Alrighty, let's watch this in full first. There's no sound, but there is awesomeness if you start dividing up of characters that I love here There's lots of cool stuff. It's in places Sometimes a bit simple where like I like all of this. I like that That's a cool beginning lots of energy Dynamic posing and then we get into this it starts to feel a bit simple. It's almost a bit one axis I know there's a slight move this way But there's something about that arm Straight out like this coming forward and then this arm even though there's a nice bend to it There's something slightly simple in this Moment here and also the bend of the leg is to camera. I will bring this out like that So we understand the structure of a bit of the legs gets into kind of a short leg It just all feels very flat and one axis at that point after all of this energy It's the only section through there and even that land feels just so straight Like it will be something if you if we have something where the character would maybe do this and land more here And then to all of this over there so that you have a bit more of a three-quarter view or a bit more of a Distance to travel to get more of a bend in your line of actions. It's not so straight It's a bit twinned. I don't that I think could be worked on just a bit more I do love the feel of this Because it's almost so casual He's got that energy and then you know, I don't know. There's something really cool I don't maybe I just be me, but I love how they expand They get out there this guy bit higher this guy a bit lower Them somewhat mirrored getting ready. It's a really cool moment. It's really struck me when I was watching this such a great moment Then we getting into something where As this character jumps here Something slightly off where you got that energy right to left And then he stops And there's a it's not yet in the camera because I see the camera goes mostly up It's a little bit to the right, but that's your your reference point of what the camera is doing This character goes really to the right while Being straight up where I would have a bigger body lean over So it makes more sense. But then once you do this once we are up going this way it stops And then it kind of lands just kind of straight down With more than that hit and then the camera moves and then changes into that But it's just something in how this character is moving and the posing we feel slightly off after that it gets Bit wobbly with this I wonder if this could be toned down into the up and down of your camera To get something a bit more It's a clear read on that character, but also a bit more dynamic on that character's posing It feels like a lot of the energy of this moment Comes from the camera wobble And then you go quick Moves into that what I do love about this here, but again the energy kind of dies With this we get to them And I know there's a move up, but it feels like we can already Move higher with the camera. So they're a bit more centered. It's a little bit off-center up Towards the third, but this feels a bit high. We're leaving a lot of ground here But there's something about as we have this you get a lot of energy Into this and then it's kind of like yeah, I guess it's Wednesday So you can step back here That's kind of what it feels like. So this could be a bit amped up more energy-wise I do love this though That's great I also love the the weight of this you might feel like well gets a bit floaty through there He's not that fast yet. And just that move from this especially coming off the ground Feels a bit weightless, but again, there's a certain feeling of of them being casual And again, it goes into Them coming out here and then doing this There's a consistency in just how casual they are in a way But I love this though just as an idea is great And then that it just into the turns of fun Into this with that ending I know it's very original. I like it. It's real fun to watch So little things here and there in terms of composition and energy and just kind of posing Other than that has some really really cool moments in there. All right, and that's that for me. Thanks Alrighty, it's put us in full. There's sound Let's turn that sound off There's actually I'm picking this one because of one specific thing that's super cool Because again, it's 2d. I am not 2d animator. So to me like when I see something like this I would go there's a lot of cool extra movement in here It would be need to get something in the face and this could be something where this is A continuous little squint Maybe a head drop just a little bit and I know the focus is in here and there's movement there But it would be kind of need to have like a ramping up of intensity In this section as well. Again, I don't do 2d and it's a it's difficult to do all that stuff. It's just my Outside view on this because I do like what is going on with all that the extra stuff in the cloth 2d effects Interaction with the ground all that stuff is really cool Also nice with that move out to here. I want to talk about this mainly But cool stuff there. I think the only thing I would say here is that As cool as this is and I love all the 2d effects It gets a bit in the way of clarity of what I'm looking at because it's already Already gets a bit tricky with Moments when you have a foot in front of the back side What am I looking at right now if that could be extended here for cleaner silhouette and seeing then the pelvis It gets cleaner here Just every now and then could just be a bit clear just because We are already not distracted, but there's so much stuff going on with the 2d effect We almost kind of miss what is going on there Especially being so hunched over not seeing the head and I know there's the hair here But that's the only thing I would say picky wise getting a bit more clarity in what is going on Body wise posing wise because of all the stuff that's happening effects wise cool though with this Love all that It still has an overall cool rhythm if you watch this thing again, right? It's really cool and I love this here too Into that again love moments like this is all classic stuff. I love it. It's all really really cool The main thing why I'm making this you're going. Okay. What else is there? It's This I know this might sound silly, but I love that sweet 2d you get so much more freedom effects wise Then we see g this gets gets a bit more complicated I love that there is smoke and the exit of him coming out Forms like a smoke tunnel with more smoke forming as he gets out I know this might be a weird thing to point out But I like all of this again Maybe a bit more detail in the animation in terms of what I said here picky stuff in terms of clarity But I do love this This is for me and again might be silly because it's not character based, but I love that. I love the idea of Forming that tunnel and then with more smoke in there. It's that's all that's all I have to say It's great. I love this idea short and sweet. I'll leave it at that. That's it for me. Thanks Alrighty another one playing full first with sound here music That's nice This one I picked out because of the awesomeness in all of this here.  