Hello there, you beautiful 3d artists, right, so we're back. It's time for another step. So let's have a look in This step what we're going to do is take a look at tessellation So as you can see I've dropped back into the first person example map just to show you this effect in isolation So on screen, I've got two of the rocks that we created the one on the left This one here. He has no tessellation and this one here has tessellation and can displace as we get closer to it So as we run in let's just click in here as we run in you should see That this rock becomes a little bit more jagged is get it gets more of an outline on it Okay, so you should be able to see as we walk around it It just looks more jagged and that's the displacement that's doing that So what I'll just show you is what that looks like in wireframe So you can see the one on the left is made of very few triangles and the one on the right has lots and lots Triangles and that's happening dynamically as a result of this tessellation so as we move back you should say that those triangles start to disappear and The the number of triangles looks about the same and as we get closer The triangles are splitting to smaller and smaller triangles and it displaces and starts all like that So in this video, we're going to look at how you go about setting that up Okay, so here we are now back in the main level that we've been building and I'm going to use this Displacement effect on these three rocks here that create this little cluster to make them look a little bit more interesting As the player runs towards them if you wanted to you could just change the shader over on the rock in the static mesh editor And that would change it for all of them But you need to keep in mind is that this tessellation can be an expensive thing to render So you should use it sparingly and where you're going to get a lot of impact out of it Okay, so we need to do then is we have our rock material and what we'll do first of all is Create a copy of that so that we can work on that without breaking the original So let's right click on here and we'll go to duplicate Now this for me is going to be called M underscore rock 2 because I've already done this once just to make sure it was all working So there it is M underscore rock 2 and we will open that up Here it is and I'm just going to ping that into my docking area So this is the material as it stands So I'm just going to get all of these parts that make you up already and just move those up a little bit So I'm going to put the displacement stuff down here So let's get into it right so the first step here is to have a look here We've got world displacement tessellation multiplier these currently aren't available So that the base node isn't set up to have any tessellation So what we're going to do is change that so click on the node and we're going to scroll down You have to scroll down quite a long way until you find the tessellation section and you can see that by default no tessellation So let's open that up and for this one We're going to try flat tessellation if you want to have a go at PN triangles then knock yourself out But for today, we're going to do flat tessellation And then you can see that the displacement and the tessellation multiplier become available Okay, so the first thing I'm going to do is just put a node into the tessellation multiplier So I'm just going to have a scalar parameter So that we can change this later. So I'll put that into the multiplier. We will give it the name of tessellation multiplier so that I know what that is later. The default value is going to be five No, maybe zero point five And I'm going to leave them in a max alone so I can just have that whatever I would like it to be So that's that bit done. We'll just put that there and now we've got to get into this world displacement to get that going Okay, so one of the first nodes that we need is called a vertex normal W s node. There's a little chap here and He needs to go into a multiply It's going to be in the a of the multiply and the output of this multiply is going to be the thing that we plug into the World displacement, so we'll pop that in there and then into the B We actually need to do a couple of other things. So we're going to need a texture sample Which is right here and this texture sample is going to be Displacement that I put in with the texture files that you can download So we're going to have a look in here and search for rock and there should be this rock displacement That's the one we're going to use for this Okay, there we go and what we need to do is actually multiply this by a number and that's going to be based on how far It can displace out from the original mesh So we're going to put another scalar for that and this one is going to be called tessellation distance Like so and the default value for that one will have it five and then we might want to change this later in fact, let's just set it to 15 so that we're definitely going to see something happening and then These two values need to be multiplied together and put into B of our original multiply So let's just get this out of here and get a multiply Groovy and then we're going to put in The texture sample into a and the distance into B Yay Okay, so that should be it all set up. Okay now so for the sake of neatness. We're going to put all these nodes together Select them press C on the keyboard and we're going to call this displacement So that if we ever come back to this material like what are all these doing? We will know what they're doing. So Let's move that down there a little bit. That's now good to go So we're going to save this material and now that's saved we're going to go back to our level and we're going to create a Material instance so that we can change the parameters on that So let's right click on this rock to that we've created or in your case It'll be called rock one and we're going to create a material instance from that