Wildcard Game Work & Chill Stream: Media Content Editor

SHow Notes

Have you ever wondered who’s behind the fantastic Wildcard video content like the Summon Highlight Series, the trailers, and the Spawning of Spord? In this livestream Work & Chill event, you'll meet David Calkins, our Media Content Editor, as he creates the new Chonk summon showcase live to showcase exactly how our summon videos come to life.


Hey, there we go. I can still hear music. Let me know if you guys are experiencing anything strange on the stream. Hopefully everything goes smoothly, but tell us in chat and let us know. My name is Ami. I'm Community Director here at Wildcard. Most of you, but I'm joined today for a work and chill session. In case you haven't watched work and chill before, we are. Oh, here we go. There we go. Everything. So in case you haven't seen work in chill before, we do these with some individual members of the Wildcard team where you can look behind the scenes and see what their work looks day to day. Today they are joined by a media content editor for Wildcard. We watch like, Chonk that came out if you saw and his head spinning around the arena. That's all David Calkins. 


So I'm going to give an intro about himself, how what he does, how he ended up at Wildcard, and then we're going to jump in and see kind of his work live. And it'll be a chill hour session. We'll do a Q and A at the end. So if you have any questions along the way, you want to know more about David or his work, drop them in the discord chat and we'll feed him in at the end of the session today. So thanks, everyone being here and David give away. 


Ami, it's me and you. Surprise. 


We can't. There we go. 


It's me and you. Dave dropped from our call, so I'm here to chat with you. My name is Taylor. I'm also on the media team. I work alongside Dave and I'm the one who manages our live streams. But not everything is my fault, you know, so. So this is. I don't know what happened to Dave. Oh, no. But the show must go on. It's a surprise Taylor visit until Dave joins us. 




Are you guys discord? Do you guys know where Dave is? Can he rejoin us? Does anyone know. 


He got kicked out of the cam? 


Why? Who would do that to him? 


Rude. Right? 


When we start to this is a nice room. This is a. I'll answer. Luke here. The studio that I'm in was actually built by playful Wildcard. Hey, we've got Dave back. 


Hooray. Welcome back, Dave. 


Let me. Let me get out of here. Let me get out of here. Dave, you're on. 


It's not true. What happened? Hi. Did you, did you guys at least use the technical difficulties? 


You know what? We didn't. Taylor just, like, tipped over for a second, we didn't. 


I just jumped. I just jumped in here and I tried to cover for you. 


Yeah. But we did a really great intro. So now it is all you. If you want to let the community know who you are and what kind of work you do, how you ended up in Wildcard. 


Yeah. Yeah. That's so weird. It booted me out of the whole session we had. I don't know what happened, but I'm back. My name is David Calkins. Some of you have been home for a while. Remember me? I was the last one. This is my. That was from PAX 2015, which was an event I organized, but yeah, so my background is in public relations. That's what my degree is in. I worked at a PR firm for five years before I met Paul Bettner. And so I started working with him on words, friends and then at Playful. And so I've done because New Toy and then Playful were all such small companies. I've worn many hats. I've done everything from social media to community management to a little bit of advertising, you know, managing contractors, running discounts for games. Just a whole host of stuff. 


And along the way, I started looking at video editing and started making some. 


Oh no, we lost him again. 


Yeah, we sure did. 


And I'm back. Is this how this hour is gonna go? Truly, what is the deal? 


We're gonna blame the punks. 


We're gonna blame the punks. That was our excuse last time, though. 


I mean, the punks are still punks. 


They're just. They are. They're causing chaos for sure. 


So we, y'all will hop to the intro screen one more time. We'll try and hash out what's going on with Dave's connection over here. And we will be right back. So hang out with us. We'll chat with you in Discord chat. Remy and Shady will entertain. And we'll be back as soon as we can. So thanks for hanging in there with us. It's live tv, but we'll be back soon. 