Yeah, it was great But let's go one by one here you got Very energetic introduction with the title into this which is really cool I really like this also the contrast of because you're gonna have You know, like wow loud colors the text Explosion all of this going through this guy coming to camera lots of energy in the role But then you got the contrast like once you're used to like what is going on. We're settling on this Just long enough watch this again, right? It's great just long enough I love this that we go into all of this and then that and it's not even Resting too long. It's a bit of a more motion going forward and back And then into this Which is really cool. I will probably give this a little bit of a contrast This is great about a little bigger contrast in terms of arms They don't feel the twins and watch out structurally you want to show a little bit more of that bends of that leg So we understand that this is not just a short leg like bending arms and legs Straight to or away from camera. It's a bit tricky in terms of just understanding the structure of it And then here I would probably bring that hand further in Just just this moment where where is the other arm? kind of missing a clean silhouette there Cool dynamic camera into this this is how to frame through that's why I picked it too So it's great to have a little bit of a reaction there. You even got a little facial swash Into this which means you could probably stretch more to me feels like when you do this Into this could already be slightly more wide-eyed but slightly more pushed in where the jaw is Just stretching that a bit more and I know you have something here, but I don't think it would take away from that That's great That's what I'll take a look at. It's a great mouth shape to it Love that Love that it's tricky into the formations of that. I don't know if you want to rotate that hip down So it's a bit more Rounded. I mean you might argue It's pushing off. It's going to be you know, maybe a harsher feel of Maybe the energy is more it's communicated clearly that this is the push-off through here But to me It's so fast. I like you would super notice it, but I would still Round this down a bit more you're starting to have a bit better more visually But I don't think it would hurt to get there and I know you're stretching a lot there's a lot of stuff going in there, but I think it would be okay Watch out. I will probably bring that arm a bit lower as well You have that finger out over the mouth and then it's got that leg almost comes out of the mouth Maybe working on that Frame and I know we're talking about really single frames that if you watch this It's so fast But to me, that's the fun of it when I when I do something that's that fast Not that this is usually my wheelhouse in terms of that much of a style But it I would still go frame by frame and really make this as clear as you can So even on something like this, I would not have that finger right there It was like this line this line of the finger Y'all come together for like an Avenger style tangent type of thing. So bringing This lower that was also this feels long and in this very short forearm You mean like this giving us a bit of a cleaner Silhouette with this Would be great. I do love that it stops But then this continues to move a little bit of movement in there too. I think that's great That's cool. I like that Maybe a bit of a contrast in the leg They just feel again almost short and the same size where There's a nice offset there and maybe push that one length longer You could have almost that long maybe starting a slight bend into this Although this guy goes in first. So maybe This would be longer and already a slight bend in here. Just look give it a bit more love frame by frame That's cool. Love that Into this Again Clean I would clean it up. I like that you have that But we just have a tangent right there And right there. I'm always kind of picky. Anyway, it's watching my my critiques wherever I post them You will know I'm picky about tangents and just keeping things clear. I love that poster. Come on That's pretty awesome Yeah, really a lot of fun shapes same thing here you're starting to bend that leg then I will Bend it to be on the standard structure. I understand it's only one frame and it's fast. It just gets Gets a bit. Oh, I mean, it's fairly broken In terms of what's going on if you play this in real time You know, I think you barely read it. I understand but why not again, why not keep things Cleaner where I would rotate maybe that hip down as well. So it's almost like an overall body rotation like that. So you don't have all those Changes in direction and and a bit of a Maybe Cheating this where this leg You might have to maybe scale the foot but making making this leg longer in a way you can almost taper it more Into this that's cool though. I like all that Into this camera move. I think that's really cool. Very dynamic And you don't lose the focus of the hand. That's really cool, too You have this happening sure But then the big move is the arm and now I'm following that arm following that arm the camera starts to refocus Into that that's actually clear. It is a bit more but there's some really nice moments of Not too much overlap. Maybe clean this here as well You might even add some depth of field where now we're so close blurring that back a bit more It's really somewhat blurry, right? But it's the focus is here That's cool. Again, I think I have the motion button there. Yeah, there you go. So the focus on this is cool Into this Yeah, that's it. So pick your things here and there but again, generally very cool fun poses great energy Yeah, I'll leave it at that. Thanks As always I played this in full first there is sound as well here All right, turn the sound off There's a lot of cool stuff here that I want to mention the main thing I would say is actually the camera This is all cool. It's all cool. I understand that, you know, there's energy You want camera shake and there's all that energy building up here But there comes a point where it's moving and moving and there's a little bit of Respite a little bit of pause, which is good. But then we get back into movement movement It's mostly the shakiness. There's just a lot of shakiness in there and I will probably reduce it way down here Because there's not much happening yet and then as this starts to to form More hands then I will then I will ramp into it and just get a bit more And then into that that's cool. And maybe just a bit less in there And keep that energy for For that It's just something where it feels like It's a lot of shake all the time. I think we can just give this a bit more contrast And I know there's some moments like here where it's a bit less But like I said, I would just tone that down a little bit other than that already starts off in a Dynamic pose into this the only thing that's weird is that you're going from this to this That to me is not different enough positionally and size wise of your object, you know within the screen or the composition That it warrants a cut This now just feels more like a pop because I see a change in the horizon line here What's going in the background? It's not like a certain one pop post-changing to something else. So this is Bit weird that'll pop there.  