I've put together the best deep sky astrophotography kit if you're starting from scratch with $2,000 US dollars today. This kit is lightweight, it's easy to use, but the results that you can get out of this kit are mind blowing. I mean, look at the detail on the Horsehead Nebula here. In this video, I'm going to walk you through all of the parts in this kit, explaining what each part does, then I'm going to demonstrate how to use this kit under the night sky to get the best results possible, and I'll show you how I processed my photo to get to this final result. Hello, if you're new to my channel, my name is Nico Carver and my passion is astrophotography, specifically shooting Nebulae, which are these beautiful, colorful clouds of gas and dust out there in our Milky Way galaxy. And the amazing thing is that we can capture Nebulae really well with just a small investment in photography gear. The main idea behind this video comes from a question I get a lot, which is, I have this much money, I'm brand new to all this, what should I buy? And I usually don't give an answer right away. I ask more questions about what this person's goals are, what kind of light pollution level they have, how complex they want their setup to be, and these kinds of questions allow me to figure out the best way to spend a given budget given that person's particular goals and situation. And if you're interested in that kind of more individual back and forth with me, I have a Patreon campaign where I'm happy to give that kind of individual support for anyone that signs up. It starts at just $1 per month. And with that said, how am I claiming that this is the best you can get for $2,000? Well, it's not necessarily going to be the best kit for every person, because for instance, if your goal is to get a really nice photo of Saturn, for example, then this kid is going to suck for that. You need a big telescope with more aperture and focal length. And so for $2,000, if you were after the planet, something like a Celestron Nexstar 8SE and a $300 planetary camera would do you much better. So that's something I want to emphasize that this is what I think the ultimate $2,000 kit is for someone that's really into shooting wide field deep sky like I do. So big, beautiful star fields where you can get really creative with the composition by picking fields with lots of nebulae and making the whole photo interesting with bright stars. And I just really dig those kinds of shots. And deep sky, by the way, if you've never heard that term, that just means photographing things out in space that are outside of our own solar system. So nebulae, galaxies, star clusters, those are the main three deep sky objects that amateur astrophotographers like to focus on because they're the most photogenic. Of course you can photograph, you know, other deep sky objects like quasar, but it just doesn't look like much. It just would look like a little red spot. Anyways, when we're talking wide field deep sky, that's what this kit is good for. It's shooting large nebulae and big star fields with lots of nebulae in them. There are some galaxies that are close by we call them in our local group. And the kit, this kit will work really well for those large galaxies too. So the Andromeda and Triangulum galaxies, M31, M33 for us in the Northern Hemisphere. And then the large and small Magellanic clouds in the Southern Hemisphere. Those four galaxies are going to work really well with this kit. In this example shot that I shot with the kit, that's the Orion constellation of course. And it's a great starting place for this kit if you're in the right season for it. We're now sort of leaving the winter constellation season if you're in the North, but it comes back every year. But even though Orion's leaving, there are many other constellations that will work really well for these kinds of compositions with this kit, including Cygnus, Cepheus, Sagittarius, Ophiuchus, Corina, if you're in the Southern Hemisphere. And so anyways, let's go ahead and move on. But now that we've talked about the type of astrophotography that this kit excels at, we're going to break down each part of the kit and what each part does. So let's start with the lens here. This is the Rokinon 135 millimeter F2. It's also sold under the brand name Samyang, which is actually the company's name. It's an easy recommendation because I can't think of any other lens at this price point under $500 that can match this lens in terms of sharpness. It's sharp even wide open at F2, but especially if you stop down to F2.8. And it's also a well corrected lens, meaning the star shapes are pretty good even in the corners of the frame and especially with an APS-C, but even on full frame. There's a little bit of color fringing that's called chromatic aberration, but it's pretty manageable in processing because the stars are so round. It's easy to remove that chromatic aberration. It's also a fast lens, meaning you can capture more photons from your deep sky object in the same amount of total time if you compared it to a slower lens. So it's easier to get a better picture faster with this lens. This lens is fully manual if you get the Canon version. This Nikon version is manual when it comes to focusing here, but it does have electronic aperture control, which is actually pretty handy in a good feature because then it actually will remember what aperture setting you had when you look at the metadata in something like Photoshop or Bridge or Lightroom. So I really like that. My recommended next step up from this lens would be something like a William Optics Redcat 51, which is a small telescope. It's slower than the Rokinon. It's a fixed f 4.9, but it's also better corrected and it has a focal length of 250 millimeters. The reason that I picked the Rokinon over the Redcat was mostly just to keep this kit at $2,000. And I honestly think also that 135 millimeter focal length is a better choice with this Star Tracker. I know that a lot of people have had success with the Redcat on the Star Adventure, but then you may have to add on auto guiding and then you're starting to hit up against the weight limit of the tracker. So I actually went with the Rokinon for a few reasons here beyond just the lower price. Okay, next up we have the camera. And here I'm going with an Astro modified full spectrum Nikon D5300 DSLR. And again, this is considered a great value in astro imaging. The D5300 was never a very expensive DSLR, but it hits above its price point in terms of being a very low noise sensor. It's going to give you really clean astrophotography data. This one was sent to me by Night Sky Camera, which is a great business based out of Vancouver, Canada, that both sells modified cameras and also will modify your camera if you want to send it to them. So thank you so much to Night Sky Camera. And this D5300, they modified full spectrum, meaning it can be used for daytime infrared photography. And for Deep Sky, I find that with the Rokinon at least, I want to keep that increased sensitivity for the emission nebulae, but leaving it open to the infrared makes so many stars visible and also bloats the stars a little bit. So the next piece of this kit that I've added here is a filter, a front-mounted filter here.  So it passes the H-Alpha line associated with those red nebulae, but it blocks the infrared light. So here's a quick comparison without the filter and then with it. And you can see that it does help with keeping the stars from overtaking the image too much, but it's still passing that HA line just fine. Next up, we have the Star Tracker. And I'm suggesting the Tridentru Skywatcher Star Adventurer Pro Pack. This guy is really easy to use. It runs off four double A's or a battery pack. You can control it from the app on your smartphone or just forget the Wi-Fi and use the dial to start it tracking. And while it's not perfect in all its features, I find that it's very reliable for basic tracking, which is what it's really designed to do. And there are different options when buying this tracker, but I'd only consider the Pro Pack because this declination bracket and the counterweight system, they're all essential if you want to use this tracker with a telephoto lens like I am here. And then to go with the Star Adventure, we need a tripod. And I'm suggesting here, just getting a used Monfrotto or Bogan tripod off eBay. These aluminum Monfrotto tripods, they just last forever. They're good and sturdy. They usually don't require any maintenance and they just work. So with a tripod, you don't need any kind of head if you're getting the Star Adventurer Pro Pack because the Star Tracker actually becomes the tripod's head. So you just need the tripod legs and they should have a 3 eighth inch stud at the top. Okay, now we're getting into the smaller things but also important to making the whole kit work smoothly. We have two kinds of storage here for the files. First, we have the SD card and this will go into the camera, of course. And we have a nice large one here, 128 gigabytes so that if we're on a trip, we can go a few nights before having to unload the pictures. Another crucial storage device is an external hard drive. And I'm picking a four terabyte external hard drive. Yes, it is a spinning disc and I know some are probably thinking I should recommend an SSD but you still get a lot more space today in 2022 for $100 if you go with a regular hard drive over a solid state drive. And having lots of storage space is pretty crucial for astrophotography processing because with calibration frames and all these files that we take, hundreds of raw files. And then when you stack, you need even more room for all the intermediate files that get created, like the calibrated files and the debaired and the registered so you just use a lot of space. So that's my recommendation. It's a four terabyte Western Digital Elements USB3 hard drive. It's about a hundred bucks. Another crucial accessory is the headlamp for where you're out in the dark and you need a hands-free light to see what you're doing. This one is by the company Coast. I got turned on to this model by Trevor Jones over on the Astro Backyard YouTube channel and this is the best headlamp I've ever used. It runs a long time on three AAA batteries that are in the back. It has separate switches for white light and red light. And then you can see that it's very adjustable in terms of where you're pointing the light. So it's just where you need it. Then we have the USB powered lens warmer. This is by Koowoo and it plugs right into an anchor battery pack. And what this does is it keeps your lens from fogging up, which will happen whenever there's enough humidity in the air. So if you ever see sort of dew or frost forming when you're out imaging, then you're really going to need to make sure your lens stays clear and this is the best way to do it is to warm your front lens element a little bit. This lens hood does prevent some dew from forming too, but if you're pointing straight up, for instance, then the lens warmer is really gonna be needed. And then next we have a 3D printed Bodnov mask. And this is a focusing aid. I'll show how to use it in this video. You might be able to get one of these printed up for free, like if your local library or if you have a friend that can give you access to a 3D printer. If not, you can just buy them. I got this one on eBay. For 135 millimeter focal length, you'll want a nice fine grid like this for it to work best. This one is a little bit of a tight fit. So I just put it on as gently as I can so then I can take it off quickly too. For flats calibration, it's handy to have some kind of LED panel. So here I have the Huion LED tracing panel and that can also power off the anchor battery pack that we used for the lens warmer.  