This video is sponsored by Brilliant. The first 200 people to go to brilliant.org slash polyphonic will get 20% off an annual premium subscription. Over the last 20 years, Jack White has established himself as not only one of the greatest figures in Modern Rock, but one of the strangest. Between his devotion to color, his love for unique releases, and his constant self-mythmaking, White has gained notoriety for his eccentricity. But there's one quirk that may stand out most, his love for the number three. From song names to label names to changing his own name, the number three has had a significant impact on Jack White's entire career, both aesthetically and musically. Let's take a closer look. According to Jack White, he first became fascinated with the number three during his work as an upholsterer. He was working on stapling down the fabric for a sofa when he had an epiphany. He remembered the moment in an interview with The Guardian. I had three staples tamping the fabric down, left, right, and center, and I just stared at it for 10 minutes. It became hypnotic. This was the minimum amount of staples I could put to hold this fabric down. The number three exemplifies the almost iconic, mysterious perfection that cannot be attained. White realized that there were all kinds of things that tied back to the number three when you stripped them down to their bare minimum. Three is the minimum number of legs you need to make a table. Three primary colors make up the entire color spectrum. Even time itself is organized into three basic states, the past, the present, and the future. Then there's its relation to White's Christian faith. The Holy Trinity is one of the most important symbols in all of Christianity. And while these revelations were fascinating, they became more interesting when applied to music. When you trace rock and roll back to its blues origins, you find songs composed of three chords. The most common chords these songs use are the one, the four, and the five, also known as the tonic, subdominant, and dominant. These three chords form the basis of the 12 bar blues, one of the most ubiquitous song structures in all of music, and Jack White is no exception. He used the 12 bar blues in a number of songs across his career. His second solo album, Lazareto, featured three women, a 12 bar blues song with lyrical themes around the number three as well. Another one of Jack White's most celebrated songs uses both the 12 bar blues and lyrical themes around the number three, ball and biscuit. That song is a hard commitment to the 12 bar blues, building an entire seven minute piece around that simple structure and those three chords. Lyrically, ball and biscuit features one of the most important threes in Jack White's career, the third man. A year before ball and biscuit was released, Jack White founded his own record label, Third Man Records, named after a 1949 noir film. In addition to the name of his label, the branding of Third Man features Jack White's love for the aesthetic of threes. In his solo career, White has taken three vertical bars as his logo, a minimal look that drives home the power of the number. Aesthetically, threes were important in White's work with the White Stripes II. Their entire career was guided by a strict color code consisting of three colors, red, white and black. This color code can be seen in the band's biggest music video ever, Seven Nation Army, but more than just colors, that video uses triangles, further driving home the symbol of three. And then there's the gimmicks. Jack White loves working threes into his art in unexpected ways. On tour with the White Stripes in 2005, he changed his name to Three Quid. The White Stripes also released a limited run of three inch records played on custom turntables. In his solo work, Jack White released three videos for the Lazareto track that Blackbat Lycorish. He created a website where you could watch the main video but toggle through the others by pressing C or 3 on the keyboard. When performing on tour for Boarding House Reach, his microphone setup featured three mics. And of course, Jack White's website is jackwhite3.com, and that's a moniker that he usually signs his name with. And while these gimmicks are fun, the real power in threes comes from the music of the White Stripes. The White Stripes are rock stripped down to its three most basic parts. Melody, rhythm, and lyrics. Jack White considers those three things the cornerstones of songwriting, and it's part of what makes the White Stripes so incredible. Their early work is particularly minimal in this sense. A song like Stop Breaking Down captures raw energy with just three parts. Meg's drumming, Jack's guitar, and Jack's vocals. The number three is also built right into the music that the White Stripes play in their early career. Songs like Broken Bricks are built around power chords, a grouping of three notes. Power chords are one of the most basic structures in rock, and often one of the first things guitarists learn. By writing songs using these three note chords, Jack White is further emphasizing the importance of minimalism. Jack White's Love of Threes comes through strongest on The Big Three Killed My Baby, the third song of the White Stripes debut album. That song uses three chords throughout a song made of three verses and three choruses. On top of that, musical phrases made of threes are emphasized on both guitar and drums. On the cover of the single for that song, White even wears a shirt emblazoned with a big red three. The number three is more than just a fascination for Jack White. It's the very basis of some of the greatest works of his career. By looking for threes, White was able to strip so much of music bare and find the minimalism that gave him success early in his career. By maintaining devotion to his favorite digit, White has created a unique experience for his fans, who can explore his entire discography across three bands and solo work, and find threes everywhere. If you're like Jack White and you have a fascination with numbers, you should check out Brilliant. Brilliant is a site that helps you master complex topics by solving fun, challenging problems. So if numbers are your thing, you can brush up with their mathematical fundamentals and go on to more complex topics like number theory. Or if you want to learn more about the science behind music, check out the Waves course. In that course, you can learn all about the different kinds of waves and how they behave. When it comes to audio waves, this is fundamental science that's applied in all kinds of music technology, such as amplifiers and noise-canceling headphones. Brilliant can teach you all about this and more with step-by-step courses and challenges that'll make complex topics seem easy. Or if you just want to keep your brain sharp, you can try out their daily problems. Each day, Brilliant will give you a number of problems from across several fields that you can take a shot at solving. And if you can't figure it out, there's a community of thousands discussing these problems and writing their own solutions. If you want to give it a shot, head on over to Brilliant.org slash Polyphonic. Not only will that show support for my channel, but the first 200 viewers to follow that link will get 20% off their annual premium subscription. So please go check it out and learn something new today.


Okay, go ahead. Great. Thank you. I'm going to turn it to the gyms. I'm going to ask you to tape and paint it. And then I use wire from my clothing hangers to make the fingers and then duct tape. I started watching it and it became really interesting. I really like the songs that they sing. And I just think it's a fun show to watch. And I really make Rebecca sugar for making that show because I love it so much. She just got in Steven Universe about four months ago, thanks to a few friends. And initially, I fell in love with it, just the characters and everything. Particularly, Kara Dot here. And then that would be a really fun possible to actually try to make because I've tried a few things before, but nothing quite as detailed as this. So for the past three months I've been experimenting. And I came down to the fact that these things looked like tubes. So to roll up some cardboard, cardboard paper, cover it with a plaster of Paris, Bondo, sand it down, and then paint it up. And it held together pretty well for 90% of the day.  Yeah, so they held up very well. Just going back to try and heal them up so they don't fall apart all the way. But it's been fun. It was a fun experience. No, I just thought that online that it was going to be a meet-up and I'm like, hey, why not? I was alone, so why not meet some people? Well, congratulations. This is the best show ever. The best cartoon on TV right now. It's very well written. In fact, there's a lot to do with stuff that's relevant right now in culture and what not.  But in like, goofy characters, it's all symbolism and it's really well put together. Love is love. And the music is good too. The music, yeah, it's written by Rebecca Sugar. Wonderful. How did you choose these characters? Because we're in love. And these characters are in love too much that they become one person. We are one person. Not a meet-up? No, yeah. This is the first time doing a Stevie Universe cosplay. You've done cosplay before? Yeah, a little bit. What did you do before? I was Catwoman. I was Deadpool a couple years ago before he got popular. Oh, that's good. He said that. I've been Deadpool. I've been Murray Man and Barnacle Boy. Oh, Mordecai and Margaret. Mordecai and Margaret yesterday. A lot of cartoons because there's nothing wrong with it. Okay, well, so I run a Tumblr and an Instagram. They're both called for the love of Claude. And for every convention that I go to, I like to meet up with Steven Universe cosplayers. We always have fun. We always sing. Take lots of amazing pictures. So I just put it out there on the hashtag and I got an amazing response today. I've been cosplaying Steven Universe just since May. I started at Megacon in Orlando ironically. It's been really fun. Thanks to everyone for coming out and keep an eye for future Steven Universe meet-ups here at Conson, Florida. Yeah, there you go. Honestly, I love Steven Universe because it's one of those shows that will break your heart and also make you feel like there's good in the world all at the same time. I've been a fan for a couple years now. I actually am organizing the first ever Steven Universe convention next year. Yeah, Beach City Con. It's October 13th through the 17th in Virginia Beach, Virginia. And tickets go on sale to the public November 16th. But yeah, Pearl is just... When I watched the Mr. Greig episode, which is what this is from, prior to that I wasn't really feeling her ballerina outfit. But when I watched it in the Mr. Greig episode and she's in the tux, and it's as a whole such an amazing episode, both story-wise and musically. And also, I'm not gonna lie, it's exciting to get to wear tux.  But the tux part is fun. So yeah, I mean I love Pearl as a character and the outfit in that episode and the story and everything just spoke to me. But yeah, I mean like finding the perfect jacket that doesn't quite have the buttons I want it to. But other than that, you know, it was pretty easy and it's comfortable. I like wearing it. Yeah, yeah. I actually love these shoes and they're pretty comfortable, which is a huge plus for cosplay because cosplay shoes aren't always like halfway never comfortable, so... What did you think of those sneakers? Oh my gosh, it was a blast. I've been to some really big Steven Universe meet-ups and obviously this is a new convention so it was a smaller meet-up but everybody was very nice and we got to sing along to some songs. There was a girl there, castling Steven, we learned to play the ukulele just for this convention and yeah, it was a lot of fun. I stayed longer than I meant to because everybody was so nice and involved and just wanted to talk about and sing Steven Universe.


