Beginner Intro to Live2D Rigging (FREE ver tutorial) - GeekCon DX 2025 Segment

[00:00] My name is Kira Omorei. I am a VTuber

[00:03] who rigs and illustrates other VTuber

[00:05] models. I'm a VTuber maker. I have been

[00:07] rigging for about four years now and I

[00:09] have brought to life several indie and

[00:11] corporate VTuber models like Emirichu,

[00:14] Lafy, Lumen, and Phoebe. And recently, I

[00:18] also rigged the model of an Apex Legends

[00:21] voice actor, but they haven't debuted it

[00:23] yet. I've also received a live 2D

[00:25] creatives award and I have built my

[00:27] channel by posting live 2D tutorials

[00:30] hopefully more this year and I'm also a

[00:32] member of a guild called rigger mortise

[00:35] and I'm surrounded by a lot of awesome

[00:38] people. This is the overview of my

[00:40] segment for today. First I'll be going

[00:42] over live 2D tools and features and then

[00:45] rigging basics. Live 2D has a lot of

[00:48] things that you could use to the point

[00:49] where it gets overwhelming. I'll be

[00:51] introducing a few tools and features

[00:53] that are most essential so we can take

[00:55] things one step at a time. And before

[00:58] you start rigging, you'll need model

[01:00] art, but you don't have to worry about

[01:02] that since I'll be providing you with

[01:04] free resources. Just take a picture of

[01:06] this slide for access to exclusive

[01:09] content for this segment.

[01:20] There are three things or terms that

[01:22] modelers use a lot when talking about

[01:25] Live 2D. Let's start with the art mesh.

[01:29] Each layer in the PSD is going to be

[01:32] imported as an art mesh in Live 2D. And

[01:35] the vertices/ dots that surround it can

[01:38] be created automatically or manually.

[01:42] Next up is deformers. Deforming using

[01:44] the art mesh itself is going to be

[01:46] cumbersome at times. Deformermers allow

[01:48] the rigger to change the shape of the

[01:51] mesh without having to select each

[01:53] vertex or dot and move them around.

[01:56] These are good for rough to

[01:57] semi-detailed shape changes.

[01:59] Deformermers can warp, scale, and rotate

[02:02] art meshes. They can also modify the

[02:05] opacity and color of the meshes, too.

[02:08] parameters allow you to save the shape

[02:10] changes that you make using deformers or

[02:13] moving the vertices around the art mesh.

[02:15] Each green dot that you see here is

[02:17] called a key. Each key can have a

[02:20] different shape or change and the

[02:22] inbetweens are automatically created. So

[02:25] you don't have to worry about the

[02:26] transitions between each key. Now we've

[02:29] got those important terms out of the

[02:30] way. Let's tour the editor workspace. We

[02:34] have the work area where you'll be doing

[02:36] most of the work stuff. It's similar to

[02:39] the canvas area in drawing programs.

[02:42] Next one is the toolbar at the top. I'll

[02:44] be going over some of the most important

[02:46] tools later. Next is the parts palette.

[02:50] This is where Live 2D shows you the

[02:51] contents of your PSD file plus the

[02:54] deformers that you create. The folders

[02:56] in the PSD carry over, but there is a

[02:59] limit to the folders that you can create

[03:01] depending on what version of Light 2D

[03:04] you're using. Next one is the deformer

[03:06] palette. This shows which deformers

[03:09] modify art meshes. Deformermers can

[03:11] modify other deformers too. And also you

[03:14] can see the hierarchy of the deformers

[03:16] and art meshes here. Lastly, the

[03:18] parameter palette. It just contains all

[03:20] of your parameters and they can be

[03:22] organized into folders too. The folders

[03:24] cannot be nested though unlike the

[03:26] folders in the part palette. And let's

[03:28] move on with an overview of the tools.

[03:31] These buttons create your deformers. The

[03:33] curved square one creates the warp

[03:35] deformers and the other one creates the

[03:37] rotation

[03:38] deformers. Live 2D has different

[03:40] selection tools. The first one is the

[03:43] regular arrow tool which is most similar

[03:45] to a regular mouse pointer. The next one

[03:47] is the lasso tool which allows you to

[03:50] select things by enclosing them in a

[03:52] circle. Lastly, the brush selection tool

[03:54] allows you to select things as if you

[03:56] were shading with an airbrush. The next

[03:59] tools deal with moving around vertices

[04:01] in different ways. The first one is the

[04:03] deform path edit, which sets control

[04:06] points on the art mesh and allows you to

[04:08] move vertices with a single curve. The

[04:11] next one is the deform brush tool, which

[04:14] is my absolute favorite. It's super

[04:16] useful for making small changes. And if

[04:19] you are familiar with the liquify tool

[04:21] in Photoshop, this one is pretty

[04:23] similar. Okay, Live 2D looks like this

[04:25] when you first open it. But if you want

[04:27] to have dark mode, go to file and

[04:29] environment settings and just change the

[04:32] color theme. You would need to restart

[04:34] Live 2D after changing this

[04:37] one. Click on okay. And for the pallets,

[04:42] you can actually drag them around. I

[04:45] prefer to have my pallets on the right

[04:47] hand side since I use a display tablet.

