Hello. It's such a pleasure and honor to have you here at Quarteto Quiroga, all together, all the four of you at different places. It's fantastic what modern technology can do for us. And we do a little interview about Quarteto music, about you, the Quarteto Quiroga and the Handler Verlag, our connection. And please let me just right away start to ask the first question and you are free to answer whenever, whoever likes to answer. So when, can you remember when was the first time when you, the four of you met and you decided, okay, that sounds nice. Let, let us go forward and let us make music together as a quartet. And then when, when did it come to be, okay, let's do a professional quartet? Yes, it was in 2003. When we performed for the first time. Tiberana and me, we met in the Spanish Youth Orchestra and we were the founders of the quartet. And then a few years later, Elena and Yusef joined. And I think it was a dream of all of us to be part of a string quartet and become this dream, a reality in our lives. Can you remember when you used the four, for the first time a Handler Urtext Edition in your life, I guess it was not when you were already orchestra, musician or even a quartet player. Maybe it was quite earlier when you were young and learned your instrument. Can you remember, I'm just curious to know being the head of Handler Verlag. I can remember the first one. I don't know if it's the first one I used. I don't think it was the first one used. But I remember the first one I bought with my own money. Yeah, that one I with my savings and I bought being 17 years old. I bought Brahms violin sonatas. And I remember perfectly well buying the score going myself buying to the shop and ordering specifically the Handler Edition. I remember that. I actually also remember because in Valencia, when I was a student, it was not very easy to get hold on music. And I remember a trip I made to Vienna and I went to a very, very nice shop, very famous shop there. And I bought the Dregger sweets. Cool. And of course for Viola and the arpeggio sonata, which of course I still use with me and with my students all the time. Yes, I also remember that of course as a student, I used to play before with Handler, but you know, students sometimes with photocopy or a teacher, a student and that's a good. But then of course I remember like getting the first like real one that was mine. It was also Brahms, the first cell sonata. And I remember the segment of the paper of a real nice paper and to do with the pencil, you know, to do a sler and I thought, well, I better, you know, do the right slers and the right fingers because I don't want to erase everything here and there and make it all dirty. I want to keep it all nice in this beautiful paper. Yes, in my case, I remember I was 17 years old and I had to practice Beethoven first sonata. And it was one of the majors works I was studying at that moment. And I told him, Professor, which edition should I buy? And he told me, absolutely for Beethoven, you should go for the Handler and it's the one I have right here, the Beethoven sonatas. Very good professor, I have to say. And Josep, I very much like your answer because both edition you mentioned is my edition, you know, I did the Ape Giorna myself and I did the rigor together with the late Franz Bayer, the violin professor. But now it comes to something maybe very interesting for other string quartet players, especially the young ones. All of you quartet players enjoyed some very, yeah, helpful teaching from other string quartet professional players. So maybe you can tell us about your teachers. I mean, not at the university, the kind of standard teaching but the lessons, but more the master classes you were enjoying. And of course, you remember some connection with Handler? I remember personally that our three main teachers, so to say, which were Reine Schmidt from the Hagen string quartet, Hachto Bayerle from the Albembert quartet, and Walter Lebeden from the Lassard quartet. Those are our musical fathers, so to say, in different ways. I remember they were always very, very careful in pointing out that we should be as critical as possible when choosing the materials that we had. And of course, Handler was always on the desk as a reference that one should check. They also were also very stressing how important were the critical reports that were appearing in the editions. And they were always telling us do not trust editions who do not have a very clear critical report. And that is something that Handler does very, very well. And that is why we trust Handler because the critical report is always very precise. And you know why the decisions have been taken. And this is something that we learned from our teachers who also, of course, encouraged us to go to the primal sources, to the autographs, to the manuscripts. But when it came to editions, they really insisted check editions that do have a proper critical report. And in that sense, Handler has never failed us because we can always trust that there will be a very serious work behind the editorial process. Now Handler claims to publish the complete core repertoire for string quartet. We almost have all of the important works now in our catalog. The last one was the complete edition of Mozart string quartets in four volumes. So I would like to know if you solely miss something in our repertoire. Yes. I mean, there are small things, but talking about the core, the string quartet repertoire, there is one big name that we are waiting with. We're really looking forward because we've seen in the web page that Bartok, six string quartets, are going to be edited soon and in progress with L'Amse de la Sonfaye, which it can be like probably the biggest expert in Bartok. So I think there's going to be something very, very big news for all the string quartet players. Really looking forward to this. Thank you for mentioning this, Helena. Of course, this is one of the big missing things in our catalog, the Bartok, the six-part of quartets. And as you said before, it's on the way to be published. We start this year with number one and number two, and then the other one will follow. And I think that probably is missing, but it's a titanic effort to make it probably come true. It's been a Spanish quartet, of course, the Boquerini's and the Brunetti's string quartets. They are incredible works, really a lot of them, really, really so much, but it would be fantastic to have the Helipa luck producing some of them. No, but it is true that for to have, so to say, also the, at least that the other father, together with Haydn of the string quartet as a genre, because Boquerini, we forget it, but it was very important in building a string quartet historically as a genre to at least have its presence in the catalog of Helipa luck. Of course, I miss also, I would love to have, because your editions are so careful and they are so trustworthy and you can rely on what you do and how you do it. Of course, I would like to have more things from you. I was thinking, when will you make like Yana Czech, for example, or the Russian masters or the Scandinavian masters like Sibelius Grieg, or so I mean, I'm looking forward for the coming years in everything that you have to do, because I'm sure as it has always been, it will be a source which will be very reliable and will help our work and the future generations to have new readings, because with the classics we need to, so every generation has to make their own reading of the classic. That's why a classic is a classic. And I'm missing as a Spanish and a Spanish string quartet something that would not be, as Yusef was saying, Titanic, but we have three little treasures, the Arriaca string quartets that has probably not been very well treated by editors and I think that would be something so interesting that Henle takes care of the sources. They deserve to be on the standard repertoire of any European string quartet. Once the Henle Farlag edition of Arriaca, the three quartets will be out, I'm sure that we should push his music. I think you have a beautiful lead, but a big responsibility in that sense being such probably the most trustworthy edition in nowadays. So I mean, it is something that we encourage you to do because it can change the map of Europe in terms of what string quartet is. So we think now we have the heart of the most played works and now it's time to expand. And I think to expand it in the direction to southwest to Spain makes a lot of sense. Also, we need artists like you to really perform these pieces. It's not only necessary to have a good edition, but you have to have musicians or solvers to play the music and to teach at the university to the next generation and then the repertoire might expand. Let's go to the digital world. As you all know, we have launched a digital version of our text edition, the Handler Library app. What do you think about this type of new digital scores? Will it be a part of the future of you musicians? Well, I think it's already present. I think everybody is basically doing the migration to digital little by little. And once you try it, of course, there is always the feeling of having the actual paper. And that will never be lost. And it's impossible to substitute that. But for like a tool for everyday work, it's really incredible. Everything you can do. But there's one thing that I think is very nice, that these layers of music that you can have, especially when you're performing with your quartet, but you're also teaching four of us were teachers. So it's very practical to have the music that you perform with your own fingers and your things, and another layer for the one you're teaching, because you're telling them things and you see the development in the lessons, what they're doing, what are the problems, and you can make all samples and do everything you can do. And then you have your own music. And also one other feature that I find very good, especially for students, but also for us, is their recording. They have two possibilities to record. You don't have to exit the application, but right there, you just record yourself a little bit and then just listen. I mean, for students, I think it's wonderful. Yeah, it's fantastic. Also another tool that is fantastic for me, is the possibility to really access directly from the app to the critical comments. When there is a doubt in the bar, you just click and then you have the explanation where the hesitation comes from and what was the decision that you made as an editor in terms, you based it on the autograph or you chose first edition. I mean, so that we also have the ability as musicians to make our own choice, you know, and we can immediately have an access directly on the spot. You just click and I think it's a fantastic feature which proves also, again, it gives a feeling of trustworthiness in the material that you have. Another feature that I find so interesting is the famous musicians' fingerings. That's so great for us. I mean, it's so useful. First of all, to know which were the fingerings they were using in the 19th century, which is a tool to understand the way they were performing and that for us is so important to know the taste, the tools, the ornaments they were using and also from the great living players. That's fantastic and so useful for us. And I have actually two things, one that I like very much. So the thing I like very much is not as profound as my colleague said, but I like the drag and drop symbols. The way you can change is so easy, so neat. The way you can, of course, change the color, so you know it's not the original, but it looks very nice like the original. It's not just pencil, but it's very nice to the eye. Yeah, my friends, I can see from your answers that you really work with the Handler app and you have deep insight into the features we present. I'm really much impressed. You really know what you're talking about and there are so many interesting things you said. This was a wonderful talk with you and I'm so grateful. Thank you very much and hope to see you and hear you soon and all the best to you wherever you are. All the best to you as well. Thank you very much. Bye.