There's some good impact And an energy overlap where it's it's not sticking harshly with Because the style is definitely pushed But I like that there's still believability and momentum and just the weight of it and how long things take to settle That's all cool. Maybe there could be a bit more contrast in the fingers as in like this hand comes in it and stays put versus this and goes bit of a Finger change stuff like that Watch out a bit of a tangent there and was picky, but other than that it's a nice Pose with a good silhouette.  I like that in terms of The composition of the character into this like the double move To that rise you got the character here there one comes in in the back. Look, you know, this is all very dynamic and cool I like this. It's just the layering compositionally Rubble into that a lot of fast moves. It's not huge. You talk about in terms of Animation because it's all very very fast. Like I said, lots of shakes looks lots of 2d effects But I sort of mentioned that in terms of to me. It's mostly the clarity of the camera In terms of just the composition or the composition, but just how the characters pop from here to here And the overall shake and little detail stuff on the fingers Because it's cool to have all that action and it's all very clear of the animation again is great But it's sometimes the bummer to then have that it's almost like that overriding noise of the camera This kind of takes me out a little bit. There's a bit too much going on because you're gonna have to have There's already so much action and contrast in your movement and the energy different that's going on If on top of that you add an extra layer of constant stuff going on in the camera It just becomes a bit too much. So I would I would work a little bit on the on the energy and then the ebb and flow of All right back with with the energy of the camera combined with the energy of the characters Picky stuff though, because it's overall still a really really cool shot. And that's it. All right, thanks As always it plays in full. There is sound It's nice, mostly music though, but cool. I like it fits the style and this time 2d There's a lot of really cool stuff there now because it's 2d. I'm gonna say things where It would be cool to have the hand behind the character But you know, there are also limitations and things that I am not Custom to or you mean like it's just I'm not doing 2d. I'm a 3d person So there would be things like the water behind the foot. So it's like picky things like that That it's just not my wheelhouse. But I just had to mention certain things Just because of detail is there's already so much cool stuff in there other than that I love the face. I love the stretch of the hand pose here the grouping and just the Poses and the designs are super cool. Again, it's just it's just Confusing to me when this is in front of it. It would have been nice to layer this In comp but again, this is me talking about something that I usually don't do But the cool thing about 2d is that you get stuff like this again Let's get back to that later. Maybe I should switch colors again here It's a bit more visible, but I just mainly want to go through it frame by frame just because of the Awesomeness because you got you got cool posing right off the bat with a lot of energy interaction with the environment Quick one frame change in there and then you got all the coolness of this that you can animate I love that. There's that look and lean Towards where we're going communicating. I'm going to go this way before jumping up And you can see here a little bit of ripples and then that underneath that's to me the cool stuff in 2d I mean all that stuff is just great. It's such a pain to add in 3d Then you got awesome. Look at that the shapes here There's really not much I can say in terms of animations. I really really like this So it's going to be more a an appreciation critique in terms of this is just the awesomeness you can do in 2d I also love that how this all kind of rests While that is going into a faster move That's awesome. Look at that. Look at that face Picky thing. I'll probably keep that arm clear. So it's not overlapping because we're resting on that moment And it's just ever so slightly tangent and just a bit too close I would keep that a bit cleaner and then the only thing I would say That arm gets to be very short in those poses compared to this the structure of that arm So maybe watch out for that It's great that we got that drag in the finger Love that. It's a It's a delayed punch. I love this here Into that and now you see this and that I love that So cool massive Impact should pop into that. It's great And then landing on the water Resting on there Which makes you think here This guy they're standing but then he is deeper in the water And now they're both standing on the water and now he goes On the water Slightly confused at the same time. I've never watched that show. I'm I'm massively not aware of The characters the powers and what's going on just throwing that out there But that's cool. Look at this again the drag in the finger Great poses here. I love that that hand pose really nice lines and just the detail in all of this Really neat in terms of the Complexity of that turn right clean poses really nice shapes and it's still going into a turn It's just so complicated with all that stuff here to continue to draw here I love that This coming up here follows but then Him coming here and appearing into that moment and now into multiple characters I have other ones that I'm going to critique where multiple characters come into play there So cool though And then this and this is what I wanted to frame through it Look at that. You got that awesome hold again really nice silhouette again Into this love all these trees you that hold into this And I love how it influences there or influences it comes out of that But you got the combination of coming out this way and that coming down into this. Look at this Yeah, and then grabs the sword come on. This is great. So cool. I love this Just overall so much awesome in this also the cool thing of that land Then you still have Delay all that second reaction here into the cloth into into all of this It's great too. Yeah, to me it's Picky thing. I would take these and animate it faster They feel just ever so slightly slow just timing wise It feels like we can just snap those into those corners Then we got that here in the ending is great too. Let's go back Into this it's so cool to watch this again. This the timing is great You got awesome poses the rhythm is