So I'm going to leave that M underscore rock to inst and This will be the material that will apply to these three rocks So with that selected in the content browser What I'll do is select a rock and then on the material slot here I'm just going to click on the little arrow and that will swap that over and you can see straight away The outline of that change so that's already displacing and Then we'll do the same on this one here and then the last one So that's already working really nicely. So what I'll do is just test that out. So I'll go into play and As we run towards it We should be able to see that it gets a little bit more jagged and this is actually all I would really do with it It's quite subtle and I like it that way But you could really push it so that you can see that it's happening But just to prove that it's happening if we go into wireframe mode by pressing F1 We can now zoom and you can see that it is subdividing the number of triangles Which is good as we move out They get lessened in and out in and out So it is doing its job exactly as we wanted it to but if you want to see the effect of that happening a little bit more What we can do is open up the material instance We'll just make it so that we can see this and the rock and if we open up or Enable these parameters that we set up And let's just make this a little bit brighter So we can see what we're doing what we'll do now is Mess with these parameters. So if we change the distance, I think the top one is You see that now it displaces more so you can go like too far with it like that not good but if you keep it sort of Reasonable you can have it add a lot more variation to the rocks than we had previously and then if we change this multiplier You won't see much happening, but what that's doing is allowing it to subdivide into more triangles than it did originally So I'll show you that happening in wireframe mode, and if we change this multiplier here You can see that that's allowing it to use more or Fewer triangles. So let's make it go just as far as that Like that and then we'll save this instance And we'll give it another test when we press play So now as we get closer to these rocks, we should see that they are a little bit more jagged And look more like rocks. So that's working. Well done. Okay, so that's it for this step Thanks for watching, and I will hopefully see you in the next video Thanks for watching If you really want to take your learning further than I can cover in this series Then I highly recommend checking out plural site They have loads of really detailed video courses covering game art and game development using Unreal Engine 4 When I learned how to use unreal a couple of years ago This is where I went and I log in regularly to take a new course and improve my skills I recommend checking out the introduction to Unreal Engine 4 course by Joshua Kinney This is really good and offers a good overview of what you can do in unreal You can get a free 10-day trial by using my link in the video description And you get full access to all of their courses for that time at the end of your 10 days You can either subscribe for more or cancel totally up to you It's got to be worth a free trial though, right? I'd like to say a massive thank you to my patrons Your support helps me to keep making videos like this one And I really appreciate each and every one of you It really blows my mind that people will support my channel and my work by pledging their money through Patreon So again, thank you all so so much If you aren't already a patron and you'd like to have your support then please go to patreon.com forward slash Shane Whittington


A fiery horse with a speed of light, the cloud of dust and a hearty high old silver, the lone ranger. With his faithful Indian companion, Tonto, the daring and resourceful masked rider of the plains led the fight for law and order in the early western United States. Nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear. From out of the past come the thundering hoof beats of the great horse Silver. The lone ranger rides again. Born Silver, let's go big fellow. Are you Silver? The tenth century, a meteor hurtling through space plunged into the atmosphere surrounding the planet Earth. Heated to incandescence, it streaked as a ball of fire through the night skies over California, approaching at incredible speed to smash into the ground. The meteor made its own pit where it rested and grew cold. At first the place was frequented by sightseers and geologists, but interest waned through the years, and the mass of rock and minerals from outer space was all but forgotten saved by a few scientists. The place became part of a national park under the protection of the federal government. It was 60 years after the meteor's arrival when a group of scientists and high government officials held a meeting behind locked doors in Washington, D.C. Tell me, Dr. Madison, is it extremely important that you and your colleagues have samples of this meteor? It is, sir. This new chemical element you're looking for? Just what is it? Well, as yet, it's unnamed. We do, however, know that the element, if it can be found and isolated, will have remarkable properties. It may have the elemental force of the Sun itself. And you think you'll find this element in the meteor? I don't know. European scientists have made great strides in their research with meteorites. We cannot let them get too far ahead of us. You know, Mr. Cowbert, it's been three months since you promised to secure pieces of that California meteor. Well, in those three months, Professor Lockley, we haven't been idle. How about it, General Fairbanks? That's right. Immediately after the first request, we filled a chest with pieces chipped from meteor. The chest was stolen between California and St. Louis. And there was another attempt?  