And this is one of my favorites. This is the Pixel brand wireless intervalometer. So it has a little receiver and a transmitter or remote. And then the receiver just slots right into the hot shoe like that and plugs in. You program the sequence of exposures onto this little remote and hit start. It works really well. Okay, so that's it. That's all the pieces of this kit. And again, the grand total for everything here is right about $2,000 US today in March, 2022. Let's go ahead and get under the night sky and put this kit together and put it to use. Starting with the tripod.  You can extend the legs, but you don't need to extend the center column. Actually, you shouldn't extend the center column because that would make your tripod a lot less stable than just keeping it not extended. Next up, we have the wedge or also called the latitude base. And the one that comes with the Star Adventure Pro Pack is fine. It's not the best out there, but it's good enough. And if you do want to upgrade it though, William Optics makes a nice upgraded equatorial wedge or latitude base. And this is how I keep my wedge stored for travel at the zero degree mark. That makes it most compact. What you can do is just loosen the big thing on the side and then turn this knob right here to set it for your latitude where you are. So I'm imaging at 42 degrees north of the equator. So I'm gonna set it to 42 and then tighten back up the lock here on the side. With that set, we can attach the wedge to the tripod just by twisting it on. You can see there's a 3 eighth inch hole in the bottom there, threaded hole. And you wanna make sure and twist it on nice and tight. Here I'm pointing at, there's a bubble level right there. And what you wanna do is level up the tripod using the tripod legs so that you're at least roughly leveled. It doesn't have to be perfect. Don't spend more than a couple of minutes on leveling, but you do want it sort of roughly leveled and you can just use the bubble level on this latitude base to do that. Next up, we have the actual tracker here, the Star Adventure Notice. I put a piece of Scotch tape over the dial. This is to prevent it from moving during travel and draining the batteries. Some people will take the batteries out, but I don't because it's a pain to put them back in. So I just tape the dial. And that works for keeping it in the off position. Doesn't accidentally go into star tracking like that. On the bottom of the Star Adventure, there is a short vixen dovetail plate here that comes with the kit. So you just wanna make sure to put that on before you leave and put it on nice and tight. There's a little safety screw that goes in the front there too. And then it just slides right onto the saddle on the latitude base and you tighten it up right here. At this point, I like to do a rough polar alignment, just sort of lining up Polaris with the tracker and naked eye, making sure I can see it in the Polar Scope.  And the best time to do this is during Twilight because you can see Polaris naked eye, but before it's so dark that it gets hard to spot Polaris among all the other stars. So I like to do that during Twilight. Just get it roughly aligned like that. And now we're ready to put the declination bracket on. And I just have left my counterweight shaft and counterweight installed on the declination bracket. You can see, but you could also put the bracket on first and then add the shaft and counterweight. It's up to you. And so that just slides into the Vixen clamp on the Star Adventure like this, tighten that up. And one thing I can point out now is that this big plastic black ring here is the RA clutch. So the right ascension clutch. And so I can loosen that up. And you have to loosen that to balance and also to point the camera. And then you would tighten it back up, just finger tight before you start tracking. And then the declination bracket has two ways to move in declination. You have the slow motion control for declination, which is this knob here on the side.  And then finally, there's another little little knob in the center of the declination clutch, and that's for attaching your camera, which we can do right now. Okay, and then with the camera and lens on there, we can go ahead and balance. I'm not gonna bother balancing in deck or declination because it's a lightweight setup. I don't have anything to counterbalance the lens, but that's okay. We can try to get our best balance for right ascension, which is probably the more important one on a tracker. And to do that, I'll just loosen the RA clutch and then just see which side is heavy by seeing if the camera side or the counterweight side falls when I just sort of carefully let go, but I have my hand here as a safety. And it is the camera side. So that means we need to bring the counterweight down on the counterweight shaft a little bit. We'll do that and then check balance. And you can see balance is pretty good, good enough now. So we'll continue on. And the next thing is let's go ahead and get the camera and lens pointed roughly at Orion where we're gonna be imaging. And we'll also, once we get it pointed on Orion's belt, we'll focus with the bottom of mask. Okay, so to focus, I have turned on live view and I've lined up Orion's belt sort of centered on only talk, which is this bright star next to the horse head nebula. And now I'm gonna press the zoom in button on the camera to get closer in on only talk. And I'll center it up in my composition. And with the mask on the front of the camera lens, you can see it makes this pattern. Maybe it's a little hard to see, but what I'm doing is putting the central spike right in the middle of this X pattern by slowly moving the focus ring on the lens here. And I think I've nailed it. So I'm gonna take a short test exposure at high soda check. And then once that's done, we'll zoom in in playback mode and yeah, that looks very good. So you can see this is what it should look like when you're in focus with the bottom of mask on a bright star. That central spike is well centered in the X pattern. So now we have to remember, take the bottom of mask back off, very important to remember that because we have this cutout in the declination bracket, we can pull our line with everything are pretty much ready to go. I don't use the included illuminator, which is a little snap on thing that goes in here because I find it too fiddly. So I just mostly try to pull our line in the twilight hour, which makes it easy. You don't really need a red illuminator. But also sometimes use my headlamp, shining it just a bit off angle to illuminate the reticule if I need. And I do use a Polar Alignment app to show me based on the current time and location where Polaris should be in the circle on the reticule. So if I look at this app, this is Polar Finder Pro on Android. You can also use PSAlign Pro on iOS. It does the same thing. I can see that 140 on the clock is where Polaris should be right now. So then what I do is I just ignore the numbers. When I'm looking at the reticule, I just visualize where Polaris should be on that circle. And that's all you need to do. According to the app, it should be at 140. So I'm gonna put Polaris in that circle at as close to 140 as I can. I find that easy enough. It works well for me at this focal length and taking fairly short exposures. I usually just do 30 second sub exposures and that gets a pretty good exposure level if I use something like ISO 1600. So that's good enough for me. So okay, so we have Polar Alignment all set. Last thing we're gonna do here is just fine tune the composition. Again, we'll turn on live view and just make sure it all is centered upright. And then we can turn on the star tracking, sidereal tracking, and we're ready to start taking pictures. For this session, I did do 30 second exposures at ISO 1600 from a Bordel 4 sky. And I set the lens aperture to F2.8 by turning the aperture ring on the lens. Once you're done taking photos of the night sky, and I always recommend just get as many as you can, it's time to do calibration frames. And instead of showing this, I'm just gonna put up a big text summary here because I feel that whenever I try to explain, I somehow lose track of things or miss things. So I just wanna make sure I get all the information up here for calibration frames and how to take them. And I'll just leave that up here for a little bit so you can absorb all of this. But basically, darks are taken by putting the lens cap on, keeping all the settings the same as your pictures of the night sky. And including the timing. So if we took 30 second exposures of the night sky, we're gonna take 30 second darks, and you wanna do that on the field with the temperature the same as the lights or as the pictures of the night sky, whatever you wanna call them. And then bias frames are just everything the same as the darks except the exposure time. You're gonna make the exposure time as short as possible. So on the Nikon D5300, that's one fourth thousands of a second. And then flats, these are the ones that screw people up the most. They're taken with something like an iPad or a screen or the sky, something that is bright and evenly illuminated. I'm gonna go into a bit more detail on flats here and taking flats with an LED panel, in this case a tracing panel, because it can work well, but it has some quirks that I've discovered that could, and those quirks can be disastrous if you're not careful. If you're taking flats with any kind of screen or LED panel and your exposure is faster than about one 50th, one 60th of a second, you may run into this scenario where your first flat looks perfect, you know, a nice tight histogram here, like just past 50%, that looks like a perfect flat. So then you think, okay, everything's good, you take your flats and it's not till after you calibrate and stack that you realize there's an issue. So let's take the next flat to see what that issue is. And here you can see it, the histogram is all messed up and the reason is, is because there's this big black bar at the top of the frame. That is banding, horizontal banding from the refresh cycle of the power supply that's powering these LEDs. And if your exposure is fast enough, you'll catch these bands every so often, maybe every other flat, maybe every three flats, it depends on how fast your exposure is. But if you leave those banded flats in the stack, you're gonna get big problems. So my suggested solution is, don't change the aperture or the ISO, keep those where they were for the lights, but add diffusion so that you can take a longer flat. And the classic diffusion is a couple layers of white t-shirt. If you don't have that around, you can also use a big stack of white printer paper. There's all kinds of different diffusions, but the main thing is I found that if you can get your flat exposure on a DSLR to around 1 1⁄40 of a second or longer, you're gonna avoid this banding from panels. And the reason it works is because the exposure is long enough that you can't really freeze the motion, I think of that power cycling. Or another way to put it is it just gets sort of blended into the exposure because it's going so fast. And your exposure is long enough that you don't freeze it. So anyways, diffusion makes it so that you can take a longer flat exposure and that's the goal so that you don't get banding in your flats. You want a histogram that's just nice, tight peak around 50% to 70% over from the left. Okay, we're now on a Windows 10 PC. And here is all of my data that I've downloaded from the SD card and organized into four folders, biases, darks, flats and lights. And it has to be this exact naming for the next tool that we're gonna use, which is CRL, S-I-R-I-L. Just to show you, here's all of the bias frames, about 50 or so. There's my darks, again, about 50. There's my flats. I think I only did 20 here. You can see they all look very uniform though. And here's my lights, the actual pictures of Orion. And you can see, I think I took 220 of these. Okay, so I have this all organized. They're all in a folder on the desktop called Orion. And now we can move to CRL. Now, actually, before I show you that, let me just bring it up here in the browser just to show you the website. So it's S-I-R-I-L.org. And to download it, you just click on whichever operating system you use. So Windows, Mac or Linux. And it will download an installer. They're on version 1.0 now, which is the newest stable version, works really well. So let's go ahead and open that up. There we go. CRL 1.0.0. And the first thing that we're gonna do is click on this little home icon up here and tell it that we want our home folder to be the Ryan folder on the desktop. Click open. And then we are going to go to Scripps and we're gonna do one shot color, OSC underscore pre-processing. Don't do this one with Drizzle. Just do this normal OSC underscore pre-processing. It says you're about to use Scripps. Automatic Scripps are easy, blah, blah, blah. You can get more control without Scripps. Okay, I'm gonna say don't show that dialog again and click Run Scripps. And we're off to the races. So it's really that easy with these Scripps.  