And now I am going to give the chance to the audience to ask questions. Please. Sir, in the first row. Can you hear me? Yes. Okay. Sir. Look, my name is Don Johnson, and I've had a long interest in this subject as Secretary General of the OECD. Many meetings with Kim Dae Jang in particular, who by the way did win the Nobel Prize for the Sunshine Policy. So I'm not sure you can say that there was not progress in the past because after the joint declaration of 2000, there was a period when Kaisang Park was established, the Hyundai Resort was established, there were investments being made by numerous South Korean countries in the park. And during that period, I suggested the real problem, or one of the problems, which takes me to your idea of reconstruction from Japan, is that the economy was a black box, and it remains a black box. And what's important, I think, for anybody who went in there other than mining companies and others, because there's some important minerals, is to understand the North Korean economy. Now that's going to require an economic review, which I was pushing for at the time.  I got a call from Christopher Hill, the State Department, the Six Party Talks, and said, look, the North Koreans now want development capital, not just humanitarian aid. And they said, that will need a review. And of course, I was thinking of an OECD review, and then I was told later that the North Koreans would never accept that because of the background of the OECD and so on. But nonetheless, that's going to be essential, I think, to follow through with you. Who's going to put capital into reconstructing North Korea without a better idea of how that economy functions? Yes, you may get, and I say, the mining sector resources. That's on the issue of the review. The last point I would make that was the one that you raised, Professor, just now, about tolerance. That's the issue of securitization. I read this book when I was making his speech on the 10th anniversary of the joint declaration. From Lim Don Juan, I think it was, who was one time the Minister of Reunification, I believe. And the book was called Peacemaker, and I read the translation of it. I was very surprised to see that during the sick party talks, Russia has stepped forward and proposed that North Korea be made not a protectorate, but a protected state of the kind of thing you're talking about, guaranteed by the United States, guaranteed by Russia, and guaranteed by China. Now, that struck me as being a very sensible approach to denuclearization. But, you know, from what we've heard from everyone, they're not going to give up their nuclear weapons for a total of this point. And I was impressed by Lim Don Juan and said, let's just get on with it. Can you get on with it? Can you help develop North Korea while they still have nuclear weapons? Separate those two issues. The Americans have never separated those two issues. So if you separate those two issues, if you have an economic review, Japan, everyone else contributes, invite investors in, I think that may be the way to go, but you people were experts on this that I have. Thank you. I would like to have a question from the next... Do you have a question, sir? Okay. Could you ask the question, please? Sir, if you're interrupting a bit, it depends on who are you giving the question, because the French might be a problem for some of the panelists here, because there is no translation at this moment. Who are you asking? Please go ahead, sir. The United States, South Korea and North Korea and, second, Japan, China, Russia and Mongolia. And each of these countries defends its own interests, and that is normal in international relations. So my question to the representatives of South Korea, is that you don't have more interest in hearing you with North Korea to reduce the influence of the United States? And is it ideal, of course, I dream a little bit, is it ideal not to be an international conference gathering both the countries of the United States and Korea and also Japan, China, Russia and Mongolia to try to find a long-term solution? Thank you. Thank you for the excellent question, which South Korea always faced, I mean, you know, on how to resolve the Korean Peninsula issues.  So we made various sets of countries, I mean, to get together to resolve the Korean issues.  And six party talks, we have tried to resolve the North Korea nuclear issue.  Now, well, the problem and the threat comes from North Korea.   After that, we can be supported by China and Japan and Russia. So there is no, you know, fixed, I mean, formula for doing this, but at the moment, you know, what my president tries to do is to mediate between North Korea and the United States. But, well, it's a quite difficult time in job, you know, shouldered on him. Well, North Korea hasn't changed, I mean, in terms of tactics, I mean, brinkmanship tactics or salami, you know, slicing tactics. Well, until we really see the change of North Korea, I think, you know, it is a difficult time in task for my president. So, well, we would like to see some breakthrough, I mean, on this issue of denuclearization. Then we have to have some other countries joining to make, to establish peace regime on the Korean Peninsula. China was a party to the Korean War, so China should participate. And Japan is the most, I mean, most neighboring country which could play some role at the later stage. Of course, Russia should do that. Thank you. Thank you very much. I'm going to ask the last question because we ran out of time, but I do want to ask my friend, President Elbor Dorz, this question. What do you expect from the Second Summit if it happens, and it seems like it is going to happen? Before the First Summit, I wrote a piece in my Twitter and said, don't rush for the First Summit. I think we always forget, we always talk and we are always charmed by the leaders' meeting. We always forget the poor people in North Korea. You know, don't forget those poor people in North Korea. I think people think that our leaders, political leaders think that they can have business with the North Korean leader. And I think only from that, from the First Summit, one winner, there is Kim Jong-un, North Korean dictator. He got tons of the video, he got tons of the photo opportunity. There is no control in North Korean public relations inside of North Korea. The only winner because there may be another winner next week in America. And you know, if someone sitting from North Korea, ordinary person or who are detained in Gulag, they might say that don't be fooled, you know. Don't be fooled with our leaders. If there is only one solution, if there is more continued pressure, maximum pressure on North Korea, I think there might be solution. But there is no solution when you have that meeting. I think don't forget those poor people. If there is economic assistance, I think those people in the First Circle, there are three circles. Kim Family Circle, 10,000 people, and Pinyin Circle and the rest of the country. The rest of the country circle never gonna get that assistance. Assistance became the weapon against them. And because of that, when you meet with the North Korean leader, you have to raise issue related with their human rights, with the issue, the situation, how those North Korean poor people are suffering from the Kim dynasty. Three generations. There is no such dictatorship in the world in modern history, from the grandfather to father and to the grandson. And I think if you put issue about the North Korean people in front of the North Korean leader, I think he might kneel. If you put issue, discussing issues related with the nuke and sitting equal level with the American president, he will always salvage. And don't be fooled to that. And that's a really bad idea. And I'm really hurted by this kind of meetings and negotiations and pot-offs and but North Korean ordinary people not getting anything from it. Thank you, Mr. President. And thank you everybody for this. It was a fascinating discussion. Joining me in the round of applause for our evening panelists. Thank you.