The Marines of Marforcom and myself just spent the last week conducting a Marine Corps basic skills training exercise. We started with a practice run of our land nav portion. This included a step-by-step learning process on how to actually conduct land nav with Major Jake with, as well as learning how to conduct pace counts and check the accuracy of our lens attic compasses. So on day three, we conducted our land nav test. We went out in groups of three again, this time looking for ten boxes. Same deal, we got our points plotted, we got our azimuth shot and our pace count. We went out, found ten boxes, came back. After that, that's when we conducted our movement to range two. Five and six, so movement of contact shoots, both came to the day and at night with night vision. So on day five, we conducted tables three and four. So unknown distance to target. We did it during the day, wrapped it up and then conducted it again during the night, using night vision.


So in recent days the media has been absolutely flooded with the misleading news of LaShawna Lynch being the new 007. Something the world press of course took way out of context and all the stereotypical man-hating feminists are now wetting their panties for. The name's LaShawna, LaShawna Lynch. I am so excited about this, apparently LaShawna is our new 007. But fear not gentlemen, it's just a simple one off plot element. At the end of Spectre we saw that Bond retired from the Secret Service, driving off with Madeline Swan leaving the life. With him no longer being part of the Secret Service, his agent code of 007 was given to a new agent. That's it, that is all. Bond is not a code name, she is just a secret agent who temporarily took over the 007 title in the next film. She is not James Bond and neither will a woman ever be, as confirmed by producer Barbara Broccoli. I did a video on why that would be a horrible idea way back in 2016. In the fantastic prequel novel Forever and a Day by Anthony Horowitz, it is explained that Bond originally had a predecessor carrying the 007 title. After he died, Bond took over the title of 007. It's kind of an interesting idea to have the 007 title be passed on to her in this one film, which he obviously would get back during or in a subsequent film, because you know, 007 is synonymous with Bond. It's not like LaShawna Lynch is going to be the next Bond in future films because she is Agent Nomi. They may even be crazy enough to give her a spinoff film, sure, like that weird idea they had with Jinx way back in 2002, which they thankfully dropped. But even if they do, Bond will just remain James Bond and one thing is for certain, whoever steps into the role of James Bond in Bond 26 is going to be a man. Preferably a warm-blooded heterosexual Caucasian man, because unlike how political incorrect that may sound nowadays, that is the character that Fleming wrote. You know, the source material, a guy that is supposed to be politically incorrect. Ask any die-hard Bond fan. They want Ian Fleming's James Bond 007. And that is one of the things I think these opposers to the franchise often don't realize. Despite them disliking the franchise and not having any real passion for it, they all love to make it more progressive and change it up, like a jealous, bullying sister stealing the toys of her brother. But what they often don't realize is how progressive the franchise has always been. Black popular believe that strong leading ladies only appeared in Bond films of the recent years. They have been present as far back as the 1960s. Take a look at Honor Blackman, or Diana Rigg, or look at Em, who was changed to a strong woman in 1995's GoldenEye, wiping the floor with Bond's sexist ways. MoneyPenny became a black woman in 2012's Skyfall, and all of these characters are very beloved by us die-hard fans. But I have a slight gut feeling that bringing aboard writer and feminist Phoebe Waller-Britz for Bond 25 may just be the biggest mistake since Mark Forster and Lee Tamahori.  It is baffled to see his charms don't work on the brilliant young black woman who basically just rules her eyes at him and has no real interest to jump in his bed. Don't get me wrong, chicks just swooning effortlessly into Bond's arms is not the way to go anymore, but part of what makes Bond so fun is that he is the ultimate fantasy. They may show some resistance every now and then, or maybe sometimes even some last minute resistance, but ultimately they willingly fall for him. But that's the thing with Bond, it just works for one reason. When Bond pulls off an incredible stunt, there has to be a moment that gets you smiling thinking yep, only Bond. When he survives something impossible, wins in an incredible way playing cards or one ups the villain with a smirk, or when he gives a chick a pair of slippers when he asks him to give her something to put on, you have to have that moment of only Bond. That is why us fans love this guy and it's because of that fantastic fantasy element that these films have always worked for 60 years. Bond is a winner, we want to see him blow the bad guy away and win over the girl. We all secretly want to be this guy, some of us not even secretly. Now I don't want to jump into conclusions too fast but I get this feeling that Phoebe Waller-Britz doesn't really get that. I mean this synopsis really makes it seem like she gets a much bigger kick out of having a leading lady that just rolls her eyes at Bond the whole time and would rather want to strip Bond from his masculinity than to have him actually win her over at the end. I want strong female leads that are there with Bond, not strong female leads that come at the expense of strong male leads. I hope she at least lets him bang and at the armors in the film or is this going to be the first Bond adventure in which he doesn't get any. Who wants to see that? You know, however Bond 25 is going to turn out, I want to stay optimistic about it. I am at heart overall still pretty positive but there's no denying that all these other news of the chaos going on of the production of Bond 25 doesn't exactly make things hopeful. I just hope that both Eon and Phoebe Waller-Britz realize that they have something special on their hands that means the world to us fans. There are still so much fantastic directions they can take it in. Sure, Lushana Lynch can carry the 007 title throughout the film and sure, let's hope she'll be a great character but give us fans a great Bond film. Give us that meal fantasy element. Don't make it hashtag me too propaganda because we love James Bond as it is and we want to keep it that way. Thanks a lot for watching my video. Do you like my work and would you like to help this channel grow? Well, consider becoming part of the exclusive DBF community and help support my channel. What is the DBF community? Well, it's the community over at my Patreon page made for the biggest fans of my channel. Why did I create this community? Well, you see every average project you see on here takes me roughly 30 to 40 hours to produce and upon uploading it, all revenue is pretty much taken away immediately by MGM or other film studios unfairly as it goes against the fair use policies. So that's why I'm always looking for support and set up this community on Patreon for the biggest diehard fans of my work. I am a believer that those who support me should be rewarded with a ton of perks like getting two weeks early access to all my latest videos, receiving a personal thank you video from me. I will also send you my custom made Blu-ray covers that you can print out and put in empty Blu-ray boxes and you get exclusive access to the supporters discord server where you can chat with me and fellow bar and fans whenever you like. And everybody that supports me also builds towards new goals for the channel's future. All these perks come for a little $3 a month. All support is appreciated immensely. Thanks a lot guys.