cool and also the movement of the camera You're getting into this where we go and zoom out in a little bit And it opens up still everything for some pan and tilt It's great. It just has a lot of really great energy to it. It's an awesome shot That's all I can say. I'm not sure how I can add anything more in terms of critique It's just really really cool. So yeah, I'll leave it at that. It's awesomeness all around Alrighty as always as far as in folder is sound So good. Let's go back here to sound I love that. I'm listening to it with headphones Clearly as you can see me, but the whooshing sounds It does have an extra amount of bass So sounds really great the sound design is really great It's just enough just sort of in there the sound the music is great too. I'm going to turn this off And there's a lot to cover. It's mainly awesome It's all like I have a lot to say in terms of fixes I just want to also look at this just to highlight how awesome it is a little things like I mean, there's so many things as you go around with this that influences the finger and the wrist But then also this and there's movement on the root. It just feels already nice It's a nice little dutch angle the composition is nice. The only thing I would say picky maybe Because it's all fairly You got some lighting and bloom effect here It's not too crazy. It would be nice to get maybe a I don't know if you add a key light. I mean, you don't have to have shadowing But it would be nice to get highlights To just have them pop out a bit more and this starts here when this gets just a bit dark There's a lot of darkness here and maybe you need to change the color of this or having a nice little Glint highlights like even this could be slightly brighter I know it's kind of like a smear streak thing of this material, but the could be maybe like a Highlight there, but that's the picky thing About this shot. I mean you already have it here. So I take it back. I forgot that it's there So maybe not that there, but just a bit more visibility there and again, it's like a stronger key light You don't need shadowing, but it'll be kind of nice But I love this. I love how it goes into Into that it's a lot of shapes in there Cool character look Need design Love that like all that stuff. It just looks nice. It's a really nice presentation Cracks me up the classic arm back run, but has a nice little looseness to it and also in the wrists And also like this here as you are preparing for this There is a move over Arm post change, but then also it's almost like a squash And it's a patient compression there So it's not just because you can be like in this pitfall of let me just do a run cycle And then move my arm for the throw and that's it But no, there is an influence of I am reaching over this way So it's going to bring my chest down and the head and then Cool shapes again Just enough to tell the story It reads and then I love this. How we follow this And how it's not Clean in terms of turn and the camera is locked to it. There's just a cool feeling of this Going this way And then coming back compositionally in there To hit this character. It's great. It's watching us again here and So The only thing I would say there's something about Again the colors where it gets very dark And it's just I wish we could see it a bit better Because then it's almost a bit distracting when this shows up. I know you want to highlight. Well, I'm drawing my sword and then We'll do this to it, but then at that point I'm going all right Hold on. Hold on. I'm trying to still look at this because getting tiny and dark and I can barely see it Now this is going on. Wait, is it going? Am I supposed to think it hits back here? Where is it now? And I'm just thinking all right. It must have hit it because we had that That's the only thing clarity. I think here would be Kind of neat then again clarity and posing is great. How does character goes into this pose? Into that and it leads the audience into What's up here? And that energy of that move up continues with the camera. That's cool. Great to have that here. Also Fighting wise that's uh clever if it's going to blind your opponent because he has to look at the sun Is that a traveling? Sun there. What if you animated that? It's nicely. Oh, it's falling this character That's cool Maybe not overlapping this. I would keep this probably as clean as possible with the hand drag lower I can see this here, but then you might as well completely do this in terms of like an invasive duck I understand that but here I would not connect it That's cool. And I like that he looks too And this is great. So now we have this all right Clean shapes and everything and what I love here is the complexity now of the mechanics Where it's This speed and momentum it has to continue. He can't just immediately move Could clearly because of style that we can do all kind of stuff here But I like that you don't I like that it takes him a little bit to To do all this I would have loved detail wise to get more involvement here That through all of this the fingers start to tense up and go And really hold and grip this to go over and move up here Picky thing here And again, I'd be careful with Just how dark and it's it sometimes blends in a bit too much. I wish it'd be Slightly clear because then we're also getting into Again, there's a lot of limbs and I mean it works enough to speed if you watch this I understand what's going on because you have scramble Quick move into clean poses, but again, it gets just a bit dark I wish it was just a bit of a harsher highlight Like I said, but again quick move and then they're clearly Separate it. I love this pose here And again the the timing a bit of him jumping with that land drop over It's not super magical in terms of direction change The only thing maybe Is how they land Together it's kind of like they go down at the same time if you watch this Then it's it now it starts to feel almost like a choreographed dance where they're kind of doing something together That's cool. I love that you're actually framing the feet and legs You don't see that that often we usually want to focus on this so I love that that's your choice here Also nice complexity in terms of direction That's all really cool. And if I go frame by frame It will be things like maybe as you go Once you start to go over this way, you might want to pivot already From here with a rotation. This just feels like a This way and then one axis foot roll Down it could already start to turn and even this here could be more like that is already Getting back there. This is great. I love that compression here The same thing here you could already start compressing and leaning on this side And not be one axis foot roll so that it already leads into that move this way Little picky things like here. That's great That's cool too. I love that framing here that we're closer It's more intense. We're closer. We still see the face, but this gets close to camera Just feels more dangerous clean poses there. That's