All right, we're gonna try. Oops, let me move it. Okay, we're gonna try this one more time. Everybody cross your fingers, put your like magic out into the Internet ether, and we'll see. Thanks for bearing with us through any technical difficulties. I'm back here with David, so we're going to try this intro one more time. So for anyone who missed it, David Calkins is here with me for a work and chill session. We're going to go behind the scenes with him to see some of the work that he does on creating the amazing promo videos for Wildcard, including the summon spotlights or the summon showcases. So David, he was talking about his background and how he ended up where he is. We're just going to start fresh and clean. Give us that intro one more time and then we'll get into it. 


How far did you guys get in before it disconnected me? Can you guys hear me? Ami, can you hear me? 


We can, but maybe Ami can't. 


Okay. Hi. I am sorry about this. I don't really know what's going on, but let's try it again. So I'm David Calkins. I have been making the videos for Wildcard, especially the ones on social media and especially the ones using in game footage. So my background is in public relations and communications. I was at a PR firm for five years and then I met Paul Bettner and worked with him on Words with Friends and then worked with him at Playful on the Lucky's Tale franchise and creativeverse. And then Wildcard came along and it was something we’re all very excited about. And while I was at Playful and at New Toy, I kind of did a little bit of everything. I wore a lot of hats under the communications umbrella, everything from community management to social media to advertising. 


Working with our PR agency, working with partners at Sony and Microsoft and Oculus and IT and Nintendo. That was pretty cool. But after about 18 years, I was a little burned out on all of it, with one exception, and that is that I had started picking up video editing and just kind of creating videos, game trailers, game footage, and just really enjoyed doing that. So when Wildcard, when we started shifting our focus to Wildcard, it was in Unreal. And I had always heard that Unreal was great for filmmakers and that really intrigued me. I had made a couple attempts over the years to crack into Unity, which is what we used for our other games, and just kind of found it cumbersome and didn't really know what I was doing. And I know that conventional wisdom says unity is easier and Unreal is harder. 


But for a non game dev, who's just making video footage, who's just making a filmmaker, I found it wonderful. I love working in Unreal. So I figured today we would look and I got a double check here. It looks like I'm still going. I'm not booted. Great. So figured we'd look at something that I made recently that you would have seen in the past couple weeks. And then I figured we'd look at something that we're, I think we're releasing later today, so let's just jump right in. Taylor, can you show us the spawning? 


Hello, Danny. Come and play with us. 


Okay, so that was actually not my idea. That was Taylor Phelan's idea. The other video guy we work with, video and sound guy, but I, once he pitched it, I would just, I had to sink my teeth into it and I, the assignment was, don't spend too much time on this. It's just kind of some quick content for Twitter. I didn't understand the assignment. I went real hard on the paint on this one. So I'll just kind of take you through. I started with the, let me switch my screen here. 


So I just started with the actual video and I kind of went through and took note of where the lights were that were hitting Danny as he kind of rides down the hall and sort of broke each scene up into chunks and sort of like said, okay, at frame 80, lights come on. At frame 105, he goes back into a darker spot. And what I did. Let's see, let me, so this is Unreal. This is our, the main Arden stage. I'm going to switch over to my, let's see my green screen land and then let me get my, this one. Okay. So I can show you what I did here. I kind of just knew where the lighting happened. And then I set up the spotlights. 


And for this first shot, I, if I could go back and do it again, I wouldn't actually have Spord moving, I would just keyframe the spotlight. But so what he does is he kind of walks through. You can see it gets brighter here, then walks out, gets darker again. Then for this next shot, I figured out that it's actually a lot easier to just keyframe the spotlight. So. And show you that here. Let's see. So he's in light, he's in dim. And then I just used kind of a blue screen that I knew I could key out. So let's hop over to After Effects. I'll, I'll kind of show you what I did from there. 