Welcome back. It's time for another Q&A. This is part 9. Lots of questions. Why wait? Let's get straight to this. As always, I'm going to bring those up here and sit over here So I can display them right over there So and as always I'm going to read through those questions just in case you're just listening to this and you can hear a question And then I will try to answer them Elliott's Marin, Marin, Marin, Marin. I'm always curious about how other animators learn from fellow animators For example, you at ILM. Do you watch them work? Are they okay with that? Creepy. Do you guys sometimes do demos to each other where you share your workflows or tools or whatever? How do you pick those genuine brains around you without looking like a weirdo? Haha, also just know that if I win an animation team somewhere in the UK will be staying live in the office to watch Spidey and geek out frame by frame. For those that don't remember, these questions were submitted for the spider-verse Blu-ray giveaway. They did not win So they're sad somewhere, I apologize. Now going about the questions. Do you watch them at work? I don't It is creepy. I don't watch them at work But do you sometimes do demos every now and then there will be someone that Presents something or it's part of a show that they want to talk about or it's a toolset that has been developed That someone wants to demo and explain That happens for sure Workflows not so much to be honest. How do you pick those brains around you with a weirdo? It's it's mostly I can daily see something comes up with the shop. You can ask Or just generally you just talk about things like what's your workflow and Every now and then like I said, it's mostly tools are being developed. That's someone in post. Okay I developed this tool. It's for this and that sometimes sparks a thread an email thread or whatever message thread where people didn't Oh, I do it like this or I do it like that or I use this tool and stuff like that But we don't really have like a round table where we sit down and everybody talks about their workflow It's all like that. Everybody's very approachable. You can always walk up to someone and ask So how do you do this? And then they will explain it to you. It's a very happy and friendly bunch of dial-in Next up Abdul Fahim. Hi when polishing stage, I don't know what to add and polish by now I make my offsets arcs what else to add once I ask you in a blocking FNA comment about spline and polish You told polish it's about small details. My problem is what to add or what details to add Excuse me. I have a lot of questions like this whenever I sit to do Whenever I sit to do I get a lot of questions like this and I saw comment Someone asking about polish. Please add this to your FNA, which I will what to add what should we look for in polish stage? Yes, for sure. Um as I've gotten the new computer. I was gonna say I can pick up the box But I already clean it everything The machine is a beast. It's fantastic. I can I can finally animate again So I'm gonna continue with the most common animation mistakes FNA because that's a lot of animation I don't want to do in demo so I'm and polish is part of that of the list of things I need to pay attention to that being said answering So offsets and arcs. Yeah, so you're gonna have all that and depending on your workflow and how used you are to You are to animating You can start adding your offsets even in blocking so when you have someone my example is always someone who jumps and lands You would have your offsets on your arms and legs on that full extension landing Already built into your blocking so after a while you start So I'm skipping later steps and you put them already in the earlier blocking because if you pose out a character You might as well pose it with asymmetry in mind and stuff like that And I think the sooner you can get into tracking your arcs and not making it a mess and have nice arcs And no pops in your animation spacing, you know have that already in your blocking there the better So you want you want to be clean and nice as soon as you can So it's just part of your initial workflow and blocking pass. But yes, to me you spline is Polish is when you spline things, but I mean you can also have spline blocking to some degree, right? But to me the polish aspect is just it's not like your animation is gonna massively change It's just gonna be polished as in just the final details offsets and fingers little things on the face and asymmetry stuff And just like that that little extra step that makes it that all that's that's that was a nice little thing there But the main structure of a shop would not change But your problem is that you don't know what to add in those details. So to me again, it would be definitely asymmetry in body or face if you haven't gotten to that yet Polish as in like fingers specific finger pose, but also offsetting things or if you have My lens here If I grab that lens, you can see this here, right?  It still tells the story and depending on your budget and your time You might not have time You know because your schedule to put that in but if you do have time then I would put those extra things in there and it could be Just a little flourishes and just this is extra little I had to say details was any asking what those details are But that's that's what I mean anything in the face in the in the fingers in the foot If you have props if it's a tie or something working out extra detail or or just stuff like that where It's it's to me. They're details that make the shot even better and just that X that attention to detail that a not everybody Will notice that you may not need to put in there because maybe the story Doesn't hinge on those details, but if you have extra time Why not just make it that extra polish? But again, it's not something that if you don't put it in there that the shop breaks if that makes sense right everything should be ready and clear and Put it in your blocking and blocking plus to sell the story and make everything clear story wise and acting wise And if you have time you can put in that extra polish, but it shouldn't break the shot if that polish is not in there Hope that makes sense Next we have Is it Eureka Eureka's fray Eureka's fray. I don't know. Sorry. I don't know How do you approach complex acting like a person crying falling to their knees and sprawling lifelessly onto the floor? Intraditional hand-drawn animation interesting question. Do you approach it in shapes? Do you approach it with line of action shapes and then add the arms and legs later? What basics do you need to know about body mechanics? That's interesting because I don't do traditional hand-drawn animation The Klaus trailer came out and people are commenting or posting things So there's a visibility of 2d animators out there I would recommend that you ask them because I don't know I don't do traditional hand-drawn animation So in terms of shapes, I don't even know and my limit not to be honest I wouldn't even know I will probably do just a blob With like you said line of action in shape so everything kind of is right and then drawing bigger details I mean you would have I would assume the body and legs and arms all there I mean that's if you look at pencil tests Everything is kind of there rough and maybe as something stops moving you only animate the rest that doesn't move and then the body If it's move it moves again, you draw that again I mean I'm my opinions will be based on those pencil tests and what I see but again Sorry, I don't do hand-drawn animations I can't tell you but I can't tell you that because of Klaus stuff is more in line about 2d So I would ask them go on Twitter. They're out there and then potentially ask them. Sorry for invading that question But I don't know Theron Chaplin Tiron Chaplin How would you handle a situation where your lead wants you to go in one direction for a shot? And the supervisor wants a different way say you've already talked with the lead about what the supervisor wants But he she doesn't want to hear it from you. Thanks. Interesting question So what do you do go on by one? What do you do when the lead wants to go in one direction for a shot and the supervisor wants to go in a different way? Well, you know because of the hierarchy you're gonna do what the lead says and then as you present this The supervisor have a different opinion. You would just have to I mean I would just mention that Well, I did this because I talked with the lead and we had this idea about going this way I don't want to inform you that that's why we went this way and if you want to go this way You know, it's what it will change the shot and if the supervisor still wants that to do Wants to do that you would have to go and talk to the lead and just inform any updates Unless the lead is also in the room for the shot presentation But if not if in whatever reason you're just in the room with the soup then I would go and talk to the lead Hey, I showed it to the soup. These are his or her notes so that everybody's on the same page Because the thing is you're always gonna have different ideas from people the lead the soup the client Did we affect soup like many people have different ideas? I think it's okay and it's normal because everybody will approach it a different way They're subjective opinions. This is how it goes But I think the main importance is that everybody knows what everybody said because that's the worst when you go We need to do something and then the other person has no idea and wants to do something else And that person doesn't know about the changes And you just aimlessly going towards whatever each person wants So communication is keys that everybody knows even if changes happen at least Whoever is did not ask for those changes should know what those changes are that being said Declined trumps everything. So whatever the client says you should do what the client says So you already talked with the lead about two other ones, but he she doesn't want to hear from you Yeah, but anyway, this goes into company politics and hierarchies and how people are and if they want to hear something or You go one way nobody's okay with that and then despite everybody wanting that including the client Then someone else wants to go that way that happens as well And then you just have to go by the hierarchy and just you know If the soup wants to go one way and the client wants to go the other way, which is rare But it can happen you still got to do what the soup wants because this is soup that has to Present it to the client if the client, you know, it's not okay with that Then they have to talk and come to an agreement and and get new notes and then you continue you just kind of I mean, you know the minimal view of it is just going to do as told Depending on your on your level of hierarchy and just you know address the notes But that is part of company politics and studio politics of different opinions and And their Perez hello, Jean-Denis. Whoa. Thank you for using my full name What advice can you give if I want to exercise my creativity muscle to produce entertaining and fresh ideas for a demo reel? Excuse me, I'm not coughing for any specific reason have something my throat. There's not like it demo real impression What I would do is I would look at demo reels first of all I would look at show reels of animation mentor animates I animate and I'm school and squad like all those schools out there, right? I would watch and see what is the current state of demo reels of animation level terms of quality and polish and look And ideas so you can kind of see what your competition quote-unquote is D11 second clubs will look at the top 10 Submissions, so I would look at Outsides, you know information and and examples so you don't live in the bubble first of all That's not about those are blinders, but anyway, you know what I mean, so I would look at what are people doing? So a it's an inspiration And it's also for you to show what you shouldn't do because it's been done before Also, if you look at many many things You will see repetition. You will see that Everybody use this rig everybody use this sound piece everybody use this acting idea or this gesture or this look or whatever it is so I would just look at that for a An inspirational way for what not to do way That's just as kind of see what the landscape is out there now if you want to do something That's more creative and entertaining I think it comes Down to you Acting things out and going outside and looking at people and kind of being influenced by real life As in you go to a park the airport the DMV is like the classic examples But some of these are more or less difficult if you show up at the The airport and you start looking at people that might be weird and strange something at the park with kids And if you don't leave the altar weird so you know it depends where you go But my point is that you go out looking at other people and looking at real life For inspiration mainly because those are all new ideas. They haven't been Filtered through the mind of another animator because if you look at if you only look at animated