What happened to that one, General Fairbanks? We don't know. Wells Fargo sent it from California on a special stage, which apparently disappeared into thin air. There, you see? That should prove something. Someone, probably an agent from a foreign government, is trying to block our research. We must take unusual precautions to get this chest through as far as St. Louis. Agreed. The meteorite is limited in size. If shipments continue to disappear, it'll be all gone. Have you any suggestions, General? Gentlemen, let me show you something that I've carried in my pocket for a number of years. Here. Are you a bullet? Yes. Oh, this looks like silver. It is. Silver bullet. Does it have a special significance? Very special. It was given to me by one of the most loyal sons this country ever had. You gentlemen may not have heard of him, but he's become almost legendary west of the Mississippi. I propose to find this man and ask him to help us get the chest of ore to St. Louis. Well, where can you find him? I know of only one way to locate him. I'll send word to a certain pottery in a little mission in the west. What's this man's name? Well, as for his name, I don't know it. But he's called the Lone Ranger. Word flashed to the country's outposts by the new electric telegraph, and the message was relayed by horsemen until it reached the pottery in his little mission. People from all sides came to the pottery. When they left, they carried a message with them. The pottery's looking for the Lone Ranger. And if you see these Lone Rangers, you're telling me it's wanted by the pottery. The stage is all loaded. Just have to go. And don't forget to spread the word. The pottery wants to see the Lone Ranger. I won't forget. Get it! Metacuse deshuma beca Lone Ranger. Mexicans, half-breeds, Indians, pioneers. Everyone spread the word in an ever-expanding circle until it reached an Indian named Tonto who hurried to the top of Thunder Mountain where he built three fires and sent three towering columns of smoke into the sky. A signal that was seen on a distant hill, seen and understood by a masked man who leaped to the back of a snow-white stallion and shouted, In the meantime, the fastest of the trains westbound from Washington carried a special car with one of the highest of the government officials. The car was taken as far west as possible, then shunted to a siding where the man from Washington in his age waited and hoped. Each day the man from Washington became more anxious and each night found him pacing the floor of a small room that served as an office at one end of the car. It was nearly midnight when he was startled by a soft wrap on the door. What's that? I wonder... General, the pottery sent me. Thank goodness. I'd almost given up hope. Come in. Come in at once. Thank you. Will you sit down? Thank you. I have a lot to tell you. Very well. Some time ago, you gave me a silver bullet. Do you remember? And I gave it to you. I told you that it represented an obligation I could never wholly repay. The government needs you. We need you more than ever before. What can I do? Let me tell you about a meteor that fell in California. And about two futile efforts to move portions of that meteor to Washington. And why some men of science want to investigate those minerals from space?  And I'm convinced that enemies will try to intercept this chest as they have the previous ones. The hazardous part of the journey is between California and St. Louis, while the chest is being carried on the stagecoach. Have you tried to maintain secrecy? Yes, but we tried on previous occasions. Enemy agents have sources of information. Yes, I know. We plan to move the chest over the Butterfield stage line over the usual route through Yuma, El Paso, Fort Chadburn, Fort Smith. I know the route. We considered making special arrangements for the stage, but decided against it because a special stage would attract attention and arouse suspicion. This or, then, is to be carried on one of the scheduled runs? Yes. And we want you to see that the stage goes through. Have you any further orders, General? You may work in any way you consider best. It's up to you. You might remove the mask, and disguise yourself to travel as a passenger in that stage. Well, I... That's merely a suggestion. You do what you think best, but see that the chest reaches St. Louis. I'll do my best, sir. I might explain that you will not be the only one who is watching this stage. A government agent will, at all times, be somewhere near the stagecoach. Well, I know him. There's a way by which you can identify him. Now, I'll tell you what is to be done with the chest when it reaches St. Louis. I see. How can I identify this federal agent? I don't know. What? He alone knows how he is to be known. He's put the information in a letter. Here it is. Yes? The envelope was sealed by the agent himself. The method of identification is something that's... and by you. Open this letter when you're alone, away from here. Read and memorize the contents, and then destroy it. This agent must have been told that I would help. He was. Well, do you know me? No. You'll, you'll find him. I will, General. Is there anything else? No. From now on, it's up to you. Right. Hey, there, Silver. Steady boy. Silver. So that's the horse I've heard so much about. He's not often impatient. Where are you going from here? Well, Tondo's waiting in a camp about a half a mile away. I'll join him there, and his daybreak will start west. Good. Well, Silver is impatient. Good night, General. Good night, and good luck. Silver seemed to know by some rare instinct when trouble was impending. Two men waiting in a clump of cotton woods watched the railroad car on the siding, and the masked man who stood at the open door shaking hands with the general. They had drawn a rope tightly across the trail, just high enough to strike a man on horseback. He's holding an envelope of some sort. Do you see it, Vince? Yeah. That's what we want. I let the boss know that mask man was gonna get an envelope for instructions. Don't ask me how the boss