And it then debares your light frames. That's what's to make them actual color images. It then registers all of your light frames together so it aligns them all based on the star patterns. And it finally, it stacks your light frames, meaning averaging the pixel values, which is the actual process to raise the signal to noise ratio and get you this final, really nice stacked picture. So we'll let this go. I am currently running this on a powerful PC that I built basically just for astro-processing. So it's going to go really fast on my machine here. But if you're working on a slower computer, like a laptop or something, expect this to take much, much longer. It really just depends on the speed of your processor and how many cores you can throw at it and stuff like that. So this is going quite fast. It's already on the registration phase. It's already done all the calibration. But with a laptop and when I was doing, you know, lots of frames, it would usually take hours to finish this whole pre-processing stage here. So it really just depends. But we'll let this go. And when it's all done with this, we should have a final image that we can continue to process. Wow, this computer really is really fast. Total execution time, four minutes to do the whole pre-processing of 220 lights with full calibration. To give you some perspective on my Windows laptop, I think that would take several hours. So, okay, so next you can see it finished, but we don't see anything. That's because we have to now open. So open button in the upper left-hand corner are resulting picture, so result.fit. And over here, you can see it says monochrome preview, but we do see three channels. So three channels means this is a full color image, R, G and B are the three channels. It's a 32-bit floating point image. And the monochrome preview, I don't know why it doesn't, can't show a full color preview, but that's just how it is. And we'll go ahead and click open.  And it doesn't look that good. It might look worse than just a single picture you took. So what's going on here? Well, it hasn't been stretched yet. This is a linear view, and we're also only looking at the red channel. So this is a monochrome view because we're only looking at one of the color channels. So you can see you can switch between the color channels here, or you can get an RGB preview right there by clicking RGB. So now you can see it is in full color. The controls are a little tricky. You, to zoom in, you need to hold down the control key on your keyboard and use your mouse scroll wheel to zoom in or out. And then still holding down control if you can click and drag around the image. So right now it's in this linear state meaning all the data is bunched up. This is what actually raw data looks like to a computer. But usually even when you take raw pictures and open them up in something like Adobe, it stretches them for you. So you're not used to seeing pictures like this. But anyways, if we go down here, you can see right there, it says we're in a linear view in this little button right down here. So let's change it to auto stretch view. Okay, so now we can see a lot more, but why does the picture look green? Well, that's a fairly normal thing with the SLR or one-shot color data. It's just this picks up, you know, all the sky glow and light pollution and there's way more green pixels. So your, your picture, it's very green. But we can now see the horse head here. Let me zoom in on it. There's the horse head and the flame. And there's Orion and the running man. And I want to point out this, this big thing down here only for visualization. So this is a really cool tool. It's really meant for astronomical imaging because we can, this is just a preview. We can turn things off and on and it hasn't actually permanently done anything to our data. It's just a previewing and auto stretch. You can also preview an arc sign stretch, which actually looks even better. Or preview a histogram stretch, which is showing you, you know, if you really just stretched it out to its extremes. So, you know, Orion gets completely blown away there. This is what it would look like. So, let's see, there's different options here. Okay, so anyways, let's go back to, well, I mean, we might as well try them all just to see what they all look like here. Okay. So I think the best looking one is the arc sign stretch. So let's keep it on that. And the next thing that I want to do is subtract out what's called the background gradient. So you can see that down here is, it's brighter than up in this corner. And this was really evident in the auto stretch or the really, really evident in the histogram stretch. You can see that's a light pollution gradient there and a pretty extreme one. Anyways, so we want to even out the field. Okay, and I'm going to open up background extraction. I'm going to turn down the number of samples per line to 10. I'm going to turn up the tolerance because this is a pretty extreme gradient. So I'm going to turn it up to two.  How would I know what to set that to? And it's a good criticism, but the truth is a lot of my processing, I just, it's trial and error. So I'm skipping some of the trial and error in these videos just so they don't turn out to be anything super long. But basically I find that with this tolerance setting, I might have to turn it up if I'm seeing something this extreme, basically is the idea there. Okay, let's go ahead and click Generate.  Try to right-click or click on these samples. It's not going to work in the RGB mode. You have to click on blue, green or red. So I'm going to click on blue. Now if you right-click on a sample, it will delete it. So I'm just going to delete the samples that are on the nebulae or in the dust. Leave the rest. And I'm going to change this to Division for the correction and click Apply. Okay, let's see what that did. Click on the RGB tab and go back to Linear and then go back to Auto Stretch. Seemed to even it out pretty well. Let's try ArcSign. I think it looks pretty good. Okay, so let's close that. And next let's go to Image Processing and go down to Color Calibration, Color Calibration. And I'm going to put a little sample here. So just, oh, again, I always do that. Click on blue, draw out a little box. This is our sample of the background. Click Use Current Selection and let's neutralize that background. Let's look at the RGB again. Yeah, looks pretty good. Okay, I'll apply it. Oh, make a white reference selection. Okay, so let's just take the center of the trapezium there. Use Current Selection, Apply. Take a look. Looks good. Okay, so that's it. We basically just set a black point. That's the background reference and then set a white point. That's the white balance reference. You click that button, then you click that button and you can close it. And so now we have a neutralized background. It's a much flatter field and we've also neutralized the colors. And so what do we do next? Well, next we stretch. So actually stretch. So we've been playing around with these preview stretches. Whoa, that's interesting. Histogram stretch, looks interesting. Now with the auto stretch, you can see we have sort of a dark circle in the middle. That's interesting. Well, it's still looking pretty good and this is a very stretched image. So let's leave that alone. Arc sign stretch isn't really doing exactly what I thought it would, but anyways, let's switch it back to linear. Let's open up Image Processing and go down to Histogram Transformation. And I'm just gonna do a manual stretch here. So I'm gonna take this mid-tones slider and drag it over. Take the shadow slider. Ooh, drag that over a little bit, apply it. And one thing I like about working in serial is you can just keep hitting apply and it doesn't close the window. That's really nice for doing multiple stretches like this. Okay, apply it again. And I'm just doing this same thing over and over. I'm taking the mid-tones slider, moving it to the left, this middle slider. Take the shadow slider, moving that to the right and then applying. You can see the image is really coming alive now and I'm gonna stop there. We could bring it further than this, but that's looking pretty good. You can close this. And if you wanted to just do a very naturalistic kind of processing and only in serial, we could just finish it off in here with a crop and a turning it around. So the poor set is a little bit more naturally looking because right now it feels upside down to me. So let's turn it around first. Let's go to image processing, geometry, rotate. Is that a vertical mirror? Let's see. Yeah, no, that's not right. Geometry, rotation, let's do 180 apply. There we go, okay. And then if we wanted to crop here, because I can see there are some registration artifacts, like if we look down here, see that? That's a registration artifact on there. I don't really see one up there, but probably, oh yeah, over here we have a pretty bad one, see that? Okay, so if we wanna crop in serial, we can just click on the blue channel here, draw out a box, how we want it to be cropped, and then right click inside the box and click crop. Done. Okay, go back to RGB. Let's go ahead and try this remove green noise command. See what that does. Yeah, I like that. Just to show you the before and after with that one. That was before, that's after, so looks good. Okay, so I like what this is doing. I think we're on the right track here. Let's just look at some details. Yeah, this looks nice. I guess I should add if you were just working just in serial here and you wanted the reds to pop a little bit, you could. Go in here and choose pink, red, red, orange, and raise the saturation on those, and it works pretty well. I'm gonna save that for Photoshop though. And I think I'm done in serial, so we're gonna move on from here. We're gonna use StarNet and Photoshop to finish off the image, but you can see that just with serial, you can get pretty far along here in your processing.  