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- [Instructor] In this video,
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we will polish the moment our character
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is making his head turn and smell the air.
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He's sniffing the air.
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For this one, the body controller
motion is quite subtle,
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because in the end our character
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is not really changing stance.
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He's rotating a bit and raising a bit.
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So as usual, I'm trying to make a nice arc
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when I'm doing this kind of motion.
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This time, the arc is
more subtle than usual
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because the motion is subtle.
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As the character is shifting to its left
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and rotating to its left,
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I'm first slightly lowering the whole body
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and then raising it.
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It will create this arc.
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This lower stance can be used
as some kind of anticipation.
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One thing I should have
done and you should do
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is that just before the
character smells the air
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as he push his body a little upper
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you could add a micro anticipation
on frame 60 for example,
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just lowering the body attached
before raising it even more.
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This is something I've explained before
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when we have done the walk cycle
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something I like to update
early on or polish early on
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are the contacting controllers.
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So as our character's shifting
his weight onto his left
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I want to move his foot controller too.
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As the body was polished,
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I have reworked the
spacing of the footstep
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making it a little faster
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and then I've changed it's timing
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so that it starts just after
the body start rotating
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but it lands before the
body hit it's extreme pose.
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Motion-wise it's pretty
simple for the location.
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The X and Y axis are using vector handles
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so is that I have a linear interpolation.
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As for the other foot contact
animation we have done before
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for the Z location,
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the contacting frame 49 and 53
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are using vector handles
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and on frame 51 I've created
a slight bump on the curve.
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Keep it subtle, don't
forget that we are lazy
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and we won't be raising
the foot that much.
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What will really improve this footstep
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is the rotation in the foot,
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this is very important.
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It's a very subtle motion
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I don't say that I'm doing it perfectly
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but what I'm sure is
that animators will look
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at these kind of details.
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When the foot raise it's dragging
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so the outer part of the
foot is pointing down.
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Then it's raising so
that the ball of the foot
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is facing the ground.
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On the contact frame the
foot is still rotated
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and on the next frame,
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I will make the foot flat
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so that I have this slap
motion on the ground.
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From the side view,
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it's even more obvious the foot's raised,
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the tip of the foot is dragging.
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Then just before the contact frame
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the tip of the foot is raising
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on the contact post the tip
of the foot is still raised
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and on the next post it's flattened
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to get the snap effect on the ground.
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The chest motion is here to
support the head rotation.
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The head is leading the animation
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meaning that the chest
will be slightly delayed
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compared to the head.
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In the end they arrived
almost at the same time
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on their extreme pose.
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The little extra information
regarding the chest controller
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is that I've been using the location
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to emphasize the smelling motion.
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I've used it to pull the character up
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and then I've added a
slight bump on the curve
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to create the smelling motion.
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It adds an extra up and
down motion to the chest
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which is connected to the head
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and the head will be rotating
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or moving this up-and-down motion
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that translate our
character smelling the air.
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As usual, when I'm
polishing the head rotation
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I'm tracking the motion path of the nose.
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To create the smelling motion
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I've just added a couple of
bump on the X rotation curve
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of the head controller.
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Keep it subtle, you don't
need the head to nod that much
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and test different spacing.
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In my case, having the
first bump on frame 66
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and the second on frame
73 was the good call.
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After I finished polishing
the head rotation,
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I've added a bit of
extra motion on the nose
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playing with its Y curve.
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The idea wasn't to make the nose dragging
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but instead moving forward and inward
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so that we can feel the
breathing of our character
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while he's smelling the air.
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This is why the Y curve was
working great for this one.
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You can pause the nose by hand
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if you're not comfortable with the curve
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and try different timing.
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Another detail I wanted
to add on top of this
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are the eyes slightly closing
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while our character is smelling the air.
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That's a pretty common
thing when you are focusing
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on when you are smelling something good,
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you tend to close your eyes
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to focus on the sense that is
used to focus on your smell.
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There's only the Z curve that
controlled the eyeopening
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so editing this curve is very simple.
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The ears are also pretty important
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to support this specific animation.
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If you watch the spacing
between the head rotation
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tracking the eyes and the ear rotation,
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we can see that the
spacing is more important
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on the left ear
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and this is because I wanted
the ear to lead the animation.
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The character rotate the
ears towards his next move
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because the ears communicate
his center of attention
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and as he's going to smell the air,
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the ears, the eyes, everything is pointing
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in the same direction
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because he's focusing on smelling the air
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in this very direction.
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For this part of the animation
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I've also softened the hips rotation.
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So they are still there.
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There is still a little twisting
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as the character is pulling his left leg
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toward the contact point.
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This is why I spent a lot of time
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on the Z quaternions rotation curve.
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Between frame 52 and 56
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the leg is getting pulled and on frame 58,
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the pose settle.
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So we can see the curve
changing direction.
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It's getting down between frame 52 and 55,
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and after that it's getting
up ever so slightly.
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The next thing I have polished
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on this segment of the
animation were the arms.
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Since they are not
contacting with anything
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try to draw nice arcs
with your arm motion.
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The second thing we have pointed out
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during the blocking
stage was using the arm
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as a counterweight to keep
our character balanced.
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So as the body is raising
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for the smelling segment of the animation,
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the right arm is dropping.
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It lowers the center of
gravity of our character
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and it's also a nice contrast
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with the left arm that is raised.
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In the time-lapse you will
also see me a bit fighting
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with the right tail board character
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because there was a bit of intersection
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and wobbling in the right arm.
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This is the kind of problem and limitation
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you can get when using inverse kinematic
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without a pole target
as we are for the legs.
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There is a little technique
to fix it using constraint
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but this is something that we
will see in the next chapter
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where I will introduce
you to space switching.
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On the time being I'm a bit
fighting with the curve,
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that's not a big deal, honestly.
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And if you have the same kind of problem
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just try to fix it but don't
waste too much time on to it.
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Regarding the time motion, there
are two things to consider.
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The little wiping animation a bit nervous,
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again, to translate the
character of the squirrel,
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the root of the tail
doesn't move that much,
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there is just the middle and
mostly the tip of the tail
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that are moving.
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Again, this is not a big motion
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as during the run cycle or
to recover from the jump.
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It's just a little something
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to give personality to our character
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and to transition into the next pose,
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which is very important.
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If we watch the silhouette
of our character
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we can clearly see
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that he seems to be slightly
bending or leaning forward.
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This is the pose where
he's smelling the air
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surrounding him.
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So he's trying to reach as
high and as far as possible.
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And it seems that he's
going to fall forward.
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So in this case,
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the final pose of the
time is very important
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because it serves as a counterweight.
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So those are all the
details you need to look for
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when you are going to polish
the segment of the animation.
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