movies or TV shows for inspiration It's gonna just be a repeat all your ideas will be based on other people's ideas that have been interpreted based on on real life examples So just kind of a rehash of ideas So it's cool to look at other animation movies and TV shows and animators work online again for inspiration and kind of like This is the bar. This is how good my stuff has to be but I wouldn't look at it as Acting inspiration or idea inspiration unless you really look at that Kernel of idea and really go the other way where like that's cool Let me do the opposite or whatever you want to do But I would just not copy what other animators have done because then it again, it wouldn't be like you said fresh So if you look at real life real people and you look at that and you interpret that and you caricature that and stylize it and go through your process and your filters and then produce that animation Then it's gonna be new and fresh. I would do that. It would be kind of a Balance where you're leaning heavier more towards your observations and your ideas But still look at what are people animating so to see what's out there kind of what are people doing like with this specific Oh, I didn't know you can go you can do this with this rig and go this far and do those subtle Shots or whatever it is and I think that's cool. It's cool to be inspired by other work And I mean if you follow me on Twitter, I retweet stuff all the time from people and that's why I do it Was I get inspired by other people's work and I go like man, that's really cool That's the minimum level now I got to be better than this and I got to work harder and get those better ideas and all that stuff But it wouldn't be that's cool. Let me do this as well Then it's just not original. It wouldn't be creative and fresh like you said so that'll be my advice Abdul Fahim I heard from someone. Oh, welcome back I heard from someone inside the industry saying that juniors have to work both their shots and their seniors Shots supervisors will shout and treat you like SHIT is that true? No, but I don't know unless whether your company. What are the black sides of industry I have just heard and learned AM blogs and other sources talking good about industry And when I hear these types of comments from artists, I just get scared Okay. All right school one by one here. There's a lot to unpack here.   Um, I Them I'm sure they're somewhere a company out there and a person Could it be someone internal a leader supervisor? Probably maybe Would it be a client? Probably maybe I mean depends on their position their level of stress there What they have to deal with like who knows why someone does this. I'm not saying it's good. I'm sure it happened somewhere Let's put it this way. I have not experienced it. I have never done it So I can't really answer that does it happen? Probably people are people and someone's gonna be stressed and do something So I can't really tell you about that. I don't I don't really hear that. It's common To be honest from what you hear in your rumors and things.  No, so as a whole I mean you're gonna you are going to Encounter weird people mean people backstabbing people because you're dealing with people. That's why I keep repeating people I mean like to me It's always the movie industry is kind of like high school with more money You're gonna have certain specific people and egos and clicks and just groups of there's always gonna be something That's gonna rub you the wrong way and it might be even something that other people find okay But you're not okay with that and I'm not talking about harassment or all kind of stuff That's clearly bad.  What what is their pressure? What is their moment like? What are they dealing with currently again not to make excuses? But sometimes you have to kind of also look at a certain amount of sympathy and empathy of where is that person coming from and Just you know, so you don't also yell back or whatever it is if you ever in that situation But as a whole I don't I may as it I'll am a really nice So again, this is one of the things where I can't really answer it Because I haven't experienced it and I don't know But I wouldn't say don't be scared if it happens. It's it's an exception Because of what I what I have experienced in my 16 years what I hear from other people It just seems really like an exception and I hope you can be not scared. We'll be fine Helmet thunders. That's an awesome name. Do you have to be a very patient person to be an animator? I love that this questions comes right up. There was that right after it is right after Yes yes Yes, you have to be a very patient Person to be an animator for many reasons You have to be patient as a student You want to get that job, but you got to go through all the classes the exercises work on your reel And you see other people succeed you have other people getting jobs I mean, there's so much that can happen. You just got to be patient and keep working. It starts early on as an animator You're dealing with something that's on the frame by frame basis So you're gonna be you have to be patient just with that workflow where you can't just film yourself and act something out And then it's done thing. No, no, you're gonna go frame by frame and tweak those muscles and shapes and arcs and body mechanics It's a lot of work. You gotta be very patient for sure And then once you're at a company and again, this is from my blindness from my point of view of the company I have dealt with you got to be patient with you know, maybe the rigs are not ready But then the the sequence has to be done So you might be working with rigs that are still in progress So sometimes you did something and in this rig update and that kind of kills whatever you animate You have to redo it So there's a lot of reduce because of technical issues because of changing opinions and minds and notes from internal You know people or clients Because that's the process. It's a creative process where no one has the right answers right away Then that's normal You're going to have to go through changes on your shot because you use someone someone had better ideas The creativity blooms and you have better ideas for this and that influences the rest and has a ripple effect I mean, it's just it's not going to be a static thing if you are to me at least in the creative field because It is creative and you create new things and it influences other things They're always going to be changes with it now after a while you get used to it And you know you don't have to be that patient anymore, which that's just the workflow But at the beginning and especially if you're new to this You will have to be patient For sure. So I think there are many many levels to What to what you have to deal with as an animator junior to senior to whatever And yes, I think you have to be very very patient You might like something that you did but then you're going to get notes And you'll have to tweak this for a couple more weeks even though you think you it was done And then you know most of the times you're gonna see the end product on the on screen and go like yeah They were right It was actually needed to make all those changes because now the final thing actually looks better Or it's a note that you don't understand because you might not have the big picture view and then you see the movie Oh, yeah, I did this change because this happened earlier and I needed to connect these and I didn't know that and blah Blah blah So there's a level of trust in terms of what people tell you to do And if on your end definitely patience is a big thing and patience with Your day-to-day work patience with maybe your career aspirations You want to be this this and this and within I don't know how many years Maybe that happens that doesn't happen right away. You don't get hired out of school right away Whatever it is. So yes, it's a long answer where I can just say yes Definitely very patient Hrushikesh hrushikesh shinde. Sorry. I'm pronouncing names crazy town Thank you, sir. Your information helps us a lot. You're very welcome My question was while animating creatures, what things we should think of that's a good question So for creatures, it really depends what kind of creature it is So if it's something that is a real creature like an alligator an elephant or whatever you're going to do You will have real life reference that you can draw upon if that's english again And you can use that where you don't have to copy one by one unless you do unless it's something that Someone wants to be exactly that from a sequence that you found or a shot So you have to think about what is the creature that I'm animating? Is it a real one? Then you need to look at what is that real creature doing that to me is like it has to be grounded on reality and based on that creature If you do a creature that doesn't exist in real life, you have to think of well What can I do to ground that creature in reality? And even though it looks weird I can put in Real creature behaviors that are people who watch this go not they don't watch this and go Oh, yeah, this looks like a gorilla moves like a gorilla. They might go. Yeah, I believe this They don't know why but it's because movements are based on real creatures and this could be head darts and movement and mechanics Or just whatever it is So I would look at that is a real creature that we know in reference Is it not real something that we see or know? Then you have to put in other things that from other creatures to ground that in reality and makes it more believable Um, and sometimes to be honest, sometimes you have creatures that just look super weird And you have no reference. Then it's going to make it up. Um, but these are the things that I would think of like as the big blocks um other than that And this goes for humans as well But like what do we do with creatures again? It's not different than with humans like humans if you do you I talked about in about that in class yesterday When you have humans you do your acting humans still have to be aware of the environment So if you're talking doing something and something happens a loud sound as a human you're still going to react to this Or whatever it is whatever outside influence in terms of sound or weather or environments or something That's you walk on or whatever it's going to influence you as a person Same thing with the creature if you have a creature and it's like there's fire You know an explosion or something fire shows up creatures don't like fire They're going to go or whatever you can't just have no reaction to that element So to me that's then the next level of what is the creature? What is the thought process? What are they doing? Is it a creature that's full on 100 real? Or is a creature with human behavior and acting if it's a cartoony thing But they still have to be aware of their surrounding react to their surrounding and because they are a creature They're going to ride in a different way where one creature could do Like that another creature could do whatever defense mechanism of opening ears or flaps or eyes roll back So you have to look at What their properties are if they're based on real creatures And if not you can make them up, but they're going to have a specific creature behavior So we'll think about that And as always with anything, you know the sense of weight and mechanics. So is it a mouse versus an elephant? They're going to walk differently the sense of scale is going to be different Stuff like that's a long list that is very similar to to human Behavior, but it would just be that but before you do any of that The acting type of thing the main structure to me is is it real or is it made up? If it's real study the real stuff if it's made up Draw from real stuff to make it believable Um and either way look at the basic structure. How do they move? What's our gate? What's the mechanics? Why do they walk like this? How fast are they? What would they never do like if you have a sloth running that would be weird Like you look at certain properties of of certain animals and make sure you're stay within that wheelhouse and within that You know the parameters of that creature in terms of mechanics and behavior and so on Hope that makes sense rambling I'm gonna leave it at that Ah another question from you Which kind of demoreal makes your identity different from the other candidates? Which are those golden points which will create the difference? Those are interesting questions and kind of hard to answer But they're important because what I told my students is that You know, it's your real that's going to get you the interview But then to your personality that's going to get you the job in a certain way. I mean more or less plus minus Um, so what's going to make your identity different? It's exactly that. It's your It's your sense of timing. It's your personality It's your sense of humor or sense of entertainment or whatever that is going to make your real difference now I don't have a list of things of Do this and you'll be better than ready else. You'll be funnier than ready else It's just kind of up to you what, you know, your sense of timing a sense of humor is Um, but I think in terms of the points that you bring up here That is what makes the demoreal different because the thing is you look at all the demores Like I said before you look at the quality and all the schools and their show reels You're going to see a very high level of polish But polish can be learned and even if you don't have it quite there yet You might learn it while at the company if you have uh, if you go through an internship You might learn it during that internship time where you learn the company's techniques and what they do so that's something I think that's Achievable through a lot of work and practice and repetition But that's the base level right?  