I knew that I've worked in After Effects for a number of years, and I would say, like, I'm not a magician when it comes to After Effects the way someone like Kyle Craig on our team is. But I would say I'm pretty intermediate and can pull off enough. So let's kind of hide some of the stuff that I did here. Mask. Let's say no mask. All right. So I took the original footage, and the first thing I did was I wanted to get Spord into the shot. So let's see here. I kind of dropped him in. If we go to the effects here, I threw a key light on and got rid of the blue. I also, you know, wanted to make him match the footage a little bit. So I threw in a blur. I threw in some levels. 


I did add a keyframe to glow, which is probably overkill. But you'll notice there's this room that has a different color to the light. So it's pretty subtle. You don't really notice it, especially on Twitter. But I did that. And the problem with just kind of dropping Spord on there. Let me turn this off, is that if you notice, the camera is kind of going all over the place and Spord stays dead center in the screen. So I'm going to go ahead and close this because I think that unparenting that null messes it up. So let me just reopen it again. All right, so what I did is I basically took the source footage. I'm going to turn off that mask really fast, and I went over to the tracker and tracked the motion. 


So it brings up the original source file, and it gives you this tracking point. Oops. And so I was like, okay, this corner looks pretty good. And you can adjust the size of these things here. You want to give it enough frame of reference. So anyway, then you start at the beginning of your footage right there. You kind of run it, and the point follows it pretty well if you've set it up correctly. I'm not going to go through that entire process, but it will create these basic keep basically these keyframes. And what I did was I took those keyframes and I created a null. And you can see here there's like a keyframe for every frame. So let me go ahead and delete this one. Excuse me. So then I just took my Spord stuff and my Spord shot. 


Oh, wait, where is he? Where did Spord go? Oh, wait, I'm in the wrong frame. And I parented it to the null. And now suddenly Spord, you know, looks like he should. The next part of this is, I wanted to remove Danny from the shot. You're great, Danny. But it's Spord’s turn to shine now. So I use this other tool called content aware fill. I can already feel my voice going, so let's see how much longer I can do this. So what you do for this is you. You want to create a mask, and you want to give, basically what you're doing is giving the content aware fill as much frame of reference to work with. The better your mask, the better it will look. 


So I kind of took the mask, and I kind of moved it around as the camera moved and as Danny moved. There's probably an easier way to do this. I probably could have used motion tracker, but I didn't want to figure out how to do that. I was trying to do this as fast as I. As I could, and then I just generated. I had a little bit of alpha expansion to kind of soften the edges. I generated the fill, and if we look at that fill, you can see there's some distortion in here. It's. It's not great, but once you throw Spord on top, you kind of can't tell. And if you're viewing this video on Twitter, you don't really need it to look amazing. So then from there, I was like, okay, the lighting matches up. It looks good. 


He turns the corner here. So I just had a shape layer that's basically a big rectangle there. Mimicked the corner and kind of masked it out once he went through that. I can show you the base here that I worked with. You'll notice that the fill really doesn't look good. I really probably could have spent more time masking this out, but I was trying to get it done fast, and it actually works pretty well. Spord is big enough here that you don't really notice it until the one part that really bugs me, which is the hand. But, yeah, I just. I didn't want to spend that much time doing that. I'll kind of show you. Let's see. To turn off the fill. So I just kind of adjusted the mask as, as Danny moved, and then we had. We had the. 


The spawning video. Again, you'll notice, like, there's. There's some hair. There's a little bit of the handlebar right here. But this was actually the easiest shot to do. And I. I just had a lot of fun doing this, so probably overkill for what they wanted, but, you know, it was. It was fun to get my hands dirty with After Effects. Let's see here. So one of the other things I do is I create the showcase for all the summons that we have coming out. So we had one coming out for a guy named Chonk on the Lubabbub team. So when I'm creating these things, I like to go in and learn as much as I can. So I kind of have a screenshot here. I'll go to our notion page. Let me switch back. 