No, sorry, not save. I'm gonna go to this one right next to save. Save the current image in a different name. And I'm gonna choose TIFF from here, and I'm gonna save it as a 16-bit TIFF. And this is important for two reasons. One, Photoshop or the next program we're gonna use like 16-bit, but also StarNet, which is really the next program we're gonna use also wants it to be a 16-bit TIFF. So make sure to change it there. Leave compression on none, embed the profile, and click save. Okay, I'm gonna minimize serial here. We can just check in our Orion folder, did it save the TIFF file? Yes it did, there it is. Okay, so, and we could have called this whatever we want, maybe I'll just rename it here. I'm gonna call it stars. Okay, now let's download StarNet, which is a neural network sort of process for removing the stars. If you just go to starnetastro.com, this is where you can download the current version. Go to the download tab, and we're gonna download the graphical user interface for Windows. Now, unfortunately, if you're on Mac or Linux, there is no graphical user interface. You're gonna have to use the command line tool. I have shown that in other videos, but since we're on Windows, let's use the new GUI. This is StarNet version two. It's supposed to work even better than StarNet version one. And so far in my testing, I have found that to be true. It leaves fewer artifacts in the starless image, which is very good. Okay, let's open that up, extract it. Sure, let's move it to the desktop and open it up. Click more info. If you get that, click run anyway. And here we go. So this is the StarNet GUI. Let me get rid of these. And we can just click browse for our input file. I'm gonna click into Orion, choose my stars file. I'm gonna rename the output file starless. And, oh, it has instructions right here. This is nice. Select input file by clicking browse button to just output file name, hit run and hope for the best. Okay, let's do it. And then it has a little console here. It tells you how far along it is. You can see, again, because I have a fast computer processor here, this is going pretty fast. If you're on a slower computer, you can expect this to maybe take, you know, half an hour at the most. For my computer, it'll probably take under a minute. Okay, it's done. So you can close out of that, let's check it. And there's our starless image. And you can see it did a pretty good job of removing the stars. It left maybe just a little bit of an artifact there around Alnitok and this star, I think that's a star, but it didn't mess up that reflection nebula there. Did a really nice job in Orion here. You can see all the dust. And if you're new to my channel, the reason that we do this step, as you'll see in a moment, it helps us bring out all of this crazy dust in the image when we combine it with this star's image. You can see that all that crazy dust is a little bit harder to see. By working with this starless image, we're gonna be able to bring out some of this stuff that we've captured a lot better. And I have had people, you know, comment, well, why would you wanna bring out this dust? And it's a, you know, it's a fair question. Some people don't wanna see all that brown dust. They maybe just wanna focus on the horse head. So this is an optional step. You don't have to do it, but if you just really wanna see everything that's there in your image, including all of the dust in Orion, this is a way to do it. Okay, so next up, let's open up Photoshop and click Open. Go to the desktop, Orion, and we're gonna open up both the starless and the star's image. Click Open. There we go. So I'm gonna take this star's image, press Control A to select all, Control C to copy everything, and then Control V to paste it as a layer on top of the starless. So, and then I'm just gonna rename these, I'll rename this one starless and rename this one stars. And then just to get a quick idea, and then just to get a quick idea of how this is gonna work with this star's image, right now it's just covering up the starless image, right? But if we change this from normal to a screen blend, now what's happening is it's basically brightening up the mid tones while not blowing out the highlights. So the stars didn't get any bigger, but it's bringing in all the mid tones from this layer below. It also does erase the darkest parts of the image quite a bit. So if we looked at a histogram, you can see there's now plenty of separation over here from the left edge. And so what I usually do next is I add a curves adjustment layer and just get rid of that separation. So it's resetting the black level, okay? But let's compare this now to just our star's image and you can see it did bring some life into the image, right? Because we get more of this sort of 3D feel with all this dust here. But it also has the downside of bringing out some of the inherent problems in the image. There's a weird unevenness where this central part looks darker and the edges look brighter. I'm not sure why that is. Maybe it's in a flat tissue or I don't know what happened there, but we can fix that in Photoshop. So I'm going to add another curves adjustment layer. And with this one, I'm just going to be looking out here at the edge and I'm going to darken that edge stuff down like this.  You've added all this contrast, but my main goal here is actually to even this out. So what I'm gonna do is I'm going to add a mask to this curves layer. So you can see right now that curves layer is just applying to everything in the image. That's what this layer mask being a whole light means. But I want to add a circular gradient. So I'm going to go over here to my gradient tool. It's actually already on the circular gradient, but normally it starts out on linear gradient and you have to change it to radial. And I just want the most basic of gradients, which is black to white. We want the center to be black. That's where we don't want the curves not to apply. We want it to apply to everything out here. So I'm just going to draw out from the center almost. Let's try again, draw it from the center this way. There, okay. I think that looks pretty good. Now, I'm not sure if up here, I think that might be actual sort of bluish dust. It's hard to tell sometimes with Orion what is an issue and what is actual signal. I think that we went a little bit too far now with this part of the picture being too bright. So I'm just going to, let me just turn that off and on. Oh, no, it just didn't affect it at all. But now I see there's a little bit of a hotspot right there. So I'm just going to take a really soft brush and paint in white right there. Okay, so what I just did, let me show you too on the mask, is that. So now we've just basically painted in a very dim ring of black with this curve. But there's the effect. We've gotten rid of a lot of that weird unevenness in the field. Okay, what else is there to do? So one thing is Orion is getting a little blown out right there. So I'm actually going to duplicate this stars layer. That makes it look even worse at first. I'm going to put this on top. I'm going to change it to back to normal. And I'm going to add a layer mask. I'm going to make that layer mask black, meaning nothing in the image this layer is showing. So you can just do edit fill with black. Okay, so now we're back to this layer is doing nothing, right? But I'm going to call this Orion core repair. And I'm going to paint in white on Orion here with a nice soft brush sent to a lower opacity, maybe I'll do 50%. Okay, I'm going to make sure that I have the mask selected over here on the layers panel. Zoom in a little bit, control plus. And watch that, that was the first click before, after, before, after. And we can keep going. I'm just going to click a couple more times. Okay, and now let's look at the before and after of just what we did here. I'm going to turn the layer off and on. That's before, that's after, right? So we've recovered a lot of the highlight detail. And the way we did it again is just by duplicating the stars layer and then putting on a layer mask, filling it with black and then just putting in this white area that we want to show through. Okay, next thing I want to do is play around a little bit with color of the nebulae. And so I'm going to do that on the starless layer. So I'm going to click starless. I'm going to go to adjustments. I'm going to go to selective color. And you can see just by playing around here with the selective color, I can make sort of some of the reds pop. I'm just removing cyan from red. You can also add a little bit of magenta. Okay, before and after, you can just see it really helps make the horse head nebulae area pop. You can also try adding a saturation adjustment. Just adding a little bit of saturation to the starless. Here's the difference there. And if I want to just add a little bit of saturation maybe to the stars as well, let me try this. I'm going to do a select by color range. I'm just going to click on a few of the stars, holding down shift, do a little bit. Okay, and then let's increase the fuzziness a little bit. Let's see what this looks like. Yeah, it's looking pretty good. Click okay. Okay, you can see it selected most of the stars. Let's fuzzy up that selection a little bit. So we're going to go to select, modify, just expand it by two pixels and then let's feather it by two pixels. Now with all these stars selected and the feathering just makes it a slightly softer selection. Let's go to adjustments. I'm now back on the top layer. Click on saturation and let's increase the saturation. See, whoa, that's really cooking it. But it's interesting, it's like you really don't see a huge amount of change until you get to about 50 and then anything over 50 and it just goes insane. But if you really want to push saturation, I think maybe like plus 40 here looks pretty good. And then we can turn it off and on. It's subtle when you're zoomed out like this but let's zoom in and make sure it still looks good. Here's before and after, before, after. Okay, so yeah, it's pretty subtle but I can see a change at least. It's making the flame come alive a little bit and the star color is more evident. Okay, I think we're basically done. The only last thing here is there's a lot of weird stuff on this edge, so I'm going to crop that out. Okay, so let's go to the crop tool. I had it on 16 by nine before, that's sort of cool. We could do that but then we're cutting out M78 to the reflection nebula down there unless we just moved this crop box down. So that's a pretty cool crop but you can also just not have it set to a specific crop. We could just do ratio clear and you can set it to whatever you want. So that looks pretty good too. Maybe I'll try to put all-nitok right on that third line. This little bit of Barnard's loop is sort of distracting. I don't think that really adds much to the image. Get rid of that.  Okay, let's hit enter. For some reason that didn't work, let's hit check. Okay, that cropped it. Okay, and I think we're done. I don't know if this looks exactly like the thumbnail, you know, the final image that I did before when I was making the thumbnail for the video but I think it looks pretty good and this was all done with just Cyril, S-I-R-I-L and Photoshop. You know, another program I use is Pixinsight. That's very powerful too but I think you can do a lot with just these two programs. If you ever have an issue with stacking in Cyril, if you're on Windows you can, you also have the option of a free program called Deep Sky Stacker so you could stack in here, then open your resulting TIFF file into Cyril to get all of these great image processing commands and then I like finishing off in Photoshop just so I can use a layers panel. So if you wanna try to make the image better, I'll share all this data. You can feel free to play around with it. Until next time, this has been Nico Carver from NebulaFotos.com. Clear skies.