great With that it's really cool Really cool. Yeah to me. It's more highlighting the awesomeness than Picky feedback, but there's always something you mean you can always pick at things and and and find stuff to to uh to critique But again overall really really cool My main thing is just clarity And that could just be that can sit through high um through certain highlights or different kind of Lighting but overall it's very very cool Yeah, I'm gonna leave it at that. Thank you Alrighty, let's play this in full first There's no sound but awesomeness This part cracks me up. Oh, this is why I picked it All right, so there's a lot of really cool stuff there It's also nice to have a a wide view of all this which gives you opportunity to do Really big moves is really clean silhouettes. I like that. You have this big squash anticipation into Full extension you always need a full extension on a jump off The only thing I would say type of picky and this is why I'm also Using this clip here for a critique is that with such an extension and such a force and timing wise To jump there is a slight feel of I'm gonna be activating onion skating here That the roots and maybe I should change colors since that is not the best here You are down here getting into here here Here and then It's kind of flattening out a bit quickly So if you look at that, it's a slight feel like you go Just higher just go a bit higher with that arc subjectively Yeah, there's something where it's there's so much energy you're like, oh You just want to go higher higher feels like there's this wall and then I can't go above this line But Good transition there again, we got full extension and interesting how this arcs back It's almost like that trajectory This way would have you land Some are a bit more here, but to be honest It has also a nice style to it also because it is almost that leg curvature is almost communicating I'm going back here Technically, I feel it might feel better to land a bit more because they're a bit shifted over But it's so cool What's good though is that despite it being stylized clearly There is still compression And up like the momentum has to go somewhere You're gonna have to have a a bit of a of a settle now the picky thing Is this With such speed To then have that come down So slowly feels a bit odd, but then again You might argue. Yeah, but everything is already so stylized clearly with the posing and the stretched legs Maybe that's kind of like a fun contrasty thing, but something to think about it's a bit Slow for my taste. This is awesome. Great mechanics really nice clean lines Again, nice squash compression But also good that this shin is not in front of the thigh. So you still understand the structure Of the leg I will probably bring out that foot a bit more Gets a bit into a what am I looking at a longer leg the foot It's nice how to see that not too much because I do like the contrast Shapewise and we'll probably bring this out A bit more so picky That's cool. Maybe on this super picky Since we have lots of stretchies and everything I would try to keep that hand contact there as long as you can And I wonder if there's anything in terms of bend bows to give us Give us some not so straight arms to kind of bend these a bit more into a nicer shape I like this that you get a bit of that in there too unless I've never animated this rig so I don't know if that's actually Control what it would then be nice to actually still be up here And then it comes down on that compression. But again really nice. I love this. I love that There's a contrast and lines is great again compression And also contrast right how you go from This into like a front view Squash into That with the legs a different type of move then into this again a different type of move It's just nicely contrasted with everything same thing here Picky I will probably take this and move that foot out so that the leg is separated so you don't have that but At least it's overlapping and it's not like the heel is here for a tangent. I would probably still separate it personally And this is awesome. This cracks me up. This is why I picked it. I mean, it's generally great But it's so fast cracks me up. I was looking at this. You sort of got slightly silent in terms of if this is like this What I would do is the strange thing in terms of mechanics is that I would keep that arm on the ground longer I know those legs are the ones Shooting this way at least this one at this point that that takes the body This way. It's not like it's a handstand and the arms are extending Because then you need to keep this because you're going this way this arm Has to be the one that pushes it can't be this one because you would be pushing this way At the same time, it does feel a bit odd to have a move This way right and up While this is sliding And I don't think this needs to be moving just yet to tell the story. This could easily be moving here In order to twist around an arm So personally, I will keep this here. So it's still somewhat where's that arm here To have kind of that visual of the push as well. It's that it's that leg going up and and Pulling the body but at the same time that arm can help and push and then when you turn I will give us a bit of the forearm so you understand the structure of that arm. So it's not just that short thing and then the pivots Feels like it's moving around where the pivot is here and that whole wrist goes around this point I will lock that so it's really pivots off like a Break dancer around that that point here. Love this though. It's great cracking up Again contrast is great. How you go from this into something else Nice there nice also with the structure again understanding nice silhouette Into this When you go here Personally, that's a lot of movement in his arms I will push the shoulders if you And also kind of bending his arms a bit. It feels a bit off with that shape here, but I will go maybe Into this and maybe one more frame higher And bring those shoulders up And then it goes down into something slightly snappier into this But then I would have a little bit of y rotation in the body so that that arm It moves your chest with your chest your chest over a bit and then back just there's a slight feeling of Arms are moving but shoulder and chest feel very locked. That would be nice Just involve that a bit more just like you have it here in the root See how you do this and there's some movement here. I would do the same thing before And then that's that then you go back into Into this Not picky thing this lands now. There's more landing. There's going to be more weight. It'll be nice to have that forearm Dip down a bit as this new wave of weight comes in just kind of drops down a bit so it doesn't feel so light And then I will probably Take that one apple here and move it over here or here So it doesn't go in front. It's almost like wait, this apple is now this no, it wasn't there's already one in there Just keeping all of this as clear as possible That's kind of that. It's really cool. Yeah, that's it That's it for me. Thanks