And I kind of went through and read a little bit about his personality. He's rash and boastful and flamboyant. His ability. He taunts opposing creatures nearby. He kind of, like, draws their attention. And he's also a tank. He's got a lot of damage, so he can kind of take the hits. We also have a. Let me see if I can find the video. We have a little training area. So I was able to kind of load in Chonk and kind of see how he reacts, which is really handy. So anyway, let's jump into Unreal and let's get back to Arden. It's going to take a minute here. So one of the things about these videos is I don't really go in with, like, a clear picture of what I want. 


I kind of like to play in the space and let the beats the story. I guess it's kind of, you know, if you want to use that word, the story of each video, the arc of each video. I kind of just let those find me in the moment. And I really liked the detail about him being brash and boastful. So for this shot, the taunting shot, there's a couple things I did. So the first one of the things that is kind of tricky is camera movement. It just takes a really seasoned pro to kind of know how to keyframe a camera to look like, you know, to do anything interesting with, like, handheld or whatnot. But, like, a static cam is kind of boring to use all the time. So when I. 


When I can, I like to try and attach the camera to a character. And in this case, I attached it to Chonk’s spine. And that gave me a fun movement that I kind of really liked that the shots before were more static. And so this kind of, like calls attention to itself. And then we intercap with some more Chronos summons, noticing him, and then we jump into the spotlight scene. Now, here is where there's kind of a delicate balance between making something fun for a video and trying to represent the game accurately and what actually is like to play. When you throw down Chonk, there won't be a spotlight. But I just thought this was a fun way to kind of highlight that. This guy really draws attention to himself. And so what I did was I placed in a spotlight for the lighting. 


I grabbed a light shaft. And so where I get all this stuff, I basically have two sources. The best source is the game itself. And I got to take a moment here to, you know, people really like these videos. I get, you know, lots of great feedback from the team. And the thing I've said before, and I'll say again, is that, you know, just the work that the team is doing on this game. We have so many amazingly talented people working on this game. And they have created so many wonderful things that I just get to go in and grab and throw into a scene, and it looks amazing. And so, like that. Their work is just as impressive as, like, anything I might be showing, if not more so. So this was a light shaft that already existed. 


I made my own kind of instance of it. It's kind of hard to see. This is the blueprint if you wanted to create such a light shaft. I don't fully understand what's going on here, but I know that the texture. Let's pull up the texture. It just looks like this. And so they've used a panner to kind of like, add the animation where it kind of like, subtly moves and just. And they've stretched it out a bit here. I don't fully understand everything in here, but I am slowly kind of getting better at this. And that's the thing that I try to do with each new video that I do. I try to learn something new and try something new and push myself to get better every time. I better close this because I'm constantly running into video memory issues. 


So let's see how long I can go before this really starts to slow down. So let me get back to my folder. Another thing that I have started doing is started playing with animation, which. Wait, why does it look so weird there? There it goes. It took a minute, probably because of the video memory. So animating the way I do it is I just use Unreal itself, which is not terribly efficient. In fact, I can kind of show you, actually. Let me show you. Yeah, let's. Let's open up this one where he tanks. So whenever possible, I try to stick to existing animations created by our amazing animators, Woody Smith, Sam Barsom. And so what I'll do here, let me bring this up a little bit more. So I'll start out with adding in animations here. 


I'll blend them and I'll kind of make them look good. Okay. This, this does what I want. In fact, I even have, if we hide this guy, I have a backup that we can still manipulate that stuff a little closer. So when I'm ready to kind of add a few tweaks toward the end there, I will just expose this FK control rig, which let me show you what that looks like. It's not bringing up the points. I don't know why it normally will show me all the points of the rig of the kind of the skeleton. And it just doesn't work very well for me to select these. I think there's too much going on in the screen. But, like, some points I can select pretty easily, some I can't. 


What I end up doing is just kind of going through the rig like this and adding sort of additive animations on top. One of my long term goals is to eventually learn how to do this for real in an actual animation software. Probably Maya or something. I'm not quite there yet, though, but so I can do simple animations. And in this case, I think the most. Most of it was toward the end here. I kind of wanted him to hold so that I could then cut to the shot where he kind of looks up. Let's see. So he kind of looks up right here. I tried to kind of estimate where the sight line would be to Bolgar, who I brought in because I wanted to show Chonk being this just really great assist guy. 