knows things. The point is he knows, and he's generally right. I don't know about that, Rankin. What do you mean you don't know? The last time he told us, it would be a chest of ore on a special stage. He was right about that, wasn't he, Vince? Yeah, only... Only what? Maybe it was ore of some sort. But as far as I could see, there was nothing special about it. I know gold, ore, and silver ore. And that stuff we got wasn't neither one. What are you squawking about? The boss paid us off, didn't he? Well, I've got no squawk about that. He'll pay us off again when we take him the envelope in that masked man's hand. Look, Rankin, tell me something. Yeah? What's the boss after? I mean in the long run. What kind of a game is he playing? All I know is he hired us to do certain things, and he pays us when they're done. He won't answer no questions, and he don't like to deal with men who ask him. Hey, the mask man's marking up? Yeah. Get ready. I'm all set. He's coming this way. Yeah. Get back a little bit so he won't see us. He can't see us in here. It's too dark. Get back anyway. I wish he'd come faster so he'd hit that rope hot enough to take him clean out of the set. It don't matter. The rope will stop him anyhow. If it don't, my six-gun will. Leave your gun and leather. If there's any shooting to be done, I'll do it. The boss don't want murder. He can be avoided. I don't...  I'll get ready. Here he comes. The Lone Ranger felt a peculiar tension as the trail entered the cottonwoods. His senses were tuned to a high pitch, but even so, he didn't see the rope that was stretched across the trail until he was almost upon it, and he swung quickly, pulling Silver to the side. Over Silver. Come on, boys. He's seen us. Rain out, Mr. Weewant, you. Let him away. There's a rope you didn't see. That's it, Vince. I got him. Hold her tight, Vince. I'll remember that thing. Grab onto him.  Get off that saddle. Hold that rope tight so he can't raise his arm with guns. You better take your hands away. Now hold him.  Swing out of that saddle, or I'll shoot. And I'll shoot to kill. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments to review our story. When the Lone Ranger left his secret meeting at midnight, two men acting on orders of one they called Boss waited where the trail led through a clump of cottonwoods. The masked man rained up in order to avoid being swept from the saddle by a rope that had been stretched in his path, but a noose dropped over his head and a sudden pull tightened that noose, hanging his arm so they could barely move. Vince, hell, the rope taught while Rankin clutched at the Lone Ranger's belt.  Swing out of that saddle, or I'll shoot. And I'll shoot to kill. Add him, shall we? Get off that horse! Come on, boy, add him! Get back here! Silver began a fighting demon rearing high and lashing at the woodpeak captors with his hooves. The men gave ground and news grew slack around the masked man's waist. Get rid of that. Come on, Vince! This way! Soon after leaving Vince and Rankin somewhere in the woods, the Lone Ranger reached a small camp where Tonto was waiting. It took but a few moments to tell about his meeting in the railroad car and the subsequent encounter in the woods. You will not go after Follers? No, I didn't, Tonto.  It wasn't that. I didn't want to risk losing the letter the general gave me. Oh, that's right. The letter tells how a government secret agent can be identified. You think Follers Polly are here? They do. Silver will give the alarm. Uh-huh. He warned me when I was saying good night to the general. I didn't realize it. I thought he was just restless. When you read the letter? You can build up that fire a little bit. I'll read it now, then we'll burn it. No, I've got a big fire. They wanted to leave the... Tonto! What matter? The letter. Tonto, it's gone. Gone? You sure? Yes, I had it in this pocket. One of those men was tugging on my belt. That must have been when he took the letter. Maybe the letter fall from pocket. It couldn't have. It was taken from that pocket and we've got together back before it's red. Fill that water on the fire and grab your horse. Uh-huh. We'll leave blankets and other things here. Yes, study there, silver easy. Be ready. Come on, then, Tonto. Come on, Silver! Silver! Silver! Silver! This is where it happened, Tonto. There's the rope that was supposed to take me out of the saddle. Uh-huh. It's... It's quite dark here. Yes, give me your knife. I'll cut this rope down so it won't break someone's neck. Here, your knife. Thanks, you misubby. There. Which way then, Tonto? Hey, run over that way. I don't know whether they had horses waiting nearby or not. Oh, tracks. Pretty hard to follow. Nevertheless, we've got to follow them. We've got to overtake those men and get the letter back. If they've read that letter, we... Then what we do? I... I don't know, Tonto. We've got to be sure of one thing. We've got to be sure that the identity of the federal man does not become known. Ah. Leave the horses here and see what we can do about the trail. It took all of the combined skill of the Lone Ranger and Tonto to follow the trail in the dim starlight that filtered through the cotton woods. At times, they moved on hands and knees and paused frequently to strike matches, shielding the light carefully to look for indentations in the ground or freshly broken twigs that would indicate that Benson Rankin had gone ahead. In the meantime, the attackers thought themselves quite safe in an arroyo. Are you sure this is where the boss said he'd meet us? You'll be here, Vince. I'll take it easy. What's worrying you, anyway? Ah. I don't feel a darn sight better if that masked hombre hadn't got away. Maybe it's just as well he did. We don't have to worry about handling the prisoner. If it hadn't been for that door-going horse, it isn't... Oh, stop crying over spilled milk and built me bust up some twigs. What are you doing that for?  