
[22:46] question I was asked was what hardware
[22:48] do you use for rigging? So, currently
[22:51] I'm using a display tablet. Some of you
[22:53] guys might have caught that earlier. And
[22:55] I'm also using a Turbox. A Turbox is
[22:59] super useful when the program that
[23:01] you're using has a lot of hotkeys and
[23:02] you don't really, you know, want to make
[23:04] weird positions with your fingers. Yeah,
[23:07] it's been like one of the best things
[23:09] I've gotten to really speed up my
[23:11] workflow. Another question was, what
[23:13] made you want to learn live 2D?
[23:15] Basically, I was really broke. I didn't
[23:18] really have money to have a VTuber model
[23:21] made. It's not like a lot of people had
[23:24] live 2D commissions open at the time I
[23:26] started. I wanted to become a VTuber
[23:29] because I saw clips of Peekora from Hol
[23:32] live on YouTube and I was like, "Oh, I
[23:34] want to be an anime girl." So, I just
[23:37] watched some really, really old
[23:39] tutorials on YouTube. Tried to create my
[23:42] own V2 model and documented the whole
[23:44] process. That's how it all started. Is
[23:46] it okay to use old versions of Live 2D
[23:48] or is it recommended to use the latest
[23:50] version? I personally don't always use
[23:53] the latest version because sometimes
[23:55] there would be new features that would
[23:57] bug out and not make light 2D work as
[24:00] intended. So I I wait a bit really
[24:03] before updating until I see a feature
[24:05] that I really really like. But if you
[24:08] are collaborating with a lot of people
[24:10] like what I do in my guild, uh we have
[24:12] to make sure that we use like roughly
[24:15] the same version so nothing breaks when
[24:18] we're exchanging files. What's the
[24:20] average amount of time it takes for you
[24:22] to fully rig a model? I haven't been
[24:25] closely tracking some of the projects
[24:27] I'm working on, but the last time I
[24:30] checked, it takes me roughly around 60
[24:32] to 100 hours. I know that's like a huge
[24:36] range, but it highly depends on the
[24:38] complexity of the model. Quite related
[24:40] to that question, do you still get some
[24:42] sleep with all of the complex rigging?
[24:44] Um, surprisingly I do. Sleep is one of
[24:49] the things that I can't really, you
[24:51] know, give up. That applies to, you
[24:54] know, with other things that you do.
[24:56] Sleep is something that you shouldn't
[24:58] compromise on. Like, please, I'm telling
[25:01] you, even in college, I think I only
[25:04] pulled an allnighter once and that was
[25:07] like the absolute last option. And
[25:10] lastly, what advice do you have for
[25:11] someone who wants to start a career in
[25:13] Vtuber rigging or Vtubing in general?
[25:15] For V superri rigging, I highly
[25:17] recommend that you to learn how to
[25:20] properly communicate with clients. I'm
[25:22] pretty sure there are resources out
[25:24] there for that. And also behaving
[25:26] professionally, like not ghosting your
[25:28] clients for a really long time. And also
[25:31] making sure that you have a good terms
[25:33] of service before you start. And when
[25:35] you're starting out, it's okay to kind
[25:37] of announce that, oh, I'm I'm doing this
[25:40] service for free or for a really low
[25:42] price, so I could have something on my
[25:44] portfolio that's okay to do. That's
[25:47] actually how I started. Like, imagine, I
[25:50] only charged like $100 or $200 for art
[25:55] and rig for a VTuber model, which is
[25:57] very, very far from what I charge now.
[26:00] Also carefully consider how you price
[26:02] your stuff. So you'll be kind of
[26:05] balancing, you know, pricing based on
[26:07] your notoriety or your demand and also
[26:11] the skill level that you're at. As for
[26:13] starting a career in Vtubing, I I don't
[26:16] really have advice that's going to
[26:17] guarantee your success, but for content
[26:19] in general, I highly advise, just from
[26:22] what I've observed, I don't really apply
[26:24] these since I barely have any time for
[26:27] creating content. A lot of the people I
[26:29] see that kind of gain popularity, there
[26:32] are pretty consistent with the content
[26:33] that they put out. So, they make a ton
[26:35] of YouTube shorts and then post like
[26:37] every other day or three times a week.
[26:40] And also try posting a lot of different
[26:42] kinds of content. So, you can kind of
[26:44] just see what kind of I don't know what
[26:47] do you call that strikes
[26:49] accord with with whatever audience these
[26:53] platforms give you. And yeah, that is it
[26:57] for my segment. I hope you guys are
[26:59] currently having a fun time. And again,
[27:01] I hope that this segment helped you
[27:04] understand the inner workings of Live TV
[27:07] and creating a BT model. I'll see y'all
[27:10] next time. I don't know. If you guys
[27:13] want to see me rig and do commissions, I
[27:16] go live on Twitch every weekish. Yeah,
[27:20] I've been consistent with it recently.
[27:22] And I also do art and illustrations and
[27:24] merch making and stuff like that. Bye
[27:27] guys.