The makers of Wrigley's Spear Mint chewing gum invite you to enjoy life life with Luigi a comedy show created by Sinehart directed by Mack Benoff and starring a celebrated actor. Mr. J. Carol Nash with Alan Reed as Pasquale Friends the makers of Wrigley's Spear Mint chewing gum are glad to bring you life with Luigi because they feel it's a friendly good natured show That offers you relaxation and enjoyment and you know Wrigley's Spear Mint chewing gum offers you relaxation and enjoyment too It's pleasant to chew on a smooth piece of Wrigley's Spear Mint whether you're working Shopping listening to your radio or doing just about anything Wrigley's Spear Mint gum tastes good. It's refreshing and the good easy chewing gives you comfort and satisfaction Now Wrigley's Spear Mint chewing gum brings you Luigi as he writes another letter describing his adventures in America to his mama Vasco in Italy Mommy Country how we all thought there was a goal in the streets in America. Well, it's a nut through I'm here three years and how the only goal I'm a see is what a pasquale is to put his teeth in a glass You see right now in America. They got to what's it called in inflation Which is got to do with a dollar to explain to you short the mom Amir in inflation means money is a good But a lamb chops is a better In America today if you walk in a market with one dollar even a potatoes is a laugh at you About the milk if I was to bring Uncle Pietro's a goat to America She would get so rich she could give milk only on a Monday's and sleep for late for the rest of the week Meanwhile, I'm happy with my antique of business and and I make just enough money to keep the wolf away from at the door Oh, I'm a talk too quick. Here comes the wolf and now We do you're looking fire beautiful fact, I never saw you look at it's a good Scali something is wrong. Why cuz I say you look so good. When are you gracing me up like that?  It looks such a nice fresh garden.  Because I love you a little banana. No Luigi couldn't you take the love that you got it for me in a transparent to my nearest to live in a relative You mean a rush I don't mean X's avi a kugatz That's why I'm in America over three years and now all I'm a keeper here now every day is a rush a rush a rush and a more Rush, I'm a startin not to like it. You're right. The Luigi. I'm gonna change your name at the Sam Now look, we all want to something out of life everybody.  Hi. Thank you, my squali Well, I want the peace and enough for money to eat to pay my rent to buy fuel of the things In other words the past colleague. I want everything you get free in this democratic country That's a fine a rose who wants to the same of things.  Oh, no hard feelings Luigi. That's a good Now get ready to move out of the store tomorrow and leave a town of a good I hate to face the ungrateful Luigi. I'm gonna once and for all a jackal up for your hide What are you talking about the biggest get that's free is ever hitting you Luigi That's why you landlady's getting ready to sell this a whole building the next week to a furniture dealer, but I never missed a month my How possible are you gonna sell it the antique shop? That's all right the money for me $20,000 for this to build it and I just decided to take it You know, but it was quality of this a monthly buys the building is it gonna throw me out? I'm gonna have a no business and I'm I'm gonna style it to that Luigi. You see this ear. I'm a point to the tool Yes, that's my deaf ear. Now if you want to get a quick action to talk into the right ear That's the one I keep a list of the future son-in-law I didn't hear a word. You said I'm gonna write I'm gonna not to my night to school up a squali I'm better say goodbye to all of my friends in there So long so long And the good riddance I'm gonna teach that a pup squeak once and for all you can lead a horse with the water But if you don't marry you're true with a pasquale On the one back at school Quiet class. How's all the roll? Mr. Vasco here. Mr. Howard. Yeah, Mr. Olson. Hey, Mr. Schult. Last stop everybody Be happy Please mr. Schult now class today. I asked you to learn some new spelling words So let's see how smart you are who will volunteer to spell the word in subordination Well, who will volunteer? Mr. Schultz if you're volunteering just raise one hand not two who's volunteering I'm giving up Come now class won't somebody try in subordination Remember what I once told you if a word seems too difficult try breaking it up. That's what you can't break up You gotta smash it to pieces Mr. Schultz since you insist on talking out of turn, we'll let you spell the words all right W-o-r-t what I? meant in subordination In support the nation this I I Oh, that's very good, Mr. Schultz. Don't be so modest now mr. Vasco Wake up mr. Vasco the spell the word receive please Come now. What is this spelling rule involved in that word? Mr. Olson you tell him I would be happy to In such words the general rule is I before eexcept after C Now I could give a few dozen exceptions to the rule miss balding or Do you think that may confuse them? Olson, I get for sure just listening to you Quiet please mr.  Vasco, you're not even trying the correct spelling is re ceiv e. Do you know the word now? Yeah, the word is a Murphy Miss balding something's wrong with Luigi. What's the matter mr. Vasco a headache? No, no, it's it's a bus quality He's he's gonna sell a whole a building with the antique a shopper to some furniture man. Mr. Mr. Murphy Jiminy that first call is your son on mitigated 14 karat yurk Baskerv why is he doing this? Do you know Russia? I thought so that first call is got a real single-track mind Yeah, and he's gonna keep on having that single-track mind till he marries off his caboose Mr. Baskerv you do have a serious problem. I wish there was some way I could help you My Lou Viji you got nothing to worry about you just go into another business That's all. Yeah, but like like like what this year's well, you could be a butcher.  I can help you with your problem. All right, and thank you miss buzzing good night Lou Viji And if there's anything I can do, please call on me me to love each account on me for anything Thanks. Thanks. Awesome. How do which that's good and any verse comes to us Luigi You could always work with me in my delicatessen sure you could stand and watch my cash register. I don't trust myself lately Mr. Baskerv you should be heartened at the way your classmates were so eager to help you out I'm appreciate the very much miss Pauling but but for me it's too big a problem when I'm losing take a shop But what I'm gonna do for a living is to basket. Oh, you're in America now You can be anything you want to be and do anything you want to do Yeah, but but where I'm gonna go to find another business. Well, I've been thinking mr. Baskerv I know a man who might be able to find you some other business His name is Duffy Lane and he's a business broker. Well, I'm gonna need a hammer for my business is already broke Understand a business broker is a man who can offer you a large variety of businesses and you can make your selection. Oh, well Hat the sounds are good at miss Pauling. Hey, you give him a big hope You must learn to have more confidence in yourself. Mr. Baskerv whenever you feel discouraged I want you to repeat to yourself these lines from a famous poem.  I am the master of my fate. I'm the captain of my soul I'm a feel about it already. There you see. I'm a spotting. I'm gonna see there's a business a broker, mr. Lane I'm gonna find a new business and if that's no good. I'm gonna try try and it's right again Hello, Pascalee.  I'm with the captain of my soul Well, what do you know? Mr. Shrimp boats are nineteen or fifty Hello, it's about to lose his business and be kicked out of the street. Do you sound pretty happy? Oh, no, I'm not a Pascalee. I'm a got a big confidence in myself a Pascalee. I'm with the captain ever All right.  Pascalee, I'm the master of my fate. Not the fact You want to know money here look at this account. Let me see Duffy Lane a business a broker Austin 4 6 5 5 7 That's right. I'm just I had to talk with him and he's gonna find me new business Yeah, to talk with him. He's gonna find you new business.  I'm with the captain of my soul. Well, watch out. You don't get a shipwreck One of these are going on a shipbuilding a business In a way, I'd better put a stop to this before my little pigeon flies out of the coop. Let me see that broke is a card I'm a rookie girl brother. He's a rookie girl. He's before for this report for this report Hello, hello out to the Duffy Lane a business a broker. Hey good I'm a very good friend of a new customer yours and Luigi Bosco I'm surprised you promise him you're gonna find him a new business Well, you see he's had a ten different business in the last three years always a fall apart Why I'm glad you asked me that it's because of his a hobby Yeah, what's his hobby? Raising a termites Before we return to life with Luigi, here's a suggestion you'll find helpful during a busy day From time to time chew delicious Wrigley spear mint gum Take a stick whenever your mouth feels dry or when you feel a bit down and you need a little lift You'll find that lively Wrigley spear mint flavor refreshing and the good smooth chewing goes right along with whatever you're doing It sort of helps you feel relaxed and satisfied Make sure work and other activities go smoother and pleasanter and the best part of it is you can chew and enjoy a stick of Wrigley spear mint Gum just about any time and any place. It's easy to carry with you. It's always handy So remember to get some Wrigley spear mint chewing gum next time you go to the store. That's Wrigley spear mint healthful refreshing delicious Now let's turn to page two of Luigi Basko's letter to his mother in Italy Well, I'm here. I'm a candidate a good denuzza because something bad is a happen I don't know why but what I'm going to see my business a broker is a push me out the lock of the door and a spray me with the DDT Just me where he says he's gonna want to see me But worst part of all mr. Murphy the furniture manager coming to buy this a building tonight and and I'm gonna be thrown out They're here, too Everything is a look of black till the Schultz is walking Luigi my fellow cooper. Ah, look at that long puss Schultz Let's go.  So what smile Luigi remember what they say in the clothing business behind every gray suit There's a silver lining Yeah, but but it shows One you know how bad I'm a feel about the losing the antique business well Well, is it just impossible to smile Luigi sometimes we got to smile to keep from crying. Yeah, but it shows what I'm gonna do I'm I'm all mixed up. Well, Luigi the way I see it.  