So I'm standing next to four feed bins these four bins take care of the pigs the feed Requirements for the pigs in the two rooms in the single building that is over Off off of the video you can see there's two flexible augers They pull the feed from each hopper bring it into the feed lines within the structure And then it's distributed with more augers all the way down the whole length of the building So the feed is probably the largest single cost that most contract swine growers encounter It's very important for them to control temperatures within the structure within the thermonutrile zone for pigs So that they don't waste feed if it's too cold inside the pigs are going to eat much more feed than they need Why just to generate heat to stay warm if it's too hot inside they're not going to eat enough They're not going to grow it's going to take much longer to market Studies show that there could be as much as an additional month of Production required if temperatures hot temperatures can't be controlled in a building like this There's very little difference between winter and summer on the inside of the building Because of the environmental control system and the ventilation systems design and management's operation of that What is that with the temperature? Feed costs are so high that it's important to maintain a uniform temperature in the building if the temperature in the building is too low The pigs are going to eat more to maintain their body temperature Just like people are going to do if the temperature is too high in the building the pigs are going to lose their appetite They're not going to eat and they're going to take longer sometimes much longer Before they're at market weight studies show that it can be as much as 30 or 40 days longer in old production systems with poor indoor temperature control in a modern facility like we have here the feed conversion efficiency is is Optimized so and the way it's optimized is by controlling the temperature because we have a modern ventilation system with very good environment control and Managers that understand how to maintain and operate the system So if we talk a little bit about efficiency in a production system like this, what's efficiency? Well, it's maximizing the output for the minimum amount of input. So on a ventilation fan. That's called ventilation efficiency It's how many CFM of airflow per watt of energy electricity that's used to drive the fan when it comes to the pork production system The primary metric is feed conversion efficiency How many kilograms or pounds of feed are used for every kilogram or pound of meat that's produced? Temperature is the critical criteria that the that controls a pig's appetite If the temperature is cold the pig eats more that means they're eating much more feed But they're still producing roughly the same number of pounds of meat So your cost just got much higher the efficiency went down same thing on high temperature if the temperature is very hot They're just not eating very much feed conversion efficiency in that case is actually usually very good However, they're taking forever to grow enough to go to market And so they're spending much more time in the building which reduces the systems overall productivity and efficiency So you can see here right now the curtain the tunnel curtain is dropping down a little bit That's because it's probably at least one more fan came on. Why is it opening to maintain a Uniform velocity of air going in somewhere between 600 feet per minute and a thousand and when I put my fan My hand in front of this I can really feel the air flow And you've already got the information on calibrated fingers and hot wire anemometers You can see this is really moving now So the system is is changing over to a temperature control mode and it's going to bring in a lot more air And it's interesting he's got a little problem here It's hanging so what we have here is the tunnel curtain now It's opened more than when we first arrived But when I put my hand over it, I can still feel a substantial velocity of air over my hand going into the building It's designed to be always operating operating at about 600,000 feet per minute And that promotes good mixing of the air into the room to make a nice vortex And then it's pulled down the whole length of the building by the ventilation fans All right, so the main idea for ventilation is that we want to provide fresh air to the animals We want to remove odor dust various toxic gases and The trick to doing that when we have high ventilation rates such as internal ventilation mode It's relatively straightforward. We open up one end of the building We turn on most or all of the fans at the other end and a lot of fresh air much much more air than is necessary To remove the pollutants comes into the building But we have all that air in tunnel ventilation Specifically to remove body heat from the animals to try to make them feel an effective temperature Which is lower than the actual temperature of the air Just like when you get step out of a shower and you're wet and there's a fan blowing you're going to feel a chill It's the same basic idea. We don't want to chill the pigs, but we want them to be comfortable However, when we're not in tunnel ventilation mode when we're just in a lower ventilation rate mode We typically call that cross ventilation or in this case at this swine facility It's it's generated by sealing inlets So the air enters through the soffits goes up into the attic and then by the number of fans that are running Which create a vacuum it pulls it from the attic down through those air inlets where we saw the smoke coming out and Distributes it into the building. We want to have enough inlets and we want them sized properly so that we get good Distribution the distribution is important so that all the animals get fresh air and that all of the spaces Have fresh air to remove the toxic or the stale air that's already in there So where you saw the smoke coming out of the inlet going along the ceiling and then coming down so That the air comes in through the attic inlets and you can see the smoke is showing you how the air is flowing It's flowing along the ceiling it hits an adjacent Jet of air coming from the next inlet they meet in the middle and then it's forcing down So that's a really nice example of properly configured attic air inlet Promoting good mixing throughout the entire building You can only see it in this one inlet because this is where we have the smoke But actually this is what's happening in all of the spaces the big challenge in ventilation is normally we can't see this air Flow so either we have to measure it with a hot wire anemometer Feel it with our skin or in this case run a smoke test to verify that everything's functioning properly That was great. Do I just do it? I don't know if I can but I can try So where do you want to start all the way at the beginning or just on the cross ventilation? Cross