Yeah. Small one. How did it be seen? Not down here in the bottom on the royal. Anyhow, we won't have it going more in a couple of minutes. What do you want with the fire? Aim to know what we stole. That envelope? The same. The boss was done right anxious to get his hands on it. Maybe it's worth a lot more than he's paying us. Ah. You plan to try and collect more from him. Maybe. Information don't hurt a man. You, uh, got a match beans? Yeah. And we got enough twigs here. They'll last while I read the letter. Let's start them burning. All right. I don't know if we're doing the right thing, Rankin. Me? I don't like to risk making the boss sorters. He didn't say anything about not reading the letter. He just said we was to get it and have it here by the time he showed up. How'd he know that masked man had come for it? I don't know. Yeah. That fire's burning bright enough to read by. Go ahead and read the letter and we can put her out. Yeah. Yeah. Sure looks important. Look at all that ceiling wax on the envelope. Ah. Come on. Hurry up, Rankin. Will you? That masked man has problem on the look for as he might see the fire. We'd hear his horse if he was coming this way. Man, there's a lot of writing here. Yeah. Yeah, sure. Yeah, just smooth it out. Hey, come on. Hey, come on. Get my mail out. Let me go. Vince, get your gun. I can't. I need it. I need it for you. You're asking for trouble. This is for you. You. I'll fix them. Yes. They both have. Look, matter in fire. Oh, get it. It just started to burn. Huh. Good thing you saw it when you did, Toto. The man who knows the contents of this letter is the man who wrote it. Him, secret worker? Yes. Me put fire out now? Just a minute. Let me see how much of this letter is destroyed. It burns a lower pot. Yes, the signature's gone. Much more burned? It doesn't seem to be much missing. I'm going to read this now before it's lost again and I'll burn the rest of it. In the meantime, Toto, see if you can find some rope and tie those two before they regain consciousness. Ah. There are horses over here. Maybe rope and sabotage. If you don't find rope, take your knife and cut up some of their clothes. While Toto tied Vince and Rankin, the Lone Ranger held the letter close to the small fire and read it carefully and memorizing the contents. I will at all times be somewhere near the stagecoach that carries your. It will be better if you and I work separately as much as possible. A silver bullet. You will be wearing a silver bullet. And there the letter ended. There had been more, but the rest was gone. Couldn't be much more. Wearing a silver bullet. Securious expression. What do you mean? What you say? Toto, a man were to identify is going to be wearing a silver bullet. Oh. Maybe he mean in gun belt, huh? Possibly. He could wear a bullet tied to his watch fob or even around his neck. Uh-huh. Uh, you tear up letter? Yes. I was told to destroy it as soon as I'd read it. I'll burn these pieces. These fellas tied plenty tight now. All right, Toto. You better stay here with them. I'll go back and get the horses and I'll get someone to take charge of these two. They might be able to give us some information. Not right. It's possible that they could tell what happened to the previous shipments of ore. I'll go back and report to the general. He can send some of his staff. That's good. I'll be back as soon as possible. After the Lone Ranger had left, Toto kept the fire in the arroyo burning brightly to serve as a beacon for the masked man's return. He sat in the shadows watching the captured men regain consciousness and enjoyed their surprise at finding themselves prisoners. But Toto's simple pleasure was short-lived. The tall, lean figure that approached in the darkness made no more noise than a shadow as he crept up behind the Indian. Vince saw him, but he gave no sign. Then Rankin's face underwent a slight change of expression that telegraphed a message to Toto. He started to turn, but too late, the barrel of a heavy gun crashed against his head with stunning force. When the Lone Ranger and two men from the General's party reached the arroyo, they found the fire reduced to a bed of glowing embers. Toto said he'd keep this fire burning brightly. I wonder if anything has happened to him. You're over here. Keep us out of it. Toto. Well, what's happened? We're the prisoners. I mean, he tires. I see you are. I'll cut those ropes right away. You said there were prisoners. There were. There. Toto. What's happened? Are you hurt? They get hit on head. They go unconscious. How did it happen? Who did it? Toto told us. There were so many prisoners. We saw a fellow named Rankin. All of a sudden, look pleased. We turned to look behind, but it's too late. You have quite a bump on your head, but I don't think it's anything serious. We get conscious. We're tired like this. The prisoner's gone. Then there must have been at least three men in the party. That's right. Oh, gentlemen, I'm sorry. You'll have to tell the General that the prisoners have escaped. We'll have men start a search right away. If we find them, perhaps he can identify them. If you find them, you'll have to hold them for identification, because Toto and I will not be here. We're going west to meet a stagecoach. Do you think you can ride, Toto? You'll bring scout. He's right over there. Come on. Not good. We ride. How soon are you starting, Wes? We're going to camp right now to pick up our duffel, and then we're starting. Then when we get there, they're better. He's a big fella. Come on, Toto. Be ready. Come on, Toto. Get him up, scout. Maybe that masked man doesn't realize it, and I'm afraid he's up against a lot more than three men. Well, the Lone Ranger has embarked on a new trail that leads to his most thrilling and unusual adventure. Be sure to listen to the next broadcast and follow the masked man and Toto as they meet the enemy on the eastbound stage. The story you have just heard is a copyrighted feature of the Lone Ranger Incorporated.