Welcome back to the Acche Analysis and Tips for Animators and today I'm going to take a look at the super creepy and awesome movie, His House. I got nine sequences that I want to talk about before I do. As always, hi, my name is JD. If you're new to this channel, I do acche analysis clips like these. I do animation analysis clips. I do rib reviews, product reviews, lectures, feedback, all kinds of things. This is YouTube. You know, this is the pitch. If you like this, subscribe if you want to. It helps my channel grow. And that is that for the pitch. But that's not always time. Let's go straight into the sequences. First up is this one with framing, kind of posture changes and all kinds of stuff that happens in here. So I want to go from the very beginning, right off the bat, like the busyness, right? There's all kinds of stuff there. There's just more busyness. It seems like they're not as alone as opposed to when you go to them, they're completely alone here. It just kind of reinforces that they're on their own, facing off all of these. The other thing that I also look at is just how they behave. They are very attentive. They're nervous because they are deciding basically about their life. And as we go on on purpose here, they show that kind of talking, they got food here, they're all kinds of stuff. And he's on his phone, I really paying attention. If you listen to this, I mean, if you watch movie this specific sound of all of that, once you get to this here, he tells them, you're actually good to go. And I want to look at the body posture change, right? Very rigid, very nervous, less stiff here, but still they're waiting to hear yes or no. And once they hear it, you can see the inhale. You can see the change in the hands. You can see they're starting to relax a little bit, shoulders go down, he even leans back a bit. They hold on to each other. There's a complete change in posture. And then you have that in contrast. This is really important to them. This is going to determine their life. And he's just kind of like, whatever, let me eat something here. So why am I showing this just because of contrast? Again, you can see how they are seated, how they are positioned within the sets, how they are alone, how the posture is changing depending on what they are saying. Just look at, if you have multiple characters in different status and power, dynamic changes, how you could re-emphasize that and kind of make that a bigger contrast in a scene. Now also, as he's telling them, well, this doesn't mean that you're not out of the woods and he tells them more conditions. You can see the contrast in the changes again, right? They're holding on, but then they realize, all right, well, I guess this is not exactly a little bit of a swallow there. And they're starting to tense up. So for you, it's also contrast, right? As you have change in contrast, you can see this here. And then something else happens. You can see again, the change again in posture. So think about that, how people are sitting or standing. And as they are processing information, hearing news, that could be good, that could be bad. Also here, I want to show just the contrast of the feet, how they're all different here. But again, just going back to how they look and how they behave, you can see this here, they're getting a lot more tense. They're paying attention, they're listening. You can see how now the good news has kind of gone away.  And he's so listening to this, him as in him, that when he tells them, these are the rules, this is what you have to do. She is the one that kind of breaks that moment of, oh, okay. Yes, you can see how kind of she almost kind of not wakes herself up, but it's kind of like, okay, okay, well, we have to now and to now this is almost like, again, like an interrogation. And he's still completely like, okay, wait, this is not really the freedom that we hope for. You can see when she does it, how he kind of wakes up and goes, yes, yes, yes, and gets back into this again, little slight changes in the hands. But I thought there's a lot of really cool stuff there. Overall, those actors are fantastic and highly, highly recommend this movie. But a lot of all those little changes and postures and looks, all depending on how they feel and what they hear and how they're reacting to things. This clip I wanted to throw in there because they are in here. And I like this setup in your scene where if you are in a truck like this or a van or bus, whatever, look at how they bounce around. I just kind of like that as an overall secondary action as you do something. This is not, you know, this is just a general note. If you have them bounce around, you know, what if the character holds something to drink or there's a glass or something and the bounciness makes it difficult to drink. You could just use that for any type of things. I like this here as well in terms of they're moving. And then as they stop, you can see as they bounce around and they stop to have that and then stop and she looks over just that secondary action. Then the lack of it or it's stopping can be something you can use in your shop. Kind of the reemphasize this is a stop or they're happy that they're bound to get on this could be kids, then it stops. Maybe, oh, wait, why is it stopping? The kids would not be happy. I mean, and it's could be for adults or for kids. I just like this as a setup when you use your characters in a specific environment and that environment influences the characters. This one I want to throw in there was they always talk about being someone for the first time or not. So he is reading off the script as he's showing them the house. Not interested in not looking around, but they are here for the first time. They look around. You can see this here, examine the rooms. Looks over there. There are many, many shots after that, but you can see just kind of, all right, well, I guess this is where we're going to live. Again, this is more as the general note. They're trying things out. All of this would be different if this was their home and they had been here, you know, for many, many years. So just think about that. When you put a character in an environment, how do they react and act? You know, this I said is all the time, but I want to bring this up just because it comes up every now and then in movies. This would be a tough one to emulate in animation just because it's just so well acted. It's so tough to pull off, but I always liked this whole scene where so he's looked at the house, right? And he is happy that he has a house and he wants to have a moment by himself. Already that, I like how he closes the door because he puts his hand there in his fingers so that he can silently close the door. He doesn't want anybody to know that he's in here. Just the way he closes it up is already great. Then he finally looks out and realizes this is not our home. And he goes through all those emotions of sadness, but it's not just sadness, like happy sadness, but still there's just a lot of weight. You can see this here. He has to sit down. Then he changes back into laughing and then back into just the despair and then the hope and all of those things in there as he's finally his own home. Such a great moment. He's so good in this movie. And again, it's tough to pull off because you have to, you know, act it out yourself or find maybe this kind of reference, but then tweak it enough. But you're just interesting and also powerful to go through such sadness and then quick happiness and back into sadness just for something for you to think about as you do a emotional character test to potentially go in and out of really strong emotions. This one I want to bring in there just for character contrast. I love how she just has those really slow blinks. It's the contrast of a lot of nervous fidgeting, a lot of quick moves. And she's just very stoic. All right, just stick to the slow head turns while she's just a bit more, you can see a lot more eye dart. She's a bit more active. She's nervous. She wants to feel the moment with small talk and just look at, just from an animation point of view, the timing changes of just the looks, the darts, the blinks. She's very quiet. You can see there's a lot of quick things in the head, little quick facial expressions, movements in the body compared to her. Just very, very quiet. Not this very tragic reason why she's like that. There's a whole story that unfolds here. She explains that. But again, as you even scrub through this, you can see a lot of movement facially in the face compared to her. So that's something for you to think about. Again, slow blinks. Just how long you hold the closed lids. So if you have multiple characters, I always say if you got two at least, think about contrast. I mean, again, as always, there could be a reason why they would have to be the same. But if you have two characters, just could be more interesting just to add a bit of a change, a bit of a contrast, to re-emphasize something, right? To show power and show nervousness or whatever you want to do in your scene. But just think about contrast when you have multiple characters. This one is a longer sequence, but I want to look at a secondary action specifically of him eating. So he's