ventilation, okay So at lower ventilation rates when we're not in tunnel mode The system operates a little bit differently the air isn't brought in through the tunnel curtains But rather it's brought in through attic air inlets So the air enters through the soffits Goes up into the attic and then the vacuum from the fans pulls it through the inlets if the inlets are Operating properly as you see here with the smoke blasting along the ceiling that's promoting a good Ceiling jet that smoke is showing you how the jets behaving when it goes to the center towards Towards the other attic inlet it drops down That's because the jet from the other inlet and this jet are meeting and it's forcing it down So that nice roll that vortex is the basis for good interior air mixing What it's doing is putting that fresh air right down where it needs to go but first giving it time to stay along the ceiling and Modify its temperature so that the pigs aren't either too cold or too hot and it's replacing all the stale air Where you see that smoke going with nice fresh new air


I think we go from headwind to headwind. We have been from the pandemic to supply chain chaos and from supply chain chaos. We've seen energy crisis, inflation, the continued lockdown of China until a few days ago, for example. So it's been from one shock to the other, from one headwind to the other. And I think we're now in some situation of permanent crisis, permanent crisis, for example, has started to become a ward in business today. So yes, it's one activity after the other. And then the question then becomes, how do we become by far more resilient to these kinds of shocks and the continued nature of them? It doesn't seem to finish really.


Believe it or not, about two-thirds of our daily conversations are devoted to social topics, much of which takes the form of gossip. Gossip refers to sharing information about the absent third person between two parties. It is something that we humans do so often, so naturally, that we don't even think of it as anything special. Despite its ubiquity, gossip has received relatively little attention from scientists. In the past two decades, researchers increasingly realize important social functions of gossip. In particular, to the extent that gossip provides information about other's transverseness, it allows the receivers of gossip to detect potential cheaters and selectively cooperate with deserving others. Moreover, when people are unable to directly punish free riders, gossip can be used as an informal, low-cost policing device for controlling free riders and social cheats. Thus, gossip can have enormous impact on people's lives, both by boosting people's reputations and by tearing them down. Accordingly, the threat of gossip by others tends to motivate people to enhance their cooperation in social interactions. However, an important barrier to gossip serving its functions is that people may have the temptation to share dishonest gossip for personal benefit. For instance, in a company where the boss decides to promote employee A or employee B, employee A may share dishonest, negative gossip about employee B if there is a conflict of interest between these two. Examples like this abound in everyday life. But when are people likely to share dishonest gossip? To answer this question, we developed mathematical models to understand when gossip can be honest or dishonest. In these models, we distinguish three different roles, the Gossiper, the Receiver, and the Target. We assume that the Gossiper first shares information about the target's past cooperative or non-cooperative behavior with the Receiver, then the Target has one short interaction with the Receiver. The model also considers the fitness interdependence of the Gossiper with the Receiver and with the Target. These two constructs can be simply interpreted as how much the Gossiper values the Receiver and the Target, or the Gossiper's relationships with the other two. We use four different games to represent various social interactions. Take the Stack Hunt game, for example. Both players have the option to cooperate or defect. It is always beneficial for the ego to behave the same way as the opponent. That is, hunting stack, if and only if one's partner also hunts stack, otherwise, hunt small hair that does not require coordination for success. Thus, only when both decide to hunt the stack can they maximize the collective welfare. Many real-life situations involve coordination like this. Here, sharing honest or dishonest Gossip will influence the Receiver's behavior towards the target in the game, which leads to different payoffs for the Receiver and the Target. Meanwhile, the Gossiper may have some late gains or losses depending on their positive or negative interdependence with the other two parties. When the expected payoff of honest Gossip is larger than that of dishonest Gossip, people will gossip honestly, otherwise, they gossip dishonestly. Through this model, we were able to predict the rational preference for honest or dishonest Gossip strategy in different social interactions. Our model suggests a very simple rule. When there is a perfect match between finished interdependence and the effect of honest Gossip, the Gossiper should always be honest. In case of perfect mismatch between these two, the Gossiper should always be dishonest. For instance, in a stat-hunt game with a cooperating target, honest Gossip benefits both the Receiver and the Target. Therefore, people should be honest when they have positive relationships with both the Target and the Receiver. And dishonest when they have negative relationships with both the Target and the Receiver. What do these results show us? Going back to the previous example about promotion, when an employee gossips to a boss about another employee, if she likes both of them, that it has a positive evaluation and effect of honest Gossip is positive for both of them, then she will be honest, which is shown on the left side. Conversely, if she dislikes both of them but the effect of honest Gossip is positive for both, then she will be dishonest. But what happens if there is an imperfect match between interdependence and the effect of honest Gossip? Well, that is a longer story. You'll have to read our paper for that. Of course, real-life situations are often more complex, but these model results can give us some implications about when people can be honest or dishonest and when others can be trusted. It is unavoidable that people will be sometimes tempted to be honest in their communication about apps and others. The problem of dishonesty and the conditions in which the curse requires further study and some of our author team are conducting additional studies to understand when and why Gossip will be honest or dishonest and how receivers react to different types of Gossip. This is joint work with a large collaboration team without whom this work may not have been born. I would like to thank all co-authors here. Thank you for watching.