[04:51] Um, it's easier for me to see the

[04:53] changes that I'm making. Like I move the

[04:57] parameters around and see what's

[04:59] happening to the model. Yeah, it's

[05:00] easier that way if everything is on the

[05:03] right side. You import the PSC by just

[05:05] dragging it into Live 2D. And you will

[05:08] see that there are a bunch of parameters

[05:11] in the parameter palette. The first

[05:13] thing I would do is to organize a

[05:15] parameter into folders. And I'll also be

[05:18] deleting some parameters that I think I

[05:21] won't be using for this model. You can

[05:22] create new folders by clicking on this

[05:25] button and just double click to rename

[05:28] it. Just select the parameters that you

[05:29] want to be in the folder and just drag

[05:31] them in. I'm going to be doing it for

[05:33] the other parameters, so I'll be

[05:35] speeding that

[05:37] up. The next step would be creating the

[05:39] art meshes. You could select all of the

[05:42] art meshes and create the meshes

[05:45] automatically by pressing on control A

[05:48] and clicking on this button. Sometimes

[05:52] automatic mesh generation doesn't result

[05:54] in the best meshes. So what you can do

[05:57] is to edit them or create the meshes

[06:00] manually. To do that, click on the mesh

[06:03] that you want to edit and click on this

[06:05] button over here. And you have several

[06:08] tools under the tool details palette to

[06:11] help you create your meshes manually.

[06:13] I've sped the whole process up. So this

[06:16] is just me adjusting the meshes. It is

[06:18] important to adjust the meshes manually

[06:21] sometimes because you can see here that

[06:23] when I drag these vertices, there's some

[06:26] weird

[06:28] um modification going on. So, it is

[06:31] important that I place the vertices

[06:33] properly so I could control the edges

[06:36] better. It's also a good idea to keep

[06:39] the meshes not super dense, especially

[06:42] when the rig is going to be really

[06:44] simple. So, you can delete the vertices

[06:47] inside these automatically generated

[06:49] meshes like this one in the on the

[06:52] inside and replace them with a very

[06:54] simple shape. And after you're done with

[06:57] the meshes, you'll notice that the

[06:59] blushes of the duck's cheeks isn't

[07:01] clipped properly. So to do that, just

[07:04] select the part where you want the

[07:06] blushes to be clipped to. Right click on

[07:09] that part, click on copy, select both of

[07:12] the blushes, and then go to the

[07:15] inspector palette, click on clipping ID,

[07:18] and paste the ID of the head. And now

[07:22] the blushes are clipped to the head of

[07:24] the duck. I think I spent around 30

[07:26] minutes just setting up the file for

[07:28] rigging. So, it is very important that

[07:30] your file is properly set up before you

[07:34] do any actual work. For rigging, I

[07:36] usually rig the facial features first,

[07:38] like the blinking, mouth opening, the

[07:41] brows, and then the next stage would be

[07:44] the physics, like all of the hair

[07:46] swaying, accessories swaying,

[07:49] jiggling, and lastly, the body movement,

[07:53] the turning of the head, the turning of

[07:56] the body, maybe some arm movement as

[07:58] well. And if the model has any special

[08:01] emotes or toggles, I reserve those for

[08:04] last. And so for this cute little duck,

[08:06] I'll be rigging the eyes first. I'll be

[08:08] making it blink and wink. I first select

[08:11] the art meshes for the left eye. Left

[08:13] and right are actually flipped in live

[08:15] 2D if you're wondering. And then select

[08:18] the IL open parameter and click on this

[08:21] button to set the keys. And after that,

[08:24] I can start rigging. So, what I'm doing

[08:27] here is modifying the art mesh of the

[08:29] eye close layer and just making it fit

[08:32] to the eye open one. This is actually

[08:35] for the eye open key. But yeah, I'll be

[08:39] fixing that later. I just make it match

[08:41] so the transitions will look really

[08:43] smooth. Okay, this is the point where I

[08:45] realize that I did it wrong. So, what

[08:47] I'm going to do is to select a key and

[08:51] wait for that little menu to appear and

[08:55] click on reflect. And now it's on the

[08:58] proper key. Next thing I'm going to rig

[09:01] is the closed eye shape. I'm going to be

[09:04] using the deformed brush tool for this

[09:06] to easily manipulate the mesh. I try to

[09:09] hide the eye open layer inside the eye

[09:12] closed layer so it doesn't look jank.

[09:16] And then there you have it. Theisle open

[09:19] is rigged. And then I noticed that in

[09:21] between these keys, the eye open doesn't

[09:25] look super nice. So I'm just going to go

[09:28] to a certain value and then click on

[09:30] this button to set a key for the art

[09:34] meshes. And then right here, I am just

[09:36] going to be doing some cleanup. It is

[09:38] important to do the cleanup after you've

[09:41] rigged the main keys because if you do

[09:43] it at first, you would have to rig each

[09:46] key. And for this one, since the

[09:48] transitions have already been generated

[09:50] by Cubism, I can just easily set a key

[09:54] anywhere and make it look cleaner. The

[09:57] next time I'm going to rig is the eye

[09:59] 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.