very happy here. He's kind of like, I only taste metal. I'm like, yeah, you'll get used to it. So there's a lot of secondary stuff where he keeps on eating. And then as he says, well, we can create a family here. She's not quite on board yet. And she tells him a story that is fairly, fairly serious. And what I want to look at is this. For you, if you have a character to do something, right? In his case, he's eating. This could be your character painting the room, cleaning something up. And because you are, or your character is doing something all the time, when they stop, which you can see here, he starts to look at her more concentrated as she tells that story. And then he gets to this moment here, where he somewhat stops. He still has a little bit of food in there and has some movement, but there's a big difference between this moment and what he was doing before. So when you have secondary action, I mentioned this because you can do a lot of things where your character, like I said, is moving, is eating, is cleaning things out, whatever you want to do here. But when there's something really important coming from another character, be it off screen or on screen, and your character stops doing whatever they were doing, that stopping will push the contrast. There was something happening and it's suddenly nothing. And that will make this a bit more visible, more important to something to, to focus on if you add secondary action to your character. So it's not just, you know, two characters standing or sitting in an empty room doing nothing. This one, again, I'm kind of extrapolating was it's not quite what's going on in here, but the separation where she's alone kind of reveals that she's actually talking potentially to someone else, spoilers, maybe, but in this scene, there's a lot of, even though they're framed somewhat together, right? They're not really in frame together as a couple. This is like you're having dinner. This is like a communal thing. You're together with your wife, this could be your husband, your partner, your family, whatever it is, but it's always a bit framed in a separate way. They're never really together. Again, I might be reading too much into this. I just like this idea of them constantly separate here. And even at the end, you can see this as they come together, it's just their hands, but then she pulls it away and it's just, he's not in frame. It's just his arm. So just something for you to think about. Again, they're always separate. So if you have something where you put your characters in an environment where you think they would be together and they would be framed together, because it's a happy moment, but you constantly re-emphasize that they're separate, that could be underlining a certain tension that could be through the pantomime or the lip-sync, whatever you have. So maybe think about framing and just staging the characters to re-emphasize or to push a certain feeling in your scene. This one I want to point out just because of this.  He's asking him, you know, what are you doing? There's something wrong while you're not doing this. And he says, no, no, he's basically saying, well, it doesn't look like you are integrating well. He goes, no, no, no, I am. And because of that, he gets slightly frustrated. So look at what he's doing with his pen. Like, okay, okay. All right, all right. So this koopie, fidgeting, right? With the pen, this koopie, maybe, you know, holding it in the middle and kind of putting the pen left or right, that doing something with that, but it's just a different way of going, all right. Okay, well, let me explain this differently. And then he just leans back aside to maybe, you know, explain things in a different way. And he's just kind of pretending that everything is okay. But it's like that kind of interesting way of dealing with this and kind of showing off frustration in a different way. Again, you can do this by rearranging a keyboard, shuffling this around, closing this book. But if you have a pen, I thought this was a cool, a quick moment of something I did not expect there. And this one again is probably me reading into things, but he is pretending, you know, they're basically for context, they're coming in and they have to kind of inspect the house. They're realizing what is going on. Why did you make so many holes? And he's just like, what is going on here? And the way I'm seeing this is he's just kind of left alone. You can see this small in frame, not really comfortable with the way his feet are in the legs. But in a way, still he's sitting kind of pretending that he's comfortable, but he could be sitting in the middle, maybe legs a bit more comfortable, but he's kind of at the edge here, still making this not quite comfortable. Again, this could just be me, but I'm reading into this for this, all this destruction, he's small in frame, he's uncomfortable on the edge here, still pretending to be comfortable. So then he, you have this here, right? You got the moment of he's alone, facing all these two guys. And you can see looking left or right. And as we cut to the other moment here, you can see right to left. So this works as they kind of would talk to each other. But they are together in this space. And you can see the open space showing kind of the mayhem that has happened. And as he's telling them, this is not good, I'm going to have to report this. He says he's here, I have to report this. And he realized, whoa, wait, no, no, no, no. And now he gets up. This could be seen as potentially threatening or not. But it's, there is a difference of, I'm just going to pretend to casually sit. He's just going to ignore what I did here.  And now I got to do this. And now the other guy starts to take pictures. Then he starts walking towards him, just kind of look at the distance between the characters and getting up and how that changes kind of the feel of it. Even now, when you get to this, I'm definitely reading into this though, as they were standing here, let's go back, they were together. And there's a bit more open room. It's a bit more, maybe freedom or this or something for this character here to be a bit more comfortable with. And then as this happens, now he's here, maybe they have taken up more space and he's pushed to the corner. Again, I might be reading into this, but it's kind of like that set up the way this whole thing is staged. But then he pleads with them, so listen, I can do this, I can change all of that. Then he has a bit of a change of heart, because all right, well, I'll leave you along with a warning, it's going to be okay.  And just as we think that it's going to be okay, the wife comes in and tells him about, did you tell him about the witch? I love his reactions in all of this. She tells him what's going on, how he's feeling. And I like this, I like this. Wait, why? Little things, the wheels are turning and there's a tiny bit of a move at the end. It's so tiny here in his eyebrows, right there. As he's telling him that how he was chasing and then, you know, smashing the walls. I just love his reactions. He continues on too, where it continues and he has this, did you really have to say this, that's going to get us into trouble? And he goes, oh boy, it looks at him and he has that, did I, did I hear this open mouth, just, you know, kind of less his moors thing. Anyway, to get a little combination of character staging, how they are, do you want to start a shot like this? I mean, even at the end, when she's done telling all of this and we end on him, it's kind of a bookend between these two, even though he's standing here, but he's still left alone with all the destruction and what he has done and the consequences. But I kind of think about that. If you have multiple characters and how do you want to stage him, it's important that they are together. Is there an importance to leaving a little room? Will it change if there are suddenly a bit more separated here, having less room? Something to think about as you have multiple characters and environments. There's definitely a lot more to this movie, but also more spoilers than I want to show too much. It's a really cool movie. If you've seen it, let me know in the comments and curious what you think. I thought it was really, really cool. Not like shocking or frightening, like in terms of like a super scary movie, but it has really good sound design and just the atmosphere and the story behind it behind the characters was really, really neat. Anyway, speaking of neat, if you thought that this was neat and he wrote me to help you with your shots, you know, the pitch at the end, I have workshops and you can sign up at any time. You can start at any time. Link in the description for all the information. You know the workshops are always open and I'm here to help you if you need any help. Other than that, thank you for watching. As always, thank you for taking the time and having patience to watch until the very end. And as always, the end pitch. If you like this and you don't want to miss any of my uploads, you can subscribe and hit the bell button so you don't miss any of my uploads because I do upload a lot. And that is that. That's the end of the clip. Thank you for watching and I'll see you in my next upload.