And then I go back to the question By observing real life and getting new uh influences and and mixing that with your Sensibilities and then creating a new idea through that Which is all very theoretical and I know how actionable it is to you. It's like a list that can give you Um, how does it make it different? By avoiding like looking at everything what everybody else has done So you avoid what has been done before so you consciously don't pick certain ideas because you know that's been done before Um, and then it's again like a combination of what do you see? What do you observe? What are the things that you know that you then repackage into something new mixed with You and that's something that you know, I can't talk about because you are you and you're an individual person and You have your own sense of humor. You have your own sense of timing um And it's just that's just something that will make you different um But yeah going back to what I said all you can do is make sure you don't repeat what other people have done Obviously don't copy them. Don't rip them off um And observe things that are new and fresh and original by looking at real life have Have a life basically if I give you Some form of answer to this have a life. Don't just watch animated movies and animate all day do other things Go dance go do something archery whatever you want to do have hobbies and be around people Maybe travel if you can I don't depend on your finances and your time But experience other things and that will give you new ideas that other people haven't gotten because of their other unique experiences See if that makes sense. It's a very vague answer, but that's kind of the best that can answer that question Holy moly joshua joshua kuskovsky kuskovsky Um, that's a long one. I'm gonna read the whole thing here. Thank you for these videos if you're very welcome I always learn so much. That's awesome.  That's cool. If you see this can I have your opinion on something? This is random. Trust me. I'm full aware, but I have an esfp personality type I love people and I pay close attention to behavior Movement emotion and try to gauge what they might be thinking or feeling in moments to better understand them That's awesome. And if I read the rest, that's great as an animator Do you think this would translate well into character animation? Yes Barring bearing barring obvious technical requirements. Yes Also, I really want to find a good character rig to work with to learn with any suggestions for that Thank you for your time and what do you do here a fountain of invaluable information? Thank you for your kind words That's that's too kind To go backwards here Good characters and rigs. I do have animation buffet and I post rigs there and I have my rig reviews So if you want to be on the lookout for rigs, I recommend animation buffet Where I have links to other sites that constantly post rigs I'm not saying any buffet animation buffet is the only thing But I try to combine all kinds of findings, but there you will have links to other sites with even more rigs So I would just start from there probably Not because it's my side because I don't that's the main thing that I would say because I know there are rigs there And in terms of all the things you brought up Yes, I think this is all very very important Paying close to attention's behavior Playing attention to people's behavior Uh movement and emotion and and figuring out what they're thinking or feeling. Yes So my quick answer is yes.  You have to observe people You have to think about their thought process and why they behave like that and then their emotional process And arc and and change in something when the character is exposed to a situation a problem or conflict All that so yes. Yes. Yes. Yes. Yes. Yes. Yes. Everything you brought up. Yes I think this is all great the better you can understand people and their behavior their motivations The acting choices all that is great.  It's gonna make it better and more believable. Not gonna say it's gonna be easy So it's hard animation. It's hard and any patients just to go back to the other question But yes, I think overall this is all very very great Daniel Daniel Shaman Pira hamam pira chamom pira. Sorry. I don't know. I don't know. Hi JD. Hi My question is do you think you can still be successful as an animator even if have very bad uncreative acting decisions? Um, yes I would say yes. Why? Because you might be doing work that is not acting heavy You know, it might just be cycles where it's more about modern mechanics It might be also mechanical where you do more machinery animation or vehicles, you know, I mean Um, or even if you do human or or creature, whatever that has acting You might not rise to a level where you might be a leader super you are Creating the performances and leading people in terms of those performances. You might just be just an animator That's totally fine Where you are given those ideas and you're led by someone with creative acting ideas And you're just going to do what you're being told to do Um, and that can you can last and it can be very fulfilling Um, it really depends on who you are and what you want to do, you know, it's like the more I work the more I see the pros and cons and kind of the benefits of You just work on the show where you're being told what to do and you have no Creative input in terms of you're leading a team or sequence.  You have your own ideas to some degree Show it in Dale is any work and that's it. It's also very very satisfying there I say because You have your goal, you know what to do any because you put on some music and work through those shots I think that's pretty cool at the same time what I also like is that when you Have a sequence that you're in charge of and you try to find other animators and you're in dailies and you figure things out That's also very satisfying but sometimes it's also very Draining in terms of the energy and the creative inputs and things you have to do is definitely more to do There's more responsibilities more stressful to some degree Um, and maybe you don't like that or maybe you want this for a couple months and you want to take a break I think you know all those different positions as an animator. They're all very valid and they're all Needed at some point for you potentially, you know, you have maybe too much to do or not enough to do you want to be More creatively fulfilled and sometimes you have too much of that You just want to work and not worry about other things So yes, I think you can be successful and it can be rewarding It really all depends on your state of mind and your current level and your priorities and your wishes and dreams and It's all very subjective. Some people don't want to be a leader Don't want to be a supervisor and so people just want to be doing that They want to be more in a creative leadership position and not the down and greedy animation work and some people won't both I think it's all valid. It's all it's all It all depends on you and I think you can be successful. Yes Um, that being said again, it depends just to go back to really answer that question It depends on your idea of success You know, if you are you happy That's successful or is your idea of success that you want to become supervisor director Well, if you go to that level, you're going to have to have ideas You're going to have to tell people what to do and you're going to have You might be the springboard of creativity that other people latch on to so It really depends on your definition of success Let's put it this way Rushi kesh in the I'll be back. Uh, how to manage time schedule for a shot to complete it in a deadlines I'm just reading what I'm what I'm seeing here. How much your own acting reference matters more And as a fresher, we get frustrated when things goes wrong. So what we should do for that. Okay. Let me just unpack this How to manage time schedule for a shot? You're gonna have help I'm talking about if you're working at the company was you gonna have production That's gonna help you with uh deadlines and targets and they're gonna check in with you and um, so Managing is also up to you Obviously, you got to know if if you get a shot and they say it's due in five days You need to know that you can do this in five days and I tell that my students right now in class They should write down how long did it take them to finish the shot a cycle a weight assignment an acting piece a gear change Whatever you have I can sit down assignment But you should pay attention to yourself early on as a student already How long it takes you to certain shots so you can self manage yourself self manage yourself My English today is fantastic. So that you know that if someone asks you even as a student Hey, you need to do a cycle How long is it going to take and you can say a week or three days or 10 hours or whatever it is So that starts early and that way as you get into a production side You will be more comfortable with Managing your schedule like that in terms of just like how long it's going to take you to do a shot Now that being said you're going to be dealing with multiple shots Problems with with potential rigs or shots Dailies and meetings. So it's kind of a You're going to have help from production But at the same time you just have to be aware of what you're doing and where your shortcomings are and be honest with yourself And then you can you need to write things now, whatever your process is But it's just kind of a learning process and how to manage it to me. It's just it's a it's a mixture of Analyzing yourself and knowing your strengths and limits Observing yourself and writing things down or just being aware of what how fast you are what you're doing Um, and then it's also a matter of experience and patience where you just sometimes you You just get better the more you work on this because of repetition and familiarity and experience Um to complete in it in the deadlines. Yeah, I mean it's the same thing again.  So just be honest with yourself Um, but it is also part of experience and time Um I hope that answers it in some way. I feel like it's kind of vague How much of your own acting reference matters more? It really depends You might have great storyboards or previous to work with. Um, so there's nothing and you have to do your own acting Maybe you're bad at acting and maybe you just ask a buddy and then he or she will film it for you Or you can film them and then use that acting. So whatever you need, but it depends on the shop Sometimes your own acting is super important and sometimes it's not And as a fresher we get frustrated when things go wrong. What should we do for that? Get over it. Sorry. Um, you're going to get frustrated. Just Just don't don't worry about it. Don't don't don't have it define your Define your life.  I'm saying that You're going to get frustrated, but that's the process You know, it's that's going to be work. You're going to be frustrated with all kinds of things Just I'm not saying don't don't pay attention pay attention in terms of learn from it Try to fix it and don't make the same mistakes again But it there's always going to be something that's frustrating So you can also choose to just not worry about it as much like, all right. Well, I know this is coming I know this is this type of show with whatever type of creatures or that type of Personality that works with whatever you're going to work with or the story points or whatever And after a while, you know, this is these are the things that are going to happen on the show So you're already mentally prepared and then it's kind of up to you Are you going to pay attention to that and really and get Get upset or you can choose not to be upset like, uh, whatever and let's do your thing You know, this kind of depends on how pragmatic you are Um, but again, it's also experience. You just after a while you just you learn how to deal with it That you might ask well, how do you learn with it? Uh, maybe you have to ask other people you have to ask other people like on your team I'm not saying, you know, but you're asking me right now I'm just saying you ask other people who are dealing with the same things So that they can tell you how they deal with it because again It all depends on who you are as a person and what you're dealing with that frustrates you So me pontificating about things doesn't really help you because it's my experience and my situation So you have to look at are there other people that deal with the same things and then you can ask them So they can give you pointers with a similar situation Hope that makes sense. Hope that helps And I think that's it question 31 31. There you go. Uh, yeah, so that's it I'm gonna look at or if there are any remaining questions for a part 10 was it's been a while I gotta look at all that stuff. This might be the end. Um, but that's it. I'm gonna leave it there That's another what is this potentially half an hour 40 minutes of questions and answers as always if you do have Questions based on my answers or new questions comments are open You can ask one kind of questions and I can do a new q&a. Of course, this doesn't have to be a answers only, you know questions thing And again, this has been long. So if you're still watching this or listening to it, thank you so much Thank you for listening. I appreciate it. Thank you for watching, of course And I'm gonna post more so as always if you want to be updated and notified of all that stuff Subscribe and hit that bell button because you want to get all the notifications If you're interested in that so and that's it. I'm gonna leave it at that. Thank you and until the next q&a or until the next clip