Oh You know what I'm gonna buy a hundred There is a turn choice you could find yourself a job job for sure You know that thing people do in their spare time between nine and five just to keep alive Great Luigi into my head an idea just pooped Well, what one of my best customers Mrs. Charlie car is the wife of the personnel manager of the atmosphere place I'm gonna talk to missus car right away and in one hour you got a job Yeah, but it shows how you know missus car is it gonna try listen a woman's got to be nice to two men in her life her husband and her butcher Missus car there still if use me the next time she orders me in a schnitzel's she gets less wiener and more What what a big factory Still Americans are they very smart who else you could have figured out how to get a bigger things like a stealer from a little things You like a planting Any country that can have figured out how to push you the salmon in the can without opening it up, but can I do anything?  Thank you. Thank you, mr. Personnel a manager. He's a little present. I'm a brother you from from mr. Schultz. Thank you Hmm must be about 20 Frank fritters in this bag. No, I say it's 18 because I'm I had lunch I Just put them in my desk one of the cold drawers now then let me fill out a card for you your name Address anyone or not the honest that is great zone safety Yeah, sure right outside of my son is a safety zone. Oh Well, we can fill the rest in later now, mr. Basko Steel would like to fit you into the job you're best suited for now What have you had the most experience in most experience and I had an antics Oh, mr. Basko when you're not around antiques. What do you do? I'm a like to sit and read Good. Good. Then what do you read about antics? Mr. Basko the type of work we offer is arc welding spot welding high pressure metal plating operating a drill press and handling a Bessemer type foundry ever do any work with your hands? Oh sure in Italy. I'm a milk at the cow All you did. Oh, no, no, no, I'm I'm also milk at the gut Oh, mr. Basko is is is a nice in Italy. I'm milk at the cow. I'm milk at the gut I'm afraid the pigs and and take care of the little chickens You know, I'm gonna one the favorite the chicken. Her name is Josephine And you're not gonna believe this but she's used to lay 10 eggs in a one day Can a yeah, yeah, we used to sing her little song And every time she's a everything she's a drop everything Oh, well for sure in a bigger place like this must have at least the one the cow we have a coke machine We have a coke machine. I mean how you squeeze the cow in that Well, mr. Basko fortunately, we have a lot of war contract work and we do need help I'll give you a note to one of our foreman. He'll put you somewhere. Oh, thank you, mr. Cat and thank you so much. I'm gonna plant the so much you steal it. You're gonna be very proud of me Basko, gotta be careful around those swinging cranes. Well, there's a plenty hot in here to have mr. Farman. Well, what'd you expect? At Bessemer furnace over there throws three tons of white hot coal into that burning cauldron Out of which pours thousands of ton of molten steel and this is pressured to 5000 degrees Fahrenheit Think you can handle it Basko. Please where do you keep the cow? What Look, do you think you can handle at Bessemer furnace? And I don't know you think I can it's easy just don't get too close or it's curtains for you Please remember you put me in a curtain apartment now Come here Basko, I want to show you the next step That red hot steel you see over there is cooled down from 5000 degrees to 40 below zero by the super cooling action Of 500 icy drafts blowing jets of freezing air up and down Mama, that reminds me what I'm gonna forget to defrost my icebox And now over here is the end product of the whole operation.   No Now come on with me. I'll turn you over to the superintendent Mama me. I'm going down. He's just turning me over to the janitor Hey, Basko move we got to get started. Yeah, sure. Sure. What am I doing faster? Punch that time clock. Huh?   Look this drill press punches 300 holes every hour. You see you just slip this metal sheet in the press like this Go ahead do it. I had to push a little shorter. Show me. All right. Okay. Now tighten the bolt.  All right, man. Don't stand on a watch. Let's go Let's get this whistle Basko Okay, boys take 30. Hey, Basko. What are you doing so close to that blast furnace? What? What are you doing so close to that blast furnace? I'm just gonna touch a little bit of bread Get away from there Okay, boys get back on the job. Let's go I'm not even it's a make a little sandwich I'm not can do this. I'm all mixed up. Look out Basko watch out for that swinging crane Yeah, you're right.  Is that a Yulu agent?  That's why it's a long story. I'm I'm I had a job of making iron in the pigs First I'm I'm I'm almost a cook to buy hot the furnace And I'm a pushing in the freezer almost a freezer that that the noises are hitting me and I had all the time Like a thousand hammers.  Tell me my big away Jonah. How much money you make it today? I don't know First that they got a social security state of tax and come a tax unemployment insurance accident insurance a union of those I think I owe them a 10 cents I'm a look at that. What a big stoop for the green hall to move. Let's go ahead. Be careful. What are you calling me? I'm a protected by John L. Lewis Talking a very brave before a little man was just about to be kicked out on the street Let's go honey. Yes, Luigi I'm gonna marry Russian I'm gonna give up Luigi, you said it you said the words are one hair Now you can be a good a captain. You marry my ship Oh, wait a minute.  Besqually Oh, hello, mr. Bifer you coming to close the deal for the furniture store, right? No, the deal is off, mr. Besqually off for why what's up? I saw my business broken mr. Lane today And he told me someone gave him a tip over the telephone that this building is unsafe I'm the same. That's right. It's got termites. I'm sorry, mr Hey, wait, mr. Besqually, I don't want to call it up.  I'm a good termites, Luigi. You heard of what I told him.  You promised to marry Rosa. Don't believe me, Besqually. I'm a bigger liar Friends the makers of Wrigley spearman chewing gum hope you enjoyed tonight's episode of life with Luigi And they want to remind you that Wrigley spearman gum is a refreshing delicious treat You can enjoy just about any time and any place Whether you're walking driving working or just sitting around at home You can slip a stick of Wrigley spearman into your mouth and enjoy some pleasant chewing Remember to chewing Wrigley spearman gum freshens your taste and sweetens your breath So it's a good idea to chew a few sticks every day as millions of people do Keep a package of Wrigley spearman handy wherever you go That's Wrigley spearman chewing gum the refreshing treat that costs so little tastes so good And lasts so long The makers of Wrigley spearman chewing gum invite you to be sure to listen next week at this time when Luigi basco writes another letter to his Mama basco in italy life with luigi is a scy-howard production pat burton is associate producer The script is written by mac bennoff and lou dermann and directed by mr. bennoff Jay carol nash is starred as luigi basco with alan reed as for quale Jody gobert as rosa mary ship as this folding gopore tails furrowich and kim teeter as olfie The music is on the direction of lub gluston. This is charles lyon. This is a cbs radio network


Okay we've just arrived, we've just arrived at the port and we already spotted a giant sea lion just here. Hi I'm Lavi and I'm Oli and this is our hero Bumblebee. Together we are attempting a Guinness World Record to become the youngest pair to circumnavigate the globe by motorcycle. Join us for season 3 here in South America. Okay ready? And back. Woohoo downhill. Oh god. Awesome yep that'll do. Rock and roll. Good morning world, welcome back to the channel. It's day number 231 on our circumnavigation around the globe by motorcycle. We're here in the town of Maldonado in Uruguay. Today we are heading to the capital city Montevideo. Let's take out the next capital. But before we hit the big city we're going to be checking out a couple of spots along the way along Uruguay's coastline starting with a crazy bridge and then the resort town of Punta del Este where they have apparently sea lions, a massive colony of sea lions. And then we'll be making our way along the coast to Montevideo. We'll be going checking out the place, going through and then finding a nice wild camp on the other side. Yeah so a pretty exciting day ahead. We have about 120 miles, about three and a half hours riding for us probably more like five or six hours riding so better hit the road let's go. It's a beautiful sunny day in Maldonado. It's like a different world to the two first days we had in the country I tell you. Oh no. Definitely. Look at this massive sand dune here next to us, pretty cool. Here we are at our first point of interest. Look at these crazy bridges. Wow. And look at the size of this Uruguayan flag in this roundabout, amazing. So this bridge is called the Lionel Vera Bridge. Look at this. Wow. How weird is that? That's some other kind, hey? Wow. Okay wait I'm going to go around and ride the other one. So this bridge was built in 1965 by a guy called Lionel Vera and actually he had never done any architecture or civil engineering projects before and he just came up with this really really cool design for a bridge, wait hold on. But actually this bridge is made with cables that are suspended on these two points and then what he did is he laid concrete on top of the cables and he stressed the cables with sandbags weighing them down and then concreted over the top and then took off the sandbags so that the bridge sort of pops slightly back up and compresses the whole thing together and it was such an ingenious design that he became really famous afterwards and the town Maldonado actually commissioned him to build the second one so he then built both bridges next to each other here over the Maldonado Creek and in the end he came up with just a really really cool design for a bridge and it's really fun to ride on. Yes absolutely incredible the design is so genius really. So there we go whilst we were here in town we thought we would just show you guys that crazy bridge. Super crazy bridge. So now we're just coming into the city Punta del Este and look at this up ahead. High risers baby. Yeah this is like Miami or something Punta del Este actually just started as a normal small coastal town but it soon became like internationally famous as a resort town, jet setter town, celebrities came here. This town normally has a population of about 12,500 people but in the high season you won't believe it more than 400,000 people coming here to visit. That's absolutely insane wow look at these buildings here. Yeah some luxury, luxury condos here. Wow but there's something about this city that interests us a lot more than these buildings and that is the second largest colony of sea lions in the world reside just off the coast so we'll be heading over to the port and we'll see if we can find some. Look at this, there's a giant hand sculpture, awesome. So we're coming up to the port here, oh Rolls Royce. It looks like a really really rich area here, oh yes yeah I think there's some big big mega yachts down here, okay keep an eye out and let me know if you see any sea lions. Hmm where can I ride, there's a car going down there, I think I can ride down there. Okay maybe we could just park up here for a moment. Yeah that's a good idea let's just stop here, okay okay we've just arrived, we've just arrived at the port and we already spotted a giant sea lion just here and this guy was massive, oh I can see his tail, whoa no way, oh it's massive, oh my goodness we just got to wait for him to come out, there's two. This is the reason the guys are here, look at these guys processing all the fish and I think the sea lions are loving that. I think the seers are not very happy that the humans stealing the fish from them.  