Ladies and gentlemen, on Tuesday, November 16th, the radio and television networks and the newspapers of this nation made the following announcement. Lionel Barrymore, one of America's most revered and distinguished actors, the dean of the Royal Family of the American Theater, died last night at the age of 76. Tonight, the makers of Hallmark Cards, whose Hallmark Hall of Fame was Mr. Barrymore as their host, as usually heard at this time, present a special broadcast transcribed in memory of Lionel Barrymore. Who and loved him? And by us, I mean you and I and how many millions of others across this great land of ours. To us, Lionel Barrymore was more than a great actor, a great personality. He represented an era in American life. A few of Lionel's friends are here with me tonight. Some people who loved him deeply. Helen Hayes, James Stewart, Bing Crosby, Gene Fowler, Dr. Norman Vincent Peel, Dory Sherry, Louis Calhoun, JC Hall and Frank Goss. Or we're not here to mourn, you could be sure of that. Lionel would never stand for it. We're not here to make speeches. We're here to reminisce. To recall some of the warm, the humorous episodes that were part of the life and times of Lionel Barrymore. So, could we have a little reminiscing music, please? Now, who on earth knew the fabulous Barrymore family better than Gene Fowler? Not only did he write Good Night's Sweet Prince, the biography of John Barrymore, but he was a great and good friend of Lionel's. You know, I sometimes think you could measure your friendship with Lionel Barrymore by the size of the insults you would hurl it through. And the insults Lionel and I exchanged were sometimes gigantic. You see, to him an insult was a kind of personal challenge. He was throwing the ball at you. If you could catch it, then you were all right. But if you could hurl it back and harder, then you were his friend. That's all that business of the old Kermutch and the modern too. It was Lionel's way of testing, to see if you had spunk, to see what kind of person you were. And every time Lionel Barrymore threw the ball, he hoped secretly, you'd be able to catch it. Because, in spite of himself, in spite of the cantankerous role he liked to play, he loved people. Speaking of the role he played, the actor's role, I have something here I know you'll enjoy. I got it from Ashton Stevens, the late great drama critic and friend of all the Barrymores when I was preparing notes for my book on Jack, Good Night's Sweet Prince. It's an interview given by Lionel Barrymore in 1904. He was only 26 years old at the time. Asked what makes an actor, he said, and I'll read to you. The great actor always must act. He must make a ceremony of waking up in the morning. He must sit in his room and act so that his whole body vibrates to the thrill of it. Forever, he must be a poseur. He must be such a poseur as to be blinded against all rational points of view. He must live in his roles and love them. He must be another fellow. Ridicule must pass him by. If, by any chance, it grazes him, the great actor must view it with pitying kindness. His last week's failure must be more than forgot. It never happened. Above all, the great actor must have no sense of humor. When he looks at himself in the mirror, he must do so through a telescope. And everything admirable that he reads or sees or hears must be his. But let the most profound, the most classic line fall from his lips. He must be unconscious of the fact that he is not the author of it. How did it begin, this career that spanned over a half-century of performing? Lionel wrote a beautiful description of his first performance in his book, We Barry Morris. James Stewart, you have a copy of the book here with you, I believe. Well, let me read you Lionel's own description of his first appearance on the stage. The play was Sheridan's The Rivals. But my grandmother, Mrs. Drew, and my uncle, Sidney Drew, forgot that the part they had assigned me, that of Thomas, was in the front scene and would tax the abilities of both Collie Gibber and David Garrick.  I crept on stage in an apathy of embarrassment and muttered my words like an automaton that needed a beoil can. The scene was too much for me, as indeed any scene would have been too much for me at that time. I repeated my fiasco in the evening and was even worse, conscious as I was of my hopeless performance at Manet. My grandmother was heartbroken. She averted her eyes as I stumbled over the ropes and flats backstage to seek out the corner that passed for my dressing room. I scraped off my disgraced makeup as fast as I could and then I trudged home and went quietly to my room to hide my embarrassment under the covers. And propped on my bureau was a letter in a well-known handwriting in purple ink. I fingered it for several minutes before opening it, but after a while I concluded that it was a great kindness of mum-mums to send me a note rather than to scold me in person. I opened my letter and read, My dear Lionel, you must forgive your Uncle Sidney and me for not realizing that when Sheridan wrote the part of Thomas he had a much older actor in mind. We feel that we were remiss in not taking cognizance of this, although we are both happy that you are not at the advanced age you would have to be in order to be good in this art. We think, therefore, that the play as a whole would be bettered by the elimination of the front scenes and we have decided to do without it after this evening's performance. Sincerely and with deep affection, your grandmother, Mrs. Drew. Thank you, Helen Hayes, for being Mrs. John Drew and Jimmy Stewart for reading Lionel's delightful description of his start as an actor. A flick of the courage it must have taken to continue his acting career after a lot or like that. And what's wonderful about Lionel is that this letter meant so much more to him than the hundreds, even thousands of brave notices he was to receive in later years. Well, I've got a different kind of review, Helen. Bing Crosby will read it later on. Any other actor would have burned it, but Lionel cherished it. I remember hearing about that review. It was probably the worst panning an actor ever talked. Will we ever forget the way Lionel had of reacting to anything unpleasant? He'd shrug and mutter something completely unintelligible and then go wheeling off to something pleasant. He had no time for more of it of pessimistic people.  He loved life. And for him there was a world of interesting things to do. Painting, writing music, books, acting, a world of adventure. Lionel wrote a novel once called Mr. Canton Wine. It wasn't the best seller, but it reflected the vitality, the spark of life that made Lionel Barrymore. So we've adapted a dramatic incident from that book. And we think the play you're about to hear, written by Lionel, gives a great deal of insight into his true beliefs. Incidentally, Louis Calhoun will play Mr. Canton Wine, and Gene Fowler will narrate. Gentlemen, the play.  Boomtowns, hectic cities, western expansion, Indian wars, and a house divided. And America had grown out of its britches and still growing fast. It's the story of an American hero, Martin Canton Wine, a moral tale by Lionel Barrymore. Canton Wine was a great tall man with a taller hat and a swallowtail coat. A lay preacher, a snake oil peddler, a man of great strength and strange powers who barnstormed around this country for many years, watching it grow up. As I say, all this was about a hundred years ago. Do you remember, sweet Betsy? Mr. Canton Wine was not alone. He traveled with two Indians, a pack of mules, a surly black bear, and a talkative raven named Mad Anthony Wayne. And when they arrived at the cottage bear, they found a pair of Indians and got a general store still open. If there's anything I need, it's a store. Getting to be suppertime. Most steady is Martin Canton Wine. My name's Randall. I'm pleased to meet you, Mr. Canton Wine. What's your fellow, are you? Oh, you might say so. I was hopeful, sir, of negotiating the purchase of a dozen eggs.  Dear, this gentleman wishes some eggs. I'm sorry, Mr. Canton Wine, I only have brown eggs. Brown very best. Yes, sir, I can see you're a man of discernment. Oh, I know my eggs. Here we are. Mr. Randall, I have a question. Yes, sir. Can you tell me the name of this, sir? Hamlet will do nicely, sir. Township will come later. You, sir, are in Concord, Illinois. Concord, Illinois. Yes, sir. Ten, twelve. Even dozens. And even change, ma'am. Yes, sir. Thank you. Thank you, sir. A pleasure to make your acquaintance, Mr. and Mrs. Randall. My pleasure, Mr. Canton Wine. I was going to ask you what brings you to Concord, but then you didn't even know you were here, so I guess I shouldn't. The lights from your store, for one thing, but then there's always a reason for being somewhere. Being something. Now, isn't there? Second. Man's life makes him an individual. Tree has leaves, that makes a tree individual. A rock is a rock, water, water, and every hamlet is distinguished for something. Another question, sir. What is Concord, Illinois, distinguished for? For its churchyard, Mr. Canton Wine. Indeed. Yes, sir. The nicest churchyard in the state of Illinois. The night after supper, Mr. Canton Wine stood out on the street of the little town and rocked a few times on his heels and toes. The light was out in Mr. Randall's general store. There were no lights visible in any of the houses along the street. Mr. Canton Wine, as Lionel told it, muttered something about the use of kerosene, put his hands behind his back, and began walking. And eventually, he walked to that place for which Concord was famous. Eh? What's that? Is somebody here?  