I'm Saiz Chathary and I'm joined by my colleague Aaron Berglund. We both work at the Sheridan Libraries at Johns Hopkins University and we're here to talk to you about the Public Access Submission System. I don't think I have to convince this crowd that quoting or channeling Cliff Lynch is a good idea. If you read his roadmap to this CNI meeting, he actually mentioned fast and he described it in this way. You can read that quote as easily as I can, but I really wanted to focus on that word rebalance. I think it's a very wise choice on his part because it implies that maybe things are somewhat out of balance right now when you think about the interactions between these different players that are affected by this system or interact with the system and that there is a need to address that and rebalance it in some way. I think his description is really quite insightful and I appreciate him describing it in this way. So the Public Access Submission System or PATH is a software platform that we have built. It is live at Hopkins. We are being recorded for this session, so I'm going to go through a series of screenshots, but it is a working system. We are actually talking to other institutions about possibly adopting it. It is open source software, so you can take it and install it and run it yourself as well. It supports the simultaneous submission of articles to PubMed Central and to an institutional repository. Fundamentally, we are looking to align public access compliance requirements with funders with open access policy of individual institutions. We are looking broadly to multiple funders. We started with PubMed Central and NIH for a couple of reasons. One is Hopkins receives more funding from NIH than any other funder, so that is important for us. But second, NIH actually has a lot of programmatic hooks for interfaces that we could work with in order to actually build a system and show you some of the functionality. Some of the other funders aren't quite as far along, so we don't really have the programmatic mechanisms to do that. We also think from the researcher perspective, there isn't really a lot of objection to participating in open access efforts, but there isn't a lot of desire to spend more time and effort on doing so. By having the work actually aligned with something they have to do anyway in terms of their compliance with PubMed Central, it's a very modest extra level of effort. It's literally clicking on one or two more things, and we found that with our researchers, that's totally fine. They're okay with it as long as it's embedded into what they have to do anyway. A somewhat unanticipated benefit of pass is that we think it actually provides platform for institutional data analytics, particularly around grants data, and even the publishers, big publishers like Elsevier, don't necessarily have easy access to grants data. So we may be able to start doing some of our own analytics in very useful ways. Very recently, we added a feature or proxy or delegate submitter, which I'll show you. So I'm showing you something that's a little bit older version of pass, which is direct submission by a researcher. This always remains an option, but there's another way you can do this as well. So the direct submission would begin by logging into the system and how you use your institutional credentials, but we are supporting in common, so we know that many institutions use that preparation. When you do so, you're presented with this main dashboard, which offers access to two different kinds of views. Basically, one is submissions that are associated with your grants, and the other is the grants themselves. So if you click on the right side of that screen, you're taken to a screen that actually shows you your grants. So we are working with the grants office of Hopkins to get access to our university grant system called Coeus. We're getting a feed out of that system, and that's being displayed. So these are actually my grants. When I log into the Coeus system, that's what I see. We added a few grants for demonstration purposes, and if you look on the bottom there, you see that little red oval surrounding a road that's an NIH grant that's actually not my grant I've ever had, an NIH grant. But in order to show the system, we're emulating that that's what you would do. If you click on that start submission or new submission associated with that grant, you're put into the submission workflow, and the very first thing you can do is enter a DOI. If you don't have a DOI, that's fine. You can enter the information manually. But if you do, we do a real-time lookup of cross-ref and start to auto-populate the metadata, such as the title, the author, and a few other fields you'll see later on. Continuing through the workflow submission, you're now then taken to a grants screen. So this basically verifies that you started with that particular grant. Is that correct? You need to remove that, and you don't date that. And do you need to add other grants? So you could add other NIH submissions. So if you think about it, you could do multiple NIH grants with the same submission. And again, in the future, you can start to add things like NSF, and USAID, and other agencies. And when we talked about the system to faculty talking, the first thing I said was, I don't want to have to do this multiple times, multiple agencies. And when you tell them we're looking at integrating all that into one place, they say, that sounds great. I'd rather not have to use multiple systems. I'd rather do it in one. So the next one basically shows you the policies. I'm just telling you the screen is very small, and my eyes are getting old. So I think I'm on the right screen. So this one basically shows you the relevant policies. Since you picked an NIH grant, and this is a researcher of Hopkins, you would see information related to those two policies. So if you want further information, you can just go click on them. The DOI that I chose for this particular demo, it corresponds to something NIH calls a method B submission. They have these different pathways, how they deal with the publishers, and so on. And the interesting thing about these method B submissions is you can pay the publisher to submit on your behalf to PubMed Central, but you actually don't have to. Now, I'm told that there's a difference in versions that the publisher will probably submit the final version, whereas you can submit the author accepted version on your own, but you could potentially save thousands of dollars in these fees. And when we showed this at Hopkins, we had several faculty members and a couple of deans say, why are people paying these fees? We could use that money for students, for travel, for labs, for all sorts of other things. And what's interesting, we had a conversation actually with some colleagues at NCARB library last week. It really highlights the difference between the author accepted version and the final version. Try having that conversation in the abstract and ask your researchers, do they know the differences, the policies, the copyright, and so on. When there's $3,000 on the line, you have a different attention. So it's an opportunity where the system is actually helping to have conversations around policies, around copyright, around fees, around licensing, and so on. So if you chose to use this system and forego that fee, you would continue into the workflow. This would be basically showing you the relevant repositories. So since it's NIH, it's PubMed Central, it could be NASA, it could be CDC, any of the other agencies that are using the PubMed platform. And the university platform of J Scholarship, as we call it, the institutional repository. This is a system that we think is configurable or extensible, so you could add other repositories. If you have a disciplinary repository or a scholarly society or a domain repository, something like that, you could add that to the system. And as I'll describe in the roadmap, you could add data archives here. So we are planning to include an institutional data archive as an option, but you could also add data archives like ICPSR and N-Armor, for example. So if you hit Next, you're taken to a screen that basically shows you the metadata. In this case, that was looked up through the DOI. If you didn't have the DOI, then you can enter that metadata here. The screen continues in this way, but then you're shown the license agreement for, in this case, our institutional repository, J Scholarship. We have spoken with the National Library of Medicine about including the license agreement for PubMed Central in this screen. Right now, you still have to go into their native system called NIMS to do the license check off, but we're talking to them about having that embedded in here as well.  Once you do that, you're taken to this screen where you are asked to upload the files. So right now, we are talking about uploading the files. We are talking with Unpaypal about using their API so that maybe we can automatically look up the author accepted version so you wouldn't have to upload them. You can see the various choices for those types of file. Here's where you might add data, for example, as another type of file. One important thing is that text box next to the upload button is a free form text box. You can add any kind of description you wish. We've heard from many of our researchers that they would like to do that. They would actually like to describe these articles in whatever way they think is appropriate rather than using a set of metadata fields and so on. That kind of information are things that we can start to mine, maybe in process and interpret map to metadata or map to particular kinds of authors or articles or so on. So with all of that in mind, with all of that chosen, you basically go to this final review screen as we call it. And you'll see at the bottom right is this submit button. When you hit that button, what happens is the article and the metadata go to Buttman Central. It goes to our institutional repository as well. But we also create a package of the article, the metadata, the grants information, the identifiers and so on. And that becomes a Fedora object for us. And there are certain things we can do that Aaron might talk a little bit more about that when he discusses the technologies. After you've submitted the article, you can go to the submissions screen or the dashboard. And basically this shows you the status of all of your submissions, both into Buttman Central and into the institutional repository. And perhaps more importantly, it shows you the identifier it's associated with them. So another thing we heard from researchers in Hopkins is when they're submitting their NIH proposals, they're required to produce those identifiers to verify their compliance. And in many cases, they're sitting through email, they're asking their grants officer, they're asking their department admin. Having that information available on this dashboard, I think will be very helpful for them in terms of being prepared for those kinds of submissions. So as of the week after Thanksgiving, we have a new capability which is allowing a proxy or a delegate to submit on your behalf. When we showed what I just showed you one of the consistent pieces of feedback was, well, what if I wanted somebody else to do a lot of that work for me? So we identified that really as a top priority, not only for ourselves, but we've been working in Harvard and MIT, for example, they said the same thing. So what I'm going to show you is the new version of past that basically incorporates this. And if you think about two roles, there is a preparer, someone who's actually preparing the submission on behalf of the submitter who is the one who will ultimately submit it. So one thing I will mention is we've talked to NIH and NSF, USAID, DOE, so on. All of them have