It's really hard as a vegetarian.  Whoa, beautiful, wow what a place, awesome, wow that was so cool that we could just ride straight up to this area and then it's like oh sea lions in front, yes, how incredible, what an amazing experience, I can't believe it, how big their world is at sea lions, massive, yeah I thought they were just the same like seals originally you know, I thought they were just going to be seals here but then when we saw this massive guy coming up out of the water and we're like oh my god they are much bigger than seals like three meters long I think that guy was, yeah it's incredible and you're like scared and excited at the same time you know, yeah and actually just off the coast of this city there's an island on this island is the world's second largest colony of sea lions, there are 200,000 of them, wow and this island is just a few kilometers off the coast here, wow that's absolutely incredible, no wonder some of the sea lions are a little bit lazy and just hang around the port hey, yes, lazy fat ones, yeah exactly, just going to fuel up before we leave town, the very expensive petrol station here in Uruguay, yeah what's the price per liter for super 74, that's about one pound fifty per liter, so yeah quite a hike up from Brazil, yeah, buenos dias, uh super, uh complete uh full, um we forgot the word no, we were practicing it so much, only spanish full, yes cheno, cheno, yes cheno, we're gonna be making our way now along the coast towards Uruguay's capital, Montevideo, so we're having some bread rolls and some cheese and yesterday I cooked up some lentils, very nice german style lentils soup with some potatoes, some carrots, some onion, garlic, there's not much going on on this road between Punda del Este and Montevideo, hey, not really, it's pretty much just a straight line, yeah it's following the coast but um just like most coast roads we've been on, it's still a few kilometers from the actual coast so we can just about see over there behind the tree line where the actual coast is, but yeah from here you can't really see too much, so it's basically just cruise control at 50 in a straight line, it's all good, got a payage here, but the cool thing about these payages in Uruguay is that they're free for motos, yes, so we have our own little special lane here, motos, that's really really cool, thank you Uruguay, it'll give you a little obstacle course to go through and that's it, you're through, we have arrived in Uruguay's capital city Montevideo, this city actually has a population of 1.3 million people which is one third of the entire country's population, 2 million in the greater area which is crazy for such a small country, yeah absolutely, but you can see why people want to live here because it's just a great city, a great place, yeah it's consistently ranked the best quality of life of any city in South America, how crazy is that, hey, but it's funny actually because no one actually knows exactly where the name Montevideo comes from, so everyone agrees on Monte, it means mountain or mount or hill, but the video part there's like lots of different theories from different like historians and stuff as to what the video part actually means, the most common theory is that when the first Portuguese sailors came past this area, one of the Portuguese sailors, he saw the main hill next to the city and said Montevideo, like I see a mountain there, so Montevideo, apparently, yeah it seems like a good idea definitely, it seems quite a legitimate guess but there's lots of other ideas so nobody really knows for sure, interesting, so lucky for us there's actually this road which is called Rambla and this coast road just snakes its way all the way around the city, we can just sort of have really nice views here along the coast, yeah it's a good way to pass through the city, snaking our way along the coast, hey this is the best way to see it, well this city is just one long ocean avenue, it just goes bay after bay after bay, so it looks like we're coming into the central area of the city, so now we're just going to take a little excursion inland into the city to the very very heart, a place called plus the independence, it is not very busy here, it's nice, I can't believe it, we're like really in the heart of the city now and it feels like a sunday, feels like a sunday on a saturday, yeah look at this streets empty, amazing, and here we are plus the independence, oh look at that, wow awesome, this is called Palacio Salvo, this building, the Salvo Palace and it was built in 1928 by an italian architect and inside here is the tango museum of Montevideo, when this building was built it was the tallest building in south america 100 meter tall, yeah amazing, that's pretty much the most famous building here in Montevideo, I'm just going to go around the square again so we can get a better look, yeah there's like no one here, we can just go around and around the square as much as we want, amazing, I mean how different is this to plus the independence in Dakar, it is busy and hard, it's busy and hard here in Senegal, it's day and night, day and night eh, yeah this is like my favorite capital city to ride in so far, wow there it is Palacio Salvo, that's awesome, look at that, it's so pretty, do people live in there, yeah I mean they originally built it to be a hotel but it never actually happened now it's a mix of offices, apartments, it's a bit of a mishmash of stuff, wow okay very cool, so we're just heading out of the other side of Montevideo, we just passed this like massive port area, the less beautiful side of the big cities and now we're heading to Cerro Montevideo which is the hill that the Portuguese sailors that he saw and he said Montevideo, well that's the monte that we're going to go and check out now, that's it over there and there should be a sign that says Montevideo, a bit like Hollywood, we're climbing up, climbing up the mountain of Montevideo, so it's not a very big hill and I think we're nearing the top already and there's like a fort on top, that's cool, oh look you can see the whole city already, yeah awesome, we didn't climb up very high but already the whole city in front and somewhere here should be, ah there it is, the Montevideo sign, cool Montevideo and the whole city behind, that's cool, cool, what a nice city view hey, very very pretty, nice we've got big ocean views here as well very cool, look at that and it's so green in between as well, you have a lot of trees around it's really cool, so there you go Montevideo from the top of Cerro Montevideo so now we'll be making our way back down from the heights of this great mountain we'll be making our way over to a camp that we've seen on iOverlander, a free camp probably take us about an hour and it's already getting quite late in the day, hey yes, half past five already, whoa goodbye Montevideo, bye bye, it was a really nice visit, very awesome city, so it looks like we're getting up to the area where we're going to be camping and you've got the ocean right in front, very cool, awesome, wow, so it says we still got to go half a mile up here but it already looks pretty good for camping hey, yeah, wow pretty nice area here, yeah it looks epic, yeah it's just like these beautiful nice spaces in between the trees with the ocean view, amazing, okay there's a little track here, let's go down this little track let's see how it is, it looks pretty good, oh it's another little road, wow, look at that, it's amazing it's just like there's nothing, it's just the trees and the ocean, that's pretty cool, how about this part in between the trees, okay, this looks quite big open and flat doesn't it, yeah okay let's just park up here yeah, yep, perfect, well you can't get better than that hey, nice, let's set it up we made it, happy and alive, this is an amazing camping spot, look at our view in front, it's nothing but ocean, forest behind, a space for bumblebee and the tent, that's awesome, amazing stuff, amazing stuff, so it was a ride of two cities, Punta del Este, Montevideo and I really enjoyed both of those places, yeah wow it was absolutely amazing to see the sea lions, how crazy is that hey, wow, yeah they were absolutely massive and they were right there at the port and we could just park up bumblebee walk on over and be like hey sea lions what's up, awesome and then Montevideo was not as busy as I expected by far, we've had some crazy experiences going through capital cities so far on this trip so this was actually a very tame very nice capital city trip, it went really smoothly, so we did at the end 160 miles which is about 250 kilometers and that's it from us today, we hope you enjoyed the episode, if so please give us a thumbs up, subscribe to the channel, share the video with your friends and family, comment below and we will see you next time, so we're having for dinner a boiled potato, I boiled the potato this morning with some fresh cut onion and a little bit salt on top, I think that should be quite nice and then we have as a main, I've got the important job of water filtering, not a bad spot here, not a bad restaurant, hey?