Because you throw him down, he's gonna distract the summons so you can do your own thing. So I've got Bolgar scoring here and the animations I added here. So I just did a thumbs up. The facial expression stuff is already made. I just kind of have to adjust the slider. And then I threw in a thumbs up to Bolgar looking. And then, yeah, we move on to the next shot. But I did want to kind of show you, like, if we go into this shot right here and we've got a couple different summons that we set up early in the movie or in the film, the video, whatever you want to call it. So I'm bringing them in here because they have noticed Chonk and they want to get their attack in. I have a couple different shots in this sequence. 


I kind of broke my own rule of not having more than three because it tends to get way too complicated if you have too many cameras, too many shots. But I wanted to kind of walk you through how I build these things. So let's say there's two Shooticrews. Why not? So what I'm going to do here is, let's see. I'm going to search, Shooticrew. I could find the animation, but generally I just like to pull in the rig, the skeletal mesh. So we're going to drop that guy in there. I am placing it in the level that is not currently checked out. I do not want to add shoot accrue to the level, but that's okay. So I'm going to take him, our second Shooticrew here drop him in and convert him to spawnable. 


Which basically attaches him to this sequence and this sequence only. So when I close save it and close the sequence, he disappears. So let's see. Then it's just a matter of kind of moving him around. So I'm using some keyboard shortcuts here. And we got to add in animation. So let's do that. Maybe run. He starts out kind of moving toward. Oh, yeah, he goes up. I gotta bring him back down. Okay, but maybe I want this new Shooticrew to shoot first. So let's get the attack that is gonna play his. His shooting animation. And so we want it to happen sooner. So I'm going to shorten the run. And I'm going to kind of blend these two animations, which this is just kind of a really handy way to loop stuff together. You can have multiple animation tracks and use the weight. 


You can kind of keyframe them together. But I find it's generally better to just kind of blend them in one track like this. So then we've got Shooticrew, our new Shooticrew, firing first and the other one firing second. And of course, I could always, like, have him. Let's see. I like this spot form right here. So we could have him fly in a little bit before he shoots. So now we need to get in the laser beam. So I'm going to come find that here. I'm going to search for Shooticrew again. And this I'm going to filter by our Niagara system. So there's the projectile, and there's the impact. Oh, you know, I actually forgot to do the muzzle flash for the other one. Oh, well, maybe we can fix that this time. So I'm going to drag these in. 


And then I'm going to take these into the sequencer. Let's see, where are they? There they are. I'm going to convert them to spawnable. All right, so the projectile. Let's get this. Let's get this lined up. And you also got to check it. You always have to check it from a few angles. Let's see. All right, something like that looks pretty good. So I'm going to spawn it in where I want it to appear. And then turn it off right before. And if we have it set to auto-activate, it'll just kind of appear. And you can see it there. It's popping in. It's kind of doing its own thing. But I'm going to fix that in a second here. First of all, I do want to keyframe it so we'll have it be here. 


I don't think I need to mess with the rotation and just a few frames. Let's bring it into our tank. Always got to check it from multiple angles. All right, that's looking pretty good. Straight through them. All right. Okay, so you'll notice the projectile is kind of hanging around. So I'm going to want to spawn it out at that point. So I'll just keyframe that. Okay, now, I would like to kind of have this stick around, especially for some of the bigger effects. But let me, let's first, let's see. Let's get the impact in spot where it needs to be, right about there. Okay, so the projectile is going to hit right here. So we probably want the impact to fire right about here. Oops. There we go. Okay, that looks all right. 