said, yeah, we understand people prepare submissions, but we want the PI to hit the bottom. We want that step to be done by the PI. There are legal reasons for that. There are compliance issues and so on and so on. So we set it up so that there are preparers and then there is ultimately the submitter. So these screens should look familiar to you now, but if you look near the top, the big difference is you can see it's asking you, do you want to submit this on behalf of yourself or on behalf of somebody else? So this is now emulating this idea that I can choose to submit this on behalf of someone else. And when you do that, you're basically asked to identify who you'll be submitting this for. And you do that by searching for individuals within our directory. So in this case, I was going through the system as the preparer and preparing it for one of my colleagues, our project manager, named Tom Vu. So I looked up her name in our system, found her in the system, and then what you are able to do then is in essence, sorry, prepare the submission on this person's behalf. So in essence, you can see this looks familiar. This is where you would enter the DOI. The difference is you now choose the grant because you're basically preparing this submission on behalf of this PI. So it's the same grant view that you saw when I was doing a direct submission, but in essence what you do now is you choose the particular grant or grants that are relevant and they get attached to the submission. So you're saving the researcher that step in some sense of having to do that. This is what the preparer is now doing on behalf of the submitter. The rest of the workflow looks very familiar. Here's the screen about policies. Here's the method B. Here's the screen about repositories. Here's the metadata and so on. And the big difference of course is when you get to this final screen, it doesn't say submit. It says submit for approval because this is the preparer. They are not allowed authorized to submit it directly into PubMed Central or the institute of repository. So when you hit the button, basically what happens is the submission has been prepared. The submission is now been sent to the PI or the submitter. You can see that information in this screen that confirms you have prepared it properly, but they were still waiting for approval. And what it also does is emails, the preparer or the PI or the researcher basically saying someone has prepared a submission for you. There's a direct link. When you click on that link, you're basically taken directly to the place where you would do the submission. And then the status gets changed. Now if there's been a mistake, you can basically say this is not correct or so on. But in essence, you now have the ability for someone other than the PI to prepare the submission and then send it to them. They get an email notification and they hit the button. We heard from our own researchers and from Harvard and from MIT that there isn't this clean, constant, steady relationship between the proxies and submitters. And by that, I mean, grad students come and go. Sometimes they ask the department admin, sometimes they ask a postdoc, sometimes they ask other people. We initially thought what we would do is have this very clean mapping between a core set of submitters and a core set of preparers. That doesn't seem to be the way things are done. Having said that, this is our first past, our first attempt at how this would work within the past. So we absolutely want feedback from other institutions about whether this seems a little bit too liberal or does this seem appropriate or what's the sweet spot, if you will. Just to show you what it would look like if you were actually the one that is approving the submission and putting it forward. So again, think of it in this case. This was a real submission to our institution and a positive toward one of my colleagues. Prepared the submission. We were both co-authors on this, so she prepared it and it showed up in my queue. So in essence, I get an email that basically says, someone has prepared the submission on your behalf. Would you like to go take a look at it? And when I click on that, I'm taken to this screen, which basically asks me about the submission. Take a look at the bottom. You can see the various choices that a submitter will have. So if everything is fine, you hit the red button and it simply goes through and life is good. If it's a modest or minor set of changes, the submitter can do that on their own. They can basically say, let me just go in and fix that because I know that's just a minor thing. I can take care of it. Whereas something is really wrong. For example, it's the wrong thing or the descriptions are completely inaccurate or something like that. You can send it back to the preparer. So rather than having it continue going through the system, you send it back to the preparer. You can put notes in there indicating what actually it needs to be addressed or changed. And it goes back to them. And when they address those changes, they can push it back to the submitter. But assuming everything was fine, you would continue through. In this case, you would get the license agreement in this way. You would get the confirmation about making the submission in this manner. And then you can see that at the end of it, the submission status is complete. And this is the bottom of that screen, sorry. And then when you move forward with the submission itself, you can start to see where it shows up. And this is my dashboard, my submissions dashboard. So far, I've submitted two things to our institutional policy through pass. One of them I did directly. One of them we did through this proxy or delegate problem. So I'm going to turn it over to Aaron to talk about the key technologies and some of the principles behind them. And then I'll collect at the end with some final remarks. Hi, yes. So I'm Aaron Berkland. I was on the development team of pass. And so I want to talk about some of the key technologies.  So this here is an overview of some of the technologies used in pass. At the center of it is a repository. In that repository, that contains our key business objects. We have objects to represent users, objects to represent submissions, policies, et cetera. And ultimately, every component in pass ends up reading or writing to the repository at some point. It's our central source of truth. At the bottom are loaders that run periodically. And they populate the repository based on data gleaned from various different sources. Most notable, perhaps, is Coeus. Our institution uses Coeus as its grants database. So every night, we have a process, then, which looks for any new grants in Coeus and populates the repository. Now, that data includes any numbers that are associated with the grant, award numbers, the funders, key dates when a grant begins and terminates. And most notably, it contains key personnel. So that loader will create users in the repository that correspond to PIs or co-PIs of grants in the Coeus system. So that, in itself, is quite a nice source of information to have. Likewise, we also have a loader which takes a look at the contents of NIMS from the perspective of submissions from Johns Hopkins PIs and Co-PIs. So one of the primary use cases of this is that we can discover submissions that come to PubMed Central, for example, from other sources. Some journals, for example. Said mentioned the Type B journals where you can pay a fee. Some journals do that for free. So this allows us to discover submissions to the NIH that arrived by some means that was not passed. And this is useful for when somebody logs in, they can see a more comprehensive list of their publications, regardless of how they came into the NIH. Above that is an example of an asynchronous service, our deposit services. Instead of working on a fixed schedule, these asynchronous services listen to messages from the repository. So deposit services, in particular, looks for submission resources that have been updated and represent a submission that is ready to submit. So in other words, it has all the required data and somebody has clicked submit and it's ready for submission. And so once it receives a submission that's in that state, then it does the process of negotiating with the various repositories that the submission is going to. So for the case of PubMed Central, for example, it assembles a tar file or zip file containing the required metadata in XML with the manuscript, et cetera, and sends it off to an FTP server. Now, at the end of this process, the only acknowledgement that we get is that, yes, our submission is successfully on the FTP server. Finding out that the NIH has actually accepted that manuscript that might occur through the NIH loader, for example. Another example is depositing into our institutional repository, which currently is based on dSpace. And so that is a negotiation via sword, which is a completely different protocol than the NIH uses. And in that, we know the final status of the submission instantly, so we know it's a succession number and can link to the submission in our institutional repository. So that's deposit services. Now, on the left is Ember. That is our primary user interface. And so that is actually a single page app. And what that basically means is that the entire user interface is executing client side in the browser by JavaScript. So it's kind of more akin to an app that runs on your cell phones than navigating web pages. So in this, the HTML and JavaScript is downloaded once. And then when you're actually going through the user interface that Sayeed showed, the client is actually making requests directly to our repository via its API. And we chose Fedora for our repository. And it provides a suitable REST API. It's based on the linked data platform. And while Ember does not support the linked data platform out of the box, it is very similar to their default REST adapter with some minor modifications. So we wrote a little adapter for Ember to allow it to read and write to Fedora using the link data platform API. And another key factor is that Ember, its mental model of the world is in terms of JSON. It's not in any way an RDF-based technology, whereas the linked data platform is. So we leverage JSON-LD so that Ember can communicate with the repository just in terms of simple JSON, whereas things on the back end might actually care about the graph shape of the data in the repository. And it can do its thing. So Fedora provides an API. It provides a message queue for asynchronous services like deposit. We also have other services that, for example, send out emails when necessary. For example, if a submission needs attention from a preparer. And Fedora also provides authorization via ACLs, which we'll talk about shortly. So all this communication between the Ember and Fedora is protected by Shibleth. So Pass has a service provider that is part of the In Common Federation. And it is set up as a proxy on top of Fedora. So any request that comes from the outside internet, from somebody's instance of Pass running in their browser, will pass through the service provider before being passed along to Fedora. And the integration here is notable. It worked out quite nicely. So the role of Shibleth, then, is to enforce login. And you can't make requests to our search index to Fedora to basically anything without being logged in by your institution's identity provider. Furthermore, Shibleth releases the key attributes that Pass needs, like your domain. So it knows that somebody's from Hopkins, for example, name, email address, et cetera. And now we wrote a little shim, then, which takes these attributes released by Shibleth and distills it into roles designated by URIs. So the example here in the slide is a Johns Hopkins submitter. So now given these roles, we can write ACLs, access control lists, which then allow to read, write, and append access to individual resources in the repository. For example, that only submitters from Johns Hopkins can create submissions here, or only the grant loader application is allowed to write to grants. Or maybe even, when you create a submission, only the submitter and a certain set of proxy submitters are allowed to further edit that, and nobody else can. So they are listed singly. Once a submission has been accepted by Pass, once deposit services has started depositing it, then it needs to be immutable, and that is done through ACLs as well. And Fedora does the heavy lifting of actually enforcing the ACL policies. So if anybody logs in, Shibleth gives us their attributes, we transform that into a role, and then the policy is encoded in ACLs, and Fedora does the actual enforcement. So the end result of this is that we ended up designing, implementing, and releasing pass to production on a very tight schedule. So we wrote a, last year we wrote a demo, a mockup that we could use to show the members of the administration, faculty, et cetera. Development earnest started this year, and our release to production was in July. So that is an extremely tight schedule, and the only way we got there was by leveraging