Over there somewhere. He thought he saw something move quite a way off. He stood still and watched, then decided to investigate. Without his sure move and slowly advanced, his eyes trying to penetrate the darkness, then he stopped. There it was.  A tall, gaunt man with a boyish face. One of his arms covered the grave in an attitude of possession. The other, he held to his head, sobbing. I beg your pardon, sir. That's not for you, it's for myself. No, sir. Stand away. You've got that gun aimed at me. I'm at your mercy. Well, son, I didn't think the Lord would have proved what you were going to do. I don't think the Lord is much concerned about me. Oh, you're wrong, son. He's concerned about all of us. Well, she's buried there, sir. It's a torment to go on living without her. I've a cross to carry, son, that may cut you and hurt you. As you've lost, it's all in living. But he carried it, and he never fought it. Never see me again. Must have just a slide bar come here. Now, that's a strange question, son. I took my walk tonight, asking myself the same thing. Answer it? Yes, it's a very simple answer. I'm here because of you. He guided me. He must have something in mind for you. I hope I didn't hurt you, sir. Oh, no, no, no, no. Oh, my name is Canton Wine. I'm very grateful to you, Mr. Canton Wine. Maybe we'll meet again sometime. Maybe. Lincoln's my name, sir. Hey, Blinken. Well, you all right now? Yes, sir. Then good night, Mr. Lincoln. It was a product of Lionel's fertile imagination. He once said there's hardly a rider worth his salt who hasn't written a tale about Abe Lincoln, referring to Dora Sherry, head of MGM Studio where Lionel was under contract for almost 30 years. I can remember every Thursday afternoon when Lionel would drive into the studio to pick up his check. To see that battered, dusty old sedan come lumbering on to the lot was enough to send all the guards scattering for cover. And there was Lionel. Glaring menacingly behind the wheel, confined to a wheelchair but man enough to run down any unwary pedestrian pool enough to challenges right away. Lionel Barrymore was first, last and always an individual. And I think that this, along with his extraordinary talent, will give him a kind of immortality. His passing was a loss not only to our own community here in Hollywood, but to everyone in this great country and world. Bing Crosby and Lionel Barrymore worked together under the Kraft Music Hall. And so we asked Bing what was the thing he cherished most from their relationship. I remember Lionel came into the studio one day carrying a newspaper clipping. It was a review from Minneapolis paper dated 1898, and it was written by a close friend of his, named Mr. Frank Butler. To Lionel, this review was one of the most valuable possessions of your own. He told me that whenever he was tempted to feel too smug, it was not pure. A little tough to live with while he'd pull out this review and he'd read it. I think everyone would like to hear it, Bing. Okay, Eddie, I quote. Last night's performance provided as wretched an evening as these old eyes of witnessed, since being compelled to see 12 men hanged in a row by a bungling sheriff. With every aspect at the nadir, one performance stands out more hideously than the rest. A deplorable young actor whose name I am able to forget, although it smacks with Barrymore, appeared only once in a figment of a role, but he enacted it so balefully that the audience was terrified all evening, lest he come back on stage. Now, there's an opinion Lionel Barrymore cherished, indeed. Well, our next opinion doesn't come from the world of Hollywood, but from a man who is a leader in business. In radio, we call him the sponsor. Lionel was fortunate enough to have a wonderful sponsor. Ladies and gentlemen, Mr. J. C. Hall, president of Hallmark Cards Incorporated. I cannot claim a lifelong friendship with Lionel Barrymore, like so many of his friends, but still in the years that I've had the privilege and opportunity to know and work with him, I have developed a great admiration for his ability, a true respect for his indomitable courage, a real love for his warm character. I feel that he is one of the very few irreplaceables, and that I have lost a true and trusted friend. God bless him. Well, we've heard what a lot of nice people had to say about a nice man, the things they remember. No program about Lionel Barrymore would be complete without including the things you remember. Now, please forgive the surface noise. This recording is old, but like many good things, we feel it mellows with age. The mayor of the town, starring Lionel Barrymore with Agnes Moorehead. Valentine's Day certainly brings back memories of the Merlin. Oh, yes, it does, Mayor. When I was a girl, we had parties every Valentine's Day, and we'd all tear off a blue tassel. Oh, my, no. Lots of the girls started romances that way, you know? Yes, yes. I can see the society comes now. The happy couple first got stuck on each other at a taffy bowl. Hmm. Tell me, Marily, did you get a bowl of pulling gaffy? No, but I got terrible big muscle. Then there's the popular Dr. Kildare series, both motion picture and radio. The way I starred is Dr. Kildare, and, of course, Lionel was cantankerous, lovable. Dr. Gillespie. Well, Dr. Gillespie, as you can see from these X-rays, Yukon Joe Moran is ready to be discharged. Yukon Joe Moran. Now, don't tell me you're letting just one patient get you down. Jimmy, that man's as phony as the fruit on a woman's hat. Yukon Joe. I don't think he's ever been further north than the Bronx. Well, he'll be off our hands and out of our hair in another hour, so cheer up. Well, I wasn't even thinking of him until you mentioned him. Well, then what is on your mind? It's Parker. Oh, that's why you've been so grumpy, pining away with love for the fair Parker. Oh, no, nothing of this sort.  You'll know it. Of course, there were many, many more. Do you remember Rasputin, Lionel, and his equally famous brother John and their sister Ethel? Three Barrymore's in one motion picture. I was in a tomb. It was supposed to be an impossible picture to make, but Lionel later said it was one of his happiest moments in show business. They deemed again Grand Hotel. Then there was Lionel's Academy Award for a Free Soul in 1931. Over 300 different roles in more than 40 years of motion pictures and radio. Perhaps his most cherished role of all was Scrooge in Charles Dickens' Christmas Carol, a performance he gave for 19 consecutive years. It has become as traditional of Christmas as the singing of carols. And because we believe it is an important tradition, on December the 19th this year, the Hallmark Hall of Fame will present a transcription of Lionel's last performance as Scrooge. Now, ladies and gentlemen, Dr. Norman Vincent Peale. Another great figure has moved from the accustomed ways of our lives into the vast beyond. Surely he was one of those magnificent personalities who now and then appear, reminding us of the superlative craftsmanship of Almighty God. In our lifetime, Lionel Barrymore became a beloved tradition. Interesting, fascinating, kindly, lovable. The impress of his character was such that he shall forever be unforgettable. Sadly, we contemplate that he has gone from us. But even as many of the characters he so masterfully portrayed are deathless, so he will live always in our cherished memory. And so the curtain falls on the last act of a thrilling life. A great figure passes off the stage and into the wings. The audience which always loved him mourned. That mourning is only for themselves at losing his familiar voice and figure. As for him, he goes to join his great predecessors, that illustrious company of the immortals who have entertained and moved and inspired thousands across the years. In some brighter theater, the spiritually enhanced charm of his personality will go on forever bringing joy to others. How can we span 76 years in 30 minutes? Can we really sum up the lifetime of a man between the tickings of a second hand? I think not. There are a multitude of memories in the career of the Lionel Barrymore acting with but one facet of his great talent. His paintings could stand alone as the work of a fine craftsman. The music you hear is a symphonic work recorded by Eugene Ormanby entitled In Memoriam. Barrymore composed it in memory of his brother John. It was a scene from one of Lionel's novels. He's written another which will be published soon and with camera and ship, he wrote his autobiography entitled We Barrymores. So he has written books, painted in oil, etched, composed music and given memorable performances. Well, we have recorded a few of these. The second hand I see now ticking on the wall is ticking away the life of this broadcast just as surely as it ticked away the life of Lionel Barrymore. But Lionel himself summed up the important things of life in another way. These are the important things, youth and health and someone to love you. As for the record, there are some lines in Macbeth which say the whole business oh and tomorrow and tomorrow creeps in this petty pace from day to day to the last syllable of recorded time. Well, yesterday's have lighted fool the way to dusty death. Out, life's but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more. It's a tale told in fury signifying this was Lionel Barrymore. Good night. This is the CBS Radio Network.