The Health Secretary in Nigeria has gotten yet another boost with the unveiling of the postgraduate medical career center in Lagos State. Speaking during the unveiling, the Chief Executive Officer of Tri-State Medical Care Center, Professor Kamar Adelike, said the initiative aims to combat the JAPA syndrome, currently plaguing the health care system in the country. Professor Adelike explained that the center will offer medical diploma courses providing resident doctors with the opportunity to practice and learn within Nigeria. He took the president of the National Postgraduate Medical College of Nigeria, Professor Pita Ebyegwe, and other members of the medical team around the cutting-edge cut lab equipment and other state-of-the-art machines utilized for heart treatment. While commanding Professor Adelike for the initiative, the president of the National Postgraduate Medical College of Nigeria, Professor Ebyegwe highlighted challenges faced by health care facilities in Nigeria. He was particular about the impact of the rising dollar in cost of medical equipment and the absence of subsidies for customs clearance on imported medical equipment. They praised the commitment, Professor Pita Ebyegwe, that the they praised the commitment of Professor Adelike to a comprehensive health care system in Nigeria where even the most vulnerable, including the economically disadvantaged, received quality health care service.


We are back to piggy chapter 8 as you can see and it is the carnival my god I wonder what happened to bunny after we left here behind and the in the train you better be ready mr. P. Oh my god, what is it mr. P's carnival. I'm coming for you Why is mr. P like the face of the carnival I Don't know man. This is raising a lot of questions about mind. I'm gonna go ahead and say okay So this place looks neat. Oh, we need a water gun to shoot that okay, so let's hurry up, but before Piggy wakes up. Oh look. They got a ferris wheel It's a pretty neat map Okay, oh a purple key Can we can only use this key to protect ourselves so let's go look for the weapon or something? Let's check in here There's a vending machine Piggy has woken up dude. Foxy's locked up. Oh my god. Piggy's right there Do not open the monster inside. Yeah, I can clearly see My god, all right, let's get out of here. He's dressed like a clown He has a clown face. Oh, no. Piggy just got someone. Oh look. There's a door right here I mean, let's get them. Let's get this lock. I mean this key for the blue lock Okay, let's go look oh right here by that boom by that bang. We got it All right sweet. Oh look can we ride on it would be cool. We can get on the ride Oh, I think you have to move it. Okay. We need to the wrench. Oh, no watch out Like a 360 That was pretty impressive.  Oh god. There's just like a glass house type of thing pretty awesome I like how they added like the little carnival games to it makes it a little more fun Okay, so can we go out here wait? There's a note. Let's go check it out. What does that say to those looking? For safety.  Dude, it said if you're looking for safety, they're clearly said they stated that this is the worst place you can look for safety Dude, there's notes all over the map. All right, mr. Cloud.  Let's go over here. All right, did we go in? Oh, there's the green key in there Let's go in here grab this green key. Oh My god, you guys hear the music The clown music playing right so let's go look for this green lock so we can Progress our chances to get out of this place Dude, how do you open this? I don't know if we should open that up though because Mr. Fox is in there. He doesn't look so friendly All right, I'm looking for the green lock. I think they already got the green locker. What is this right here? Okay, I don't think we're supposed to do anything with that. Oh, no clown. He's coming over here Right, let's go back over here. Let's grab this plank Where would the plank go maybe inside the circus? Let's go check out inside of the tent I don't think I've been inside of it yet. Oh my god. Look at this place All right, the plank goes up there. I got it my boy. I got you Let's go up here place this boom Bob. All right. Oh, no. All right. We got clown to here Please leave me alone. I'm just a drumstick man. I have no else nothing better to do in my life instead of being a drumstick Okay, we can open this nice. Oh, yeah. Now we can go to the ride and press I mean use the wrench on it Dude, he's really trying to get out of here All right, where was this where was the roller coaster at? Oh, oh somebody's just a shop piggy Nice, I think it was on the other side of the map actually we were going the wrong way Okay. Oh, there you go. Yes. Okay. I see the light Take me to the ride Okay, let's use this here Okay, move that out of the way. Oh, we got the water gun Okay, so now we go back to the tent and we shoot that target so we can get whatever in the world It's gonna give us Oh, I hear up. I hear clowny over here somewhere Okay, where was that tent? I think it was back here. I see it. Oh No clown. He's coming this way. Okay. Let's go in through here. Maybe you won't come this way Oh, no, he's coming run Run for your life. Okay. He's coming this way dude. All right. I was about to say please stop chasing me Oh, no, now he's really after me Nice, okay. We got a code. Oh my god. No Clowny, what are you doing? Oh my god, please no Okay, so we got this code. Where does code even go? I don't remember seeing a code anywhere where we can answer the code My god, this dude is right on our tail Okay, the orange key is there. I think they use that all the orange keys for this do not open inside monster You know what I'm gonna open it Maybe he's gonna go after a Clowny to be open this Okay, so we left foxy out all the two the hammers right there. Okay, we really needed the hammer What if you're going this way? Well done my boy Hey, what does that say? Why did my friends leave me in here? I don't know. Maybe they're not your friends, man Kind of friends will leave you locked up in the cage, but they really got this. Okay, so they got the hammer already We need the key. Oh here already has the key. Oh, we need the code. Hold on. Wait Wait, do you need the code for the door? All right, let's go back here and grab the code. Oh my god. Where's the code? Oh My god. No. Oh my god. Please Oh my god, that was so close Guy no, please stop All right, thank you Right, this is our only chance to get out of here. Let's go to the door and I think that's where we use the code. I Just heard somebody up in the door Okay, entered code open. Oh, we got it We managed to open the door sweet. All right, everybody out. Come on. Let's go soldiers. I want to see you guys escape Actually before we leave let's go read the notes. Um, there was a couple notes around the map That stated weird things So let's go see if we find any more notes that can give us clues to the chapter nine Wait, can we go back here? No, can't Okay, so most of the notes were just random Like one said that we this was not the safest place to be but yet we are here Okay, I don't see any more notes around Okay, there's nothing in here I think there was one in here in the tents. No Okay, I am wrong All right, let's get out of here then or maybe inside of the first wheel Okay, why oh, I just noticed they're like eggs. That's pretty funny. Dude. What is he doing over here? Are you good? No, oh my god. All right, you know what? Let's just get out of here before he captures us Oh my god. That was way too close Don't leave me alone. No Oh gosh All right, nice. We managed to get out of there All right, let's see how this ending Mr. P. I'm here to who are you my god. What? Uh, zizi are they infected? What there's other survivors pony the infected they'll talk So it's a pony and it's Arthur Right. I knew that while it looks like Arthur I'm zizi and this is my friend pony. All right. So zizi and pony. Oh my god. She's like a musketeer. She has a little sword I'm the rg. What are you doing here? Wow I'm trying to find the cure man. We came to look for survivors. We got a safe place wait, so there's There has to be more people right if there's we just came across to oh look they got a friend too. Oh my god foxy That's not what that's no friend. That's one of them Oh my god. No Don't worry. I got this What are you gonna do with the wooden sword? He has like a knife. Oh He just knocked him out. Thanks. That was a close one Dude, he just knocked him out with the wooden sword Let's bring you back with us. This place is dangerous Yeah, clearly is man They had this man locked up and then I locked I am freedom and now he's trying to kill me Right, so that was pretty cool. I like the whole idea of the circus map. No Oh, man, they started another game All right pro so as for chapter nine I don't know what it's going to be if you guys haven't have any clues Or have any ideas of where it's going to be let me know in the comments below All right, if you guys enjoyed the video make sure to slap the like button New to the channel make sure to subscribe return that notification bell on and I will see you guys in the next one. Yay