And here it is, the master suite. And you know you're in a master suite when it looks like you've walked into a small apartment in Santon. And this is only one room in this stunning house right here in Hyde Park. As you can see, I'm standing in the lounge area or the pajama lounge, I might say, of this master suite. We've got some couches as well as armchairs dotted about your coffee tables in the center. Cause who doesn't like to enjoy a coffee right there in the comfort of their own bedroom. But yeah, this has to be its sweet spot, the crony jewel of this master suite, I might add. Above a TV and below another one of those really awesome gas fireplaces. Can you imagine waking up in the morning stretching out of your four-poster bed and bang, the fireplace turns on. That right there is the lap of luxury. Above me, one fan, another fan just above the lounge area. And over here we've got a California king-sized bed that is dwarfed by the size of this room. The whole ceiling is bulkhead again with that up lighting flowing into the bulkhead. Really emphasizing the arch of the ceiling.  Again, letting in all the light you might need or giving you whatever amount of privacy you might need as well.   But before we get to this closet and before we talk about the bathroom behind me, this master suite comes with something that many others don't. And that is its very own internal office area. And right over here to the right of the fireplace, we find this quaint office area that is perfectly equipped for you to do your work without leaving the comfort of your room. On my left-hand side, we've got a whole wall dedicated to cupboard space. All of them long cupboards with some three-quarter cupboards just where you guys are standing. We've got an inbuilt desk right over here. As you can see, the Mac computer just above it. You know, you're doing some hard work and hard design work when you've got a Mac. And then some extra storage space right over here in case you need it, maybe for some filing cabinets, maybe for another desk. Both walls have those built-in windows, plantation shutters. And then another really cool feature is just above where you are. If the camera tilts up, you'll see a skylight. But let's head on out and let's take a look at that walking closet. Now, for some features that we can talk about as we walk to the closet is again, this room, like the rest of the rooms, do come with built-in speakers, but also it has access to its central air conditioning system. But right now, it's time for the closet. Now, your walking closet of this master suite runs almost the length of the room. You can see just how large this closet is with every single wall dedicated to cupboard space. And just on the other side or on the opposite side of this walking closet, we've got glass display cabinets as well as drawers for you to show off all your best fashion choices. Again, this room, just like the rest of the bedroom, has got access to its central air conditioning system. So you're never gonna need to worry about getting just a bit too toasty while you're getting ready for any fashion show that you might be running. But now that we've talking about this and now that we've talking about that bedroom, it has to be time for us to walk in to your en suite master bathroom. And here it goes, it is time because this master suite has some of the coolest features we've ever seen above us. We've got your speaker system. So if you'd like to listen to some music, while you're relaxing in your Jacuzzi tub, you can, this Jacuzzi tub is just underneath and again another window so you can get a bit of a view while you enjoy the jets of water spurting out of this.  Again, another floating toilet with hidden system and right over here, a double vanity. Plenty of under counter storage with cupboards flanking both the left and the right of that floating vanity. And then in front of me is the crown jewel of this bathroom in my opinion. And that is this really unique steam shower. You can see the shower is fully enclosed and arches around this opening of the wall. You've got two heads and then both your separate faucets so that you and your partner can shower in your perfect temperature. But what makes a steam shower so cool is it comes with a control panel for you to not only set the temperature of the steam that's pumped into the shower but you also control the steam itself. It has a window there as well. So when you do wanna just get all of that steam out then enjoy some fresh air you can. I think it's such a cool feature and it's so nice for you to be able to have a full on spa day right here in this home. But that does sum up this incredible home right here in Hyde Pocket. And here we are within the master suite and what a master suite this is with two doors that open on to the hallway of it. And that's what I love that feeling of specialness that feeling of grandeur. And let me just mention while I am here you do have a little cupboard but moving along this hallway air conditioning throughout you find yourself within your first walk-in closet. And the reason I say first is there's obviously more than one. There are two, a his and a hers which is fantastic for all of you that aren't there looking to accumulate the best fashion. This home accommodates that. So this walk-in closet, plenty of space both cupboards as well as shelving as well as areas there for you to hang all your suits. And the exact same is replicated in the main section.  