Hello, everyone. Hello, Valencia, and hello to everyone watching online. I'm very excited to be here. My name is Lee Tran. I'm with Casting by Veeam, where we focus on Kubernetes management, backup, and disaster recovery. And for the next couple of minutes, I'd like to talk about the challenges that surround building open source community and what we at Casting and the community can do to help. As a developer, as many of us are, means leveraging a modern development stack that is built upon open source project. And as we know, for a great idea to turn to a great project, it relies on the community for adoption, for feedback, and for contribution. Therefore, whenever possible, it's important for us to consume and then contribute back to the open source project so that the ecosystem that we know now can continue to grow and thrive. Well, in the open source world, consumer also contributors. So we flip the perspective a little bit and ask ourselves, what are the challenges that our contributors might face? What might be hindering us from contributing more to open source projects? When we ask ourselves these questions, some of the challenges, concrete challenges start to bubble up things like when you get to work on open source projects, or what is there to work on? How do we make sure that our work are impactful and meaningful? Or how do we get on board? And if we have any of these questions, where do we ask? Well, we're here to help. I'd like to talk about four initiatives that Casting have actively taken to address these challenges. The four initiatives are time, having a clear vision, having training resources, and the philosophy of open source first. First and foremost, time. Let's start by providing our employees with the time for upstream contribution. And this should be an open and rewarding experience that is supported and encouraged by employers. For example, at Casting, our developers have the opportunity for continuing upstream to projects like Kubernetes, Copia, Coopster, and others. And speaking of others, for the next couple initiatives, I'd like to use a concrete example. So let's take a look at Canister, which is an open source project at Casting. Canister is an extensible open source framework for application level data management Kubernetes. And at Canister, we focus on community improvement by making sure that the project is inclusive to all, and that the community have the right amount of support. So going back to our list of initiatives, the second initiative I'd like to talk about is having a clear vision, which means providing a clear path with things like project governance, contributing guidelines, and roadmap, so that our contributors can understand how to get their work submitted fast and easy. For example, at Canister, there's a project governance that outlines the role and responsibility of the project, so that someone new to Canister can understand where their work and the contribution may land them on the contributor path. There's also contributing guidelines with technical documentations like coding standard that we adhere to, or what is the process of meeting pull request, so that new contributors to the organization can submit their work fast and easy. And of course, there's a roadmap. If folks are ever wondering what to work on in Canister, they can visit the Canister roadmap that outlined the future of Mind Stone, the project, as well as all of the current open issues that are classified with labels, so that folks can understand how or what to work on and or pick your very first issue. And I'm happy to say that we've seen concrete results since the initiative of having a clear vision that's been implemented. We've seen an increased number of external contributors. We've also seen the fruit of collaboration between our internal team and external contributors. Together, we've developed a blueprint for a production application, and now that blueprint is available for anyone to use, which is awesome. The third initiative I'll talk about today is having training resources that have the necessary training to get folks on boarded to the projects and also provide a safe space for discussion and for questions. To serve this purpose, Canister have extensive getting started documentation. The hello world of Canister, if you will, with things like read me page, online YouTube video with demos, so that folks can get started with the Canister project. There's also a great community space. We meet twice a month for everyone to come together to discuss their work as well as ask questions. And if there's any need for in-between communication, asynchronous communication, there's a Slack channel at canister.slack.com. And the last initiative I would like to talk about today is the philosophy of open source first, which means we should always consume open source projects, directly upstream, and likewise develop our contribution out in the open and make it visible for the community to see. And that's my time. Thank you so much for listening. Thank you.