So now, if I really wanted to kind of, for some of the bigger effects, I kind of need to make finer adjustments. So I want to actually see them and not have them disappear. What I'll do is I'll come in here and add a system lifecycle. And then I'm just going to change that to update by the desired age. And that's for the projectile. So suddenly, the projectile is just there. It's not going to disappear. And I can see exactly where it goes in, and I can decide I want the impact actually to happen here. And maybe we even want it to, like, line up. You don't always need to have everything perfect, because with camera angles, you can kind of hide this stuff. But, yeah, let's. Let's line it up perfectly for sake of demonstration. Looking pretty good. 


If I wanted to just kind of make this a little slow, as I'm working in the space, I could always add a time dilation track. Bring that down, and, yeah, we can see. Let's make it even slower. It's pretty good. I could probably tweak it a little bit more, but you get the general idea. We were going to add the muzzle flash. Let's see. I can't believe I forgot that the first time around. Okay, so it fires right here. And let's just get that in there and there. Okay. That looks pretty cool. You know, we could actually save ourselves some time. Let's copy the location stuff there, paste it in here. One of the handy things of having this lifecycle track is I can decide that I don't really like how this doesn't match up. 


So I can start this off a little bit higher, and I can have the rotation. Let's see. Nope, we need that negative ten. Let's try 15. Okay, so I like the way that looks pretty. It looks good. Again, not perfect, but I really don't need it to be. If I'm going to be, you know, placing a camera in a certain place. Let's actually show. Nope. I want an idol here. So I'm going to kind of have an idol so he can kind of hang back and let the others get their shots in. So that's kind of how I would do it. And then I'd come in and create a camera. Let's change the camera just for fun so I can show you that process. So go to the beginning here. Let's create a new camera. We'll call this one shoota two. 


And so when you create a camera, it kind of approximates your location. So you kind of want to, like, put the camera where you want to start. So let's see here. The first one's like this. So maybe we will for this one. Where did it go? There it is. Maybe for this one, we can get angle that shows kind of the oncoming onslaught. I wonder how that'll work. We're seeing the impacts kind of behind him, which is a little weird, but I kind of like that. I could also change the aperture or the focal length if we wanted to try to get be kid in there, I think. I don't, though. I think I like this. And I actually. 


I like to try to use a, when I can, a little bit of a longer lens, because I like to bring down the aperture and adjust. Let's see the focus, which makes the background more blurry. In fact, the longer the lens you have. So if were to do something like that's probably too long. Let's try 120 then. I could also just take this dropper, and then I can check the DW. What do they call it? Debug focus plane. And decide, yeah, I want the focus right there. But, yeah, I kind of like using the aperture to kind of really emphasize what's going on the screen and minimize what's going on behind it. This is too big, though. I'm going to go back. I want to try to get as low as I can without clipping through the floor. Okay. 


Something like that is all right. And I might try to do some camera movement here. Oh, wait. We gotta adjust this real fast. Something like that. So I might want the camera to finish right about here. And we got to figure out where the. Okay, the shot ends at 45. So I am going to key my location and rotation and then go back to the beginning. And maybe I want some movement here. Maybe I want something like this and. How does that look? Okay. I kind of like that. I might get a little bit higher. Let's see here, just so we can get a better shot of shooter crew. I might also move this guy up a little bit higher, but I kind of like that. 


Sometimes I like to use the camera shake feature to add a little bit more, just kind of interesting detail to the camera movement. We have existing ones that we can use. I can also create my own, but, like, here's a kind of a looping camera shake that's pretty subtle. I may decide I want. Maybe I want something happening when the shot lands, in which case I might want something a little bit stronger. Let's see. So this one definitely has a big effect. So I could have that happen. I'm not. I'm not sure that it's really a great fit for it, but I'll kind of play around with this and try to find something interesting. So, anyway, that's kind of a lot of what I do. 


I, again, I have a lot of stuff to work with already, and if there's something I want to try that I can't find, I'll usually just try to research, you know, something similar. I'll watch a couple YouTube videos and see if I can find an effect for. For like, a shot that I really want to see. So I think that might be just about it. 


That was. 


Let's turn it back over to you, Ami. 