A few years ago, a proposal was published for a healthy eating index. And I thought it might be interesting to look at the latest USDA dietary survey to see how the standard American diet is doing. The index is simple. It's a score of 0 to 100, which simply represents the percent of dietary calories derived from foods rich in phytochemicals. It's just a more technical term for phytonutrient, since nutrient implies essential for life, whereas phytochemicals are merely essential for a long, healthy life. So if 1% of our diet is composed of phytonutrient-rich food, our diet gets a score of 1. If that's where half of our calories come from, then we score a 50. And if that's all we eat, we can max out at 100, 100%. How are Jane and Joe six-packed doing? Here's the latest data on the standard American diet. 3% of calories come from beans and nuts, 3% from fruit, 5% is vegetables, 23% from grains, 17% is added sugars, like candy and soda and other junk, 23% comes from added fats, butter, margarine, oil shortening, and 26% of the American diet is meat, dairy, and eggs. For the healthy eating index, we only get to count phytonutrient-rich foods, since they're the ones most associated with chronic disease prevention, treatment, and cure. So first off, the reason they're called phytonutrients is that by definition they are found in plants, derived from the greek word phyton for plant. So automatically we start out with a score of 74. Neither lard nor candy are phytonutrient-rich either, so taking away the added fats and oils, we are down to 34. But the grain category is a combination of both whole grains, rich in phytonutrients, and refined grains, which have the phytonutrients largely removed. Only 4% of the American diet is composed of whole grains, like oats, barley, whole wheat, and brown rice, and the rest is highly processed, garbage like white flour and cornstarch. Yikes, down to 15, but it gets worse. Two-thirds of our vegetables are white potatoes, half of which are potato chips.  But none of the white potato products count since they contain relatively few phytonutrients. Similarly, a third of our fruit calories are low phytonutrient juices, and so the typical American diet rates 12 out of 100. So on a scale of like 1 to 10, we get about a 1. How do you score a perfect 10? Theoretically, a vegan diet that has excluded refined grains, potato products, hard liquors, and added sugars and oils could have a perfect dietary index rating of 100. Sadly, the score of most current American diets would be unlikely to be as high as 20. Yeah, we wish it were 20. Which means that there is quite ample room for improvement.


Subunit 3.8, phase F. Okay, let's talk a little bit about phase F, the closeout phase. This is the last part of the life cycle. This is the last phase. And the end of a system's life is just as important as any other phase. And so there is a lot of activity that happens even here at the end. One goal of this period is to assure that any of the science data and engineering data that have been returned by the spacecraft throughout its life cycle have all been archived in a way that they can be easily accessed by the scientific community or the engineering community to be able to do further studies, right? So you've been collecting all this science data throughout your mission life. There might be much more data that could have been analyzed during the time the satellite was actively operating. And so you want to make sure that all that data is available so scientists for many years after that can continue to look at that data, analyze it, and be able to, you know, form new conclusions and do more analysis on all that data. So similarly you've been bringing back engineering data throughout the life of the satellite's operational phase. And so all of that engineering data on the health of the subsystems or how the components operated during maneuvers when you were firing thrusters or during the periods when you were going through eclipses and batteries were providing energy. So all of that data on how the system performed is also important because other satellite designers might want to come in and look at it to, they might be thinking of a similar design for their power system or propulsion system. And they might want to assess, well, gee, how did yours operate when you actually put it on orbit and operated it throughout the life cycle of the mission? And so all that data needs to be available to them. And so it has to be archived in a way that these are accessible and that the tools are there so they could actually process that data and make some sense out of and do analysis from it. So another part of phase F is making sure that any lessons learned during this operational phase have been archived and, again, in a way that people can get to it because other mission designers and other scientists who are thinking of doing similar type projects to what you've done may want to look at those lessons learned to see, well, what went well and what didn't go so well and what would you recommend for the future if someone was to build a similar system? One of the other big things that you have to do in phase F is make sure that as you close out the system that you've properly disposed of both the on-the-ground equipment, all the computers and everything else that's being used to work the satellite during its operational phase but that the actual satellite itself is disposed of properly and so the decommissioning and the disposal of the satellite is a key part of phase F. As phase E is wrapping to an end and the spacecraft is dying you have to make sure it's healthy enough at the end of the mission to guide it back into the atmosphere if there's any chance that it may not self-destruct. Many spacecraft are built very lightweight. They'll burn up in the atmosphere but a lot of times there's titanium and other materials on board that may survive and so in the case of trim we have to leave some fuel on board to be able to reenter the atmosphere and some amount of control to target the ocean so that it's safely away from people knowing that some larger components of the spacecraft may come down intact and so the end of phase E planning leads into the next chart which is phase F and so phase F is where you wind the mission down it's completed its objectives you're going to either dispose of the mission into the ocean if it's going to have to stay out of orbit you want to passivate it as much as possible to make sure that it doesn't have the ability to explode in orbit which could cause debris that could harm other satellites and that can happen when you leave a satellite alone and maybe batteries are not tended to over time you also want to make sure that it doesn't radiate RF energy because it's living out its life and communicating with the earth that's great but then when you're done with it you don't want it to interfere with the communications to other satellites and so you need to go through a passivization exercise that gets you to phase F where the mission is complete and you're able to move on to a new mission so use a space shuttle as an example in the last year or so the space shuttle ended its 30 year career and went into phase F where you now had to worry about things like which museum was going to get a space shuttle and how do you archive all the data how do you get all the lessons learned and what's the actual part of phase F is what are all the lessons we learned throughout the system development operations let's make sure that other people can learn from that so let's make sure they're documented make sure that they're transferred to others you have meetings on lessons learned to try to make sure that the next designers learn from the success of that vehicle or the failure of that vehicle whatever it might be so the other thing that was learned during the shuttle lessons learn exercise I said in on some of the discussions over time there's a couple key things about the shuttle and so I'll just mention those as I close out here on phase F is that the shuttle they did a great job in many of the design elements and it operated wonderfully there were key areas though that didn't work out quite as planned early on they thought the shuttle would be reusable in a way that was like an airplane you would pull it into a hanger fix it up and send it back out on the runway it would take off again and in that scenario you could fly the shuttle 100 to 200 times a year and if you could do that that's a lot of flights a year many times a week just like airplanes you could bring the cost of carrying cargo to space down to a very low level was that practical? was the