Let's take a look. And here it is ladies and gentlemen how well done this has been. You've got a walk-in shower with not one but two heads you could say his and hers as well. Then you've got your his and hers vanities obviously a double vanity, plenty of undercount storage lots of mirrors throughout this room and then take a look at that jacuzzi bath tub up there in the corner with the feature wall the rock feature wall really loved the thought and the attention to detail that is throughout this house. I also love these cantilevered windows that open up and get you that nice fresh air within the bathroom. There's nothing better than a cold breeze and a hot, hot bath. And coming out of the bathroom we carry on down this hallway and we find ourselves in a sitting room area the stunning gas fireplace right there for you to warm up, chase away the winter chills which I'm actually feeling right now should have brought a jacket. Not one sitting room. What is a master bedroom without one sitting area but two this being more of a lounge area you've got your TV right there massive all shape couch and then speakers built into the ceiling you'll also see more veins for your air con and then this beautiful bulkhead ceiling just above the master bed.  I love the way the lights run the whole room of this bulkhead and I also like that outside you've got your own en suite balcony excuse the dogs barking outside I think maybe they jealous of this house but take a look at this 360 degree views north facing of your whole house I love it, it's incredibly done and it is also very cold outside so we're gonna go right back in and now it is time for us to talk about the master room of the house or in this case I have to say the master suite because it is not only in massive but also so well equipped. First thing we need to talk about is this bed it's a king size bed with a headboard that runs almost the length of the room you've got LED mood lighting installed in that you can see that the bed is big enough to put a couch at the foot of it and in front of the couch is a nice gas fireplace feature wall with storage space in it air con above it and TV recessed in it we love that I think it is such a cool thing to do and I love the difference colors in wood really does make it pop and really make this feel like a featured wall now walking past the featured wall on the other side is your walk in closet we've got this center island that is gigantic beautifully paneled in wood you've got your dressing room right of here your dressing table you can sit down massive mirror there ringed in some LED lighting and on both sides of the room you've got cupboard space again finished in that gloss white paneling recessed LED lighting in the ceiling bulkhead style and a window on this side letting in all the natural light and now that we've covered the walk in closet and the bedroom let's move to this side of the home and talk about a couple of things you find here one is just off and in this spot of here is your private toilet frosted glass door and toilet inside there with some nice windows letting in that natural light but just up these stairs and behind this pocket door we find ourselves in the master suite the master bathroom and it is absolutely incredible so let's talk about a couple of the features one you've got a walk in shower no glass separating anything whatsoever you've got your shower controls over here your shower head over here and then you've got another shower head over there and another one right over here so essentially this whole space becomes a shower that really does make you feel like a king or queen in his or her castle with so much space but maybe you want somewhere to soak, relax this is going to be the bathtub for you center bathtub, faucets coming from the floor and then just above you some bulkhead LED mood lights on the right hand side you've got basically a wall full of mirrors with double vanity sunk into this beautiful marble again the marble in this house is incredible wood paneling some greenery outside and then if we go this way we've got a sliding door leading us to an outside decking and for all of those that have been following this channel for a long time we know that if there's a sliding door leading outside in the master suite it generally leads off to a shower and the shower is right over there so if you do want an outdoor shower very private lots of greenery making you feel like you are outdoors and almost unobstructed view of the sky I love it so now let's go head outside there to that section of the home to the upstairs decking let's take a look at that and then it's time to say goodbye and now it's time for the creme de la creme the master suite and again it does follow in theme that double doors open outwards onto your master suite we've got a really cool stepped ceiling over there with some recessed lighting right here making it a feature wall but this time that wall happens to be on the ceiling beautiful lighting recessed into the ceiling as well and then just over to the side you've got a walking closet your very own en suite toilet we're gonna take a look at that and then sliding glass doors that lead out onto your balcony so let's take a look at this bathroom over here and then let's head off to that balcony to say goodbye walking into the bathroom you'll immediately have your breath taken away not only by these steps leading up to the sunken jacuzzi bath tub but also to the expanse of marble that has the two vanities sunken into it as well you've got a frameless mirror just above those vanities and then talking about frameless so is your walk-in shower behind the walk-in shower and the bath tub plenty of light streams through the glass openings and that concludes our wrap up of this stunning home right here in the heart of Santon City