Yeah, no, that was so cool. It was really cool to watch. And I like, I can't believe how many little decisions, little tweaks, you know, that go into these videos, because it's just a few seconds, but all of it's really impactful, and all the decisions that go into that are really impressive. I know we're coming up on the end of our time, so I don't want to be respectful of everyone's time. Guys, if you were in this and watching and you do have questions for David, we'll take them in Discord and we'll try and answer them throughout the day in chat. I'll throw one just before we get to the end of this thing, and then, yeah, we can answer the rest over in general chat. 


But, David, one of our community members was wondering if you ever use any AI tools or AI features that help you in generating these kinds of videos. We saw generative fill, so I know that's one of them. 


But outside of that is one of them. But outside of that, I haven't. Although from what I understand, anybody will be able to make these videos in a couple years with a prompt. So I am just doing what I can to enjoy being the guy who gets to do this stuff while I can. But that is a good point. I know there's a lot of cool stuff out there and one of the things, when it comes to unreal, I'm hesitant to bring in anything that would impact the project as a whole because I don't want to break the game or anything like that. Like I recently tried to add lenses and I noticed it would change the actual like, project file and I was like, no, I don't really care about anamorphic lens distortion that much. 


So I'm not going to bug anyone about that. But if there are AI tools that I can use without like fundamentally changing the repository or anything like that and keep it quarantined to my little cinematic section, then I definitely will. If you got, if anyone in chat has suggestions for tools that I can use, I would love to know so I can check them out. 




So yeah, the questions are there. 


Let's see. Yeah. Six k. The Sora videos, they keep getting better and better. Have you used Sora, David? 


I have heard of Sora. I would love to check that out soon. I need to. 


They still look like AI. It's, you know, it's not really fooling anybody, but I feel like, you know, especially for generating ideas and concepts and stuff, that's pretty cool. But yeah, like you said, in a few years where it's like indistinguishable, it's pretty nuts. Do you guys have any more? 


I know we were looking at Wonder too, right? 


Wonder, yeah, yeah. Wonder's the one where you can film something happening in real life or take like a source video and put a like track the 3d model onto the thing in the video. So we had, you know, we filmed one of our employees and then put Locke in there and it looked like they were walking around in the neighborhood or something like that. Yeah, just crazy what we're able to do. All right, I'm going to give it. 


One more second audio cut out for me. 


Oops, sorry about that. All right, I see some typing, but I think we'll probably make sure that everyone can get back to their work in meetings. So for today, we'll close this out. David, thank you so much for taking the time to hang out with us. Show the community a little bit of the behind the scenes. 


Can you all hear me? 


Yeah, we can hear you. We'll say our goodbyes, but thank you, guys. 


Okay, so everything is frozen on my end, so I don't know if I can say one final bit here at the end. I just wanted to say that I am truly grateful for the opportunity to work on content like this and grateful to work with such amazing, talented people. I'm really grateful to the bettners for kind of giving me the opportunity to pivot and try something new. I. This is the most fun, I think I've ever had in my working career. And, you know, I know I'm incredibly lucky in that sense to. To be able to make a pivot like this, but I just would encourage anyone out there, if there's something that you think you would like to try, go for it. You know, whether. 


Whether you can do it for your job or whether it's just kind of a side hobby that maybe, like, becomes something you can do later, go for it. It's just a lot of fun to work on something you enjoy. And that's all I wanted to say. Thank you, everyone. 


I love it. Yeah, and if you guys have tuned into these in the past, you'll notice that's kind of a theme. At Wildcard, we had a designer that started off as a community manager, David, kind of a similar path and found what he was passionate about. So especially in the games industry, especially indies, like, go for what makes you happy, go for what lights you up, try new things, because it absolutely can be a career for you if possible. Thank you again, David, for taking the time today. We had a lot of fun watching you guys. Stay tuned. Keep an eye on the Discord calendar for future events like this one. And, yeah, we'll close it out for today. Drop any questions in the general chat, and we'll have David hang out and can answer them after the fact. Thank you guys all again. 


We'll see you next time.