technology really mature enough to make those assumptions in the 1970s? it didn't quite play out that way it became much more complicated every time you fly a human space flight vehicle it takes a lot of care and feeding to make sure that all the systems are operating well for the next crew and so it turned out to be much more expensive to process the shuttle and get it back to a launch pad and it took a lot longer than what you would see maybe in an aircraft operation so again designers do the best they can but sometimes assumptions are made that don't always play it operationally the other thing that was learned in the shuttle program is the main engines of the shuttle during the development were tested and tested and tested they were tested under flawed conditions they were tested under nominal conditions and the engines were blown up down to Marshall Space Flight Center in Stennis so a lot of destructive analysis of what happens when a turbine blade cracks what happens when it's overheated what happens when it spins too fast they did that all during phase A and phase B with the thought that all of that data would come in handy in flight and that they would keep improving the design before the development cycle was done to get the optimal engine and as you see we never had a problem in a board of a mission those engines really held up well over 30 years of operations so a lot of good lessons learned from every mission that we fly and I think it's a critical part of phase F that people forget sometimes is that those lessons learned need to be plowed back into operation so in development during the closeout phase the independent technical review team is going to come back in one last time to assess whether in this case the project is ready for decommissioning and we'll talk a little bit about what they'll be reviewing at the decommissioning review so they're going to come in and they're going to look for that first or the reasons for the decommissioning properly documented maybe there was a spacecraft failure maybe the science mission has been completed all the science has been collected you need from that spacecraft but you want to know that you've clearly documented why you're going into this final decommissioning phase they're also going to look at that all your plans are completed all your assets and space assets are compliant with any government safety regulations environmental rules and anything like that because you might have toxa substances you might have other things you have to make sure you take care of in a safe way they also got to make sure that your operational plans for contingency situations are documented because everything we do at NASA when it comes to operating spacecraft and even designing and developing them on the ground we always think about contingencies and we want to make sure that the team is prepared for the nominal disposal but just in case something was to go wrong what are the reactions that we'd want to do it's always better to think those through ahead of time and document them than to have to think them up on the fly at the time so they'll be looking to make sure your contingency plans are all in place and that the operations team the people who will be executing the disposal and decommissioning know both they've been trained both for the nominal and the contingency situations that might arise so that training's all been completed with any proof of that and that any risks that are associated with the disposal have been identified and that there are mitigation strategies in place to deal with any risks that you've identified plans for disposition of any systems assets are complete when you wrap up a mission at NASA typically you have a lot of computer equipment and other things that you have to dispose of sometimes those are given to other projects sometimes they're older and not valuable to anybody else and they're just disposed of but you have to have a plan for how you're going to handle all of that and most importantly not only equipment but you have a lot of data that you've collected throughout the mission both engineering data that told you about the health of the spacecraft throughout the mission life that you might want to archive off as well as all that important science data that you might have collected so they're going to want to know that you've got plans for archiving all of the data that's been collected and that you've got the tools in place on stream would have the ability to go in and be able to look at the data and have the tools to do it and that you've got the resources because you're going to have to spend money to close all this stuff out archive everything they're going to make sure you've got all the resources in place to do that and lastly and always most importantly at NASA we want to make sure that all the lessons learned have been archived and that they are in a form that's available at the broader community so that other missions in development and operations can learn from everything that's been learned along the way from the beginning of this mission all the way to here when you've finally reached the close out there are no additional resources for this subunit feel free to skip ahead to the next video


Good morning friends. I am Purva and today we will work out the following question. Assume that each born child is equally likely to be a boy or a girl. If a family has two children, what is the conditional probability that both are girls given that? First, the youngest is a girl. Second, at least one is a girl. Let E and F be two events. Then the conditional probability of the event E given that F has occurred, that is, probability of E given F is given by probability of E given F is equal to probability of E intersection F upon probability of F. And here we have probability of F is not equal to zero. So this is the key idea behind our question. Let us begin with the solution now. Now let S be the sample space of the experiment. Of two children in a family, then we get S to be a set which consists of four outcomes. The first is first is a boy and second is also a boy. Second outcome can be first is a boy and second is a girl. Third outcome is first is a girl and second is a boy. And fourth outcome is first is a girl and second is a girl. Now in the question we have, what is the conditional probability that both are girls given that the youngest is a girl? So let E be the event that both are girls and F be the event that the youngest is a girl. Now E is the event that both are girls so E has only one outcome that is girl, girl. And F is the event that the youngest is a girl so F has two outcomes. The first is both of them are girls and the second is first is a boy and second is a girl. Then we have probability of F is equal to 2 upon 4 because F has two outcomes and total number of outcomes is equal to 4. And we get this is equal to 1 upon 2. Now E intersection F is equal to those outcomes which are common to both E and F. Now here we can clearly see that only one outcome girl, girl is common to both E and F. So we get E intersection F is a set which consists of only one outcome girl, girl. So we get probability of E intersection F is equal to 1 upon 4. Now we have to find the probability that both are girls given that the youngest is a girl that is we have to find probability of E given F. Now by key idea we know that if E and F are two events then probability of E given F is equal to probability of E intersection F upon probability of F. So here we get probability of E given F is equal to probability of E intersection F upon probability of F and this is equal to now probability of E intersection F is equal to 1 upon 4. Upon probability of F is equal to 1 upon 2 and we get this is equal to 1 upon 2. So the answer for the first part is 1 upon 2. Now in the second part we have what is the conditional probability that both are girls given that at least one is a girl. So let E be the event that both are girls. F be the event that at least one is a girl. Then we have E consists of only one outcome that is girl, girl and we have F is the event that at least one is a girl. So F consists of three outcomes girl, girl, boy, girl and girl, boy. Then we have probability of F is equal to 3 upon 4 because F has three outcomes whereas in all we have four outcomes. Now E intersection F consists of a set which has all those outcomes which are common to both E and F. Now here we can clearly see that only one outcome is common to both E and F that is girl, girl. So we get E intersection F is equal to a set which consists of only one outcome that is girl, girl. So we get probability of E intersection F is equal to