key technologies and key people. So I mentioned EMBER, the user interface. We did not have the manpower and talent on our team to do a user interface of that scope in the time allotted. So we brought an outside consultants from 221B, LLC. EMBER was the technology of choice on that team, and it ended up working well for our user interface. It allowed rapid development of the UI and iteration with respect to the different use cases and feedback. And so that worked for us. Shibboleth is trusted by our institution. It's rather ubiquitous among other institutions, and it, protecting the repository by Shibboleth made a whole class of problems go away for us that we didn't have to implement. Fedora brought a REST API, authorization, binary storage, asynchronous messaging out of the box, and really with minor tweaks, we were able to use all of that and it spared us a lot of development effort and it worked out well. We also did our development in using Docker containers. So for example, Fedora's and Docker, et cetera, we deploy containers to AWS, and that actually runs our production environment. And for the most part, it's stateless. We rely on AWS services like RDS for the Postgres database, elastic search, et cetera. But our stuff runs in stateless containers and can be deployed relatively quickly, which was very helpful for us getting it out in the time and very helpful for us rapidly integrating feedback from our faculty. So with this, we have the basics for being able to look outwards towards multi-institutional use cases, because we have shibboleth and we have the technologies that can be used in those particular scenarios. It's just a matter of doing it. So now I'll pass it back along to Sate. So maybe everyone knows what AWS Amazon web services is. So a little bit about the roadmap. There's further information about PASS at these two websites you can visit. The second one being an open science from a project we've set up where you can take a look at information. And there are links from there to the GitHub repository if you actually want to get to the code. And as I've mentioned, it's open source. We've been working with Harvard and MIT throughout this process, and we are planning a pilot effort at Harvard in the spring and some form of user testing at MIT. As Aaron mentioned, we did think about how this could be used across different institutions, amongst institutions, and so on from a design perspective, but we haven't gotten down that path yet. We were honestly thinking that people would take the source code and run it locally and work with it that way, and that's certainly an option. But Harvard's actually asking us to host it, where the pilot we're doing with them, we would actually be running it, when I say at Hopkins, I really mean through AWS, but using their grants data and their information and so on. So we'll actually be testing what it means to run this for another institution. And as you might imagine, our grants span institutions. So right now we are basically doing with Hopkins grants, Hopkins researchers, but we know that Hopkins researchers collaborate with people at Harvard and MIT and at your institution. So there are a lot of interesting kinds of use cases and questions for us to think about. We're very eager to explore those with you. We are looking at integrating with other funding agencies. So as I've mentioned, there are actually, I believe nine, maybe 10 agencies that use PubMed Central. You can deposit to any of them using this system. The submission status information is only available from NIH right now. We're actually talking to NASA, we're going to talk to NASA and CDC and others about trying to get that submission status information, but you can deposit into any of them. Again, because it's important to Hopkins, but I suspect many institutions. The next big, if you will, cluster we were looking at was NSF and DOE, Department of Energy. They use a different approach than NIH does. At this point, what they basically do is ask you to verify this kind of publication or article submission and compliance through the reporting function. So you would log into research.gov and get to your particular project and you would be presented with a list of articles and saying is this correct, is this not. So we've talked about is there some way of doing some sort of deep linking between pass and research.gov so that it would not directly deposit into PAR, as it's called, the repository for NSF. And DOE uses pages. It's the same technology, I think. But rather, it would populate your project page in research.gov and then it would go through from there. We have also been talking to USAID. They are planning to build a deposit and submission status system and they'd like to work with the use cases we've developed. For now, with the USAID or Department of Education, for example, you have to go to a web form and basically fill it in. So what we do is if you pick a grant from one of those agencies, that final screen where you have all the metadata, it remains available to you and then there's a link at the bottom of it where you will go straight to the web form. So it's not perfect, but in essence, you have the information on one tab and you have the web form on another. I mentioned the data archive. So Hopkins has a lot of interest in building an institutional data archive and we are looking at how that would integrate with pass so that the data that are cited in the articles that are being submitted will also be submitted through pass into an archive and we could get the metadata associated with DUIs and so on. I had also mentioned that we are going to use the Unpaywall API to help people basically say this is the version of the article through the systems they're already using as event publishers rather than having to upload local copies. And then we started to have some conversations with Simflectic, for example, about elements and Elsevier about Pure and Vivo about faculty profile or productivity or activity systems. There are some interesting ways these two systems might talk to each other, pass could talk to those systems, I should say. And I wanted to show you this graph. I'm not, in this diagram, I'm not going to go into details unless there's real interest in doing so. Aaron showed you the architecture diagram for pass so if you think about all that sort of collapsed into that little cloud in the middle of this diagram, this is a pass-centric view of Hopkins so I'm not implying this as comprehensive or completely, it counts for everything but what it shows is we're really thinking of pass as being embedded in a series of broader research workflows within the institution around data and publications. So we've been mapping how do articles and data flow between all these different kinds of systems. The MA, RCC, or Marseys, it's called, is the Maryland Advanced Research Computing Cluster or Center, which is the centrally managed high performance computer facility at Hopkins. So we're starting to look at where are the researchers' data and articles sitting, how are they flowing and how do they come through pass and end up into our archives and repositories and then external ones like PubMed Central and so on. So I'll end with a few acknowledgements, again, which you can look at here. Aaron mentioned a very tight deadline, that is an understatement, so while I appreciate the help that everyone on this list did, I really want to thank him and the great folks at Hopkins and at C21B that did this work. And I think we have a little bit of time for questions or comments or options. All right then, I'll go back to this slide, which basically is more information about where you can find out and if you want to talk to someone or email someone, feel free to reach out to me. We don't have a pass office right now or anything like that. So it's just me, but I'm happy to follow up with anyone, so thank you.


record replacing his own old record of 5.06 set just a year ago in the Bahamas. Brandon, congratulations to you. Tell me about your effort. I know that you were going further, you wanted to go higher, but are you overall happy with the performance that you put down here in Grenada? I gotta say, first off I got to just thank God for what I've been able to do. I did want to jump a little bit higher, but given the conditions it was pretty pretty windy which does affect, especially for pole vault, like how just how a lot of things work, especially with your run, they can mess it up. So overall I'm actually very very happy about what I've done. I've been able to defend my title now for three years straight and I really can't be more any happy than that. I think that's I'm very very very happy and is I think is a very positive outcome. Indoor record, junior record, senior record, outdoor record, national record, championship record, record, record after record. Just tell me though how you've achieved all of that at your young age. Where do you go from here? Well, I will say a lot of things for me. I'm not sure how far I'm gonna go because I mean I know a lot of people like to say oh my dream is gonna be the Olympics or my dream is this. I just want to simply jump as far and as high as I can and wherever that takes me it'll take me. I want to represent whoever I can in the Olympics. Being able to represent the Bahamas would be otherworldly for me. That's my dream of mine but it's not the end goal. I just want to see how far I can go to reach how many people I can and overall just to spread just more for the event. I think it's kind of overshadowed by a lot of the other events. So if I can jump high and show people how amazing of a sport pole vault is that's really my dream. Like I want to be able to make it more accessible and just be able to represent. Oh, you made it. Very excited here at the Caribbean. Congratulations to you again, Brandon. And yeah, you can go and enjoy the rest of the games now. Awesome. Thank you. Back to you, Terry and Ricardo.


Studying Othello. Here's how you can analyse that to your scene through. The scene opens when the party is in full swing and Othello speaks using this a cloudless sentence to tell Casio that he's now in charge of looking after everyone during this party as he's about to leave. Once Othello and Desdemona leave Casio speaks using this metaphor to say how much he admires Desdemona's beauty however Iago responds using this exclamatory sentence to imply that Desdemona has a wandering eye. Iago then changes the topic and he speaks using Cesaro to suggest that Casio should have just one drink however Casio refuses as he says that he's really bad on his drunk. He's not very good at soft control once he has had too much to drink. Iago speaks and insists that Casio should have more drink. He speaks using this exclamatory sentence to order the servants to bring more wine and these stage directions show that he's amping up the party by singing and tempting Casio to drink. Casio is finally convinced to drink and he gets incredibly drunk. Here he speaks using these oxymorons to show that he's so drunk he can't tell his right hand from his left. As Casio grows increasingly drunken, boisterous, Montano, the Cypriot governor and Iago watch him and Iago speaks using this iambit pentameter to tell Montano that he's worried that Othello puts too much trust in Casio. He's not a good person. Montano is disgusted by Casio's drunken behavior and he says that Othello should be informed by Iago about his terrible behavior. What we can see is that Iago is starting to turn people's opinions against Casio now that he's drunk. The stage directions show Rodrigo entering and Iago speaks to him using this imperative sentence to tell him to go and find Casio and pick a fight with him. As Iago is telling Montano how bad Casio's drinking problem is, these stage directions show that there's a massive brawl and people are screaming and shouting as Casio and Rodrigo are fighting. The fighting escalates really rapidly.  As things get out of control these stage directions show that Othello has heard what's going on and he's come in and he speaks in this exclamatory sentence showing that he's furious at this brawl. He uses this rhetorical question to ask everybody why they're all acting like savages. Casio seems penitent and embarrassed and he speaks using alliteration to beg Othello to forgive him. Iago then lies to Othello saying that Rodrigo entered and told Casio to calm down, however Casio started to fight him. This leads Othello to fire Casio. Once everybody leaves Casio who's devastated confides in Iago and he speaks using repetition of reputation to say that he cannot believe his reputation is now tarnished. Iago pretends to feel really sorry for Casio and he speaks using repetition here to advise Casio to go to Desdemona who has lots of influence over Othello in order to ask her to get him his job back. Casio is really happy with this suggestion and he agrees that he will beg Desdemona to help him and influence Othello into giving him his job back. Iago then separately plots to influence Othello into thinking Desdemona likes Casio and this is what's going to be the undoing.