So as you know, from high school, C minus C is zero. I haven't done anything. But now I'm going to rewrite this. S over V, 1, V plus C over C plus V is 1 minus C over C plus V. So now I've got a formula for the rate of profit, which combines together my two other indices. What does this say? OK, 1. A rise in the rate of exploitation implies an increase in the rate of profit. Number two, a rise in the composition of capital. This is what Marx calls the composition of capital. What I called last time, the index of mechanization, or I call this time, the index of mechanization, implies a fall in the rate of profit. Because it has a negative sign associated with it. This is a positive sign. So notice something. The profit rate is going in two different directions. As the rate of exploitation rises in capitalism, it increases. But as mechanization occurs, which we expect in capitalism, that profit rate is going to fall. And then the next question is, what difference does this make? Who cares? So the last step in this, which is very, very important for the second message of capital. The first message is that capitalism has exploitation associated with it. That's this one. The second message is that capitalism has a business cycle associated with it. Is the one that we're going to now focus on. So what difference does a rising or falling rate of profit have for capitalism? So let me go back. The rate of profit is surplus value provided by the cost of production. What do the capitalists do with their surplus? Remember, I started out by saying, what do the workers do with their wages? They go out and buy means of production. So the logical question is, what do the capitalists do with their surplus? Well, you remember what we did in the first part of this course. The capitalists take their surplus and they distribute the surplus to secure their conditions of existence. That is, they make all kinds of subsumed class payments so that they can survive and prosper. Now, I want to divide the subsumed class payments into two kinds of categories, two broad categories for this argument. One is distributions for capital accumulation. That's what the delta C plus delta V means. The delta C is the capitalist purchase of additional means of production. What you read in the newspaper is heard on the TV and so forth as investment. They invest in new plants. Equipment means of production. The delta V is the expansion in what? Employment of what kind of productive labor? That is labor that's going to be productive of surplus. Everything else I'll put over here. And I'll just prime it to show that we've taken it out of, it's not the total. It's just what's left over after capital accumulation. So this would be all the payments for managers and rents to landlords and expenditures on research and development and so forth. So two broad forms of expenditures. I'm going to rewrite this because this is too laborious and too complex to have all these terms.   K star, they accumulate, they spend more on machines and so forth, et cetera. Lambda, they spend more on smart managers R and D and so forth. Now watch. If the rate of profit falls, then one or both of these are going to fall. So what? The so what is the possibility of a recession if not a depression? That's what's involved here. A falling rate of profit means then, in terms of one or both of these, a decrease in the demand for labor power and a decrease in the demand for means of production. So if K star is falling, productive labor, the demand for productive labor will fall. If lambda falls, the demand for unproductive labor will fall. And if the demands for those two different forms of labor power are falling, employment's going to fall, wages and salaries are going to fall, the demand for consumer goods are going to fall, bingo, we have a possibility of a recession on our hands. So a falling rate of profit may imply a recession. Rising rate of profit and expansion. Well, you can see what Marx has done here. He's related the falling and rising rate of profit to recessions and expansions to the business cycle in a capitalist economy. So if we can put this together for a moment, the argument is that, in terms of these indices, that a rising rate of exploitation will give us a rising rate of profit and the possibility of expansion, capitalist expansion. A rising rate of exploitation, which is a bad thing, is connected to a good thing, which is expansion. You see the dialectic, the contradiction again. A bad thing is connected to a good thing. More jobs, higher wages, and so forth, et cetera. A rising composition of capital, which is a good thing, because why? Because we have more machines, more raw materials in society. We're using more of those. And hence, the implications we have for rising productivity of labor, because that's where it yields, that's a good thing. That's connected to a falling rate of profit, that formula that I gave you. And that's a bad thing. That's a capitalist recession. Once again, the contradiction. Capitalism is filled with these contradictions, and Marx is now examining this particular one because of its importance. Finally, you must be asking, is it possible to have these things connected? Yes, and that's the last portion of this course. That is, this good thing, which has the potential of producing the bad thing, this good thing, also may produce a rising rate of exploitation. So in other words, a rising mechanization may not, in fact, create a falling rate of profit. It may create a rising, because this thing is connected to the rate of exploitation. So to go back to this formula, a rising mechanization, which you might expect is going to push down the, well, let's just write it in, push down the rate of profit, this rising mechanization may push this up by more, I'll make a bigger arrow, such that this goes up and we don't have the recession. So Marx is now going to introduce this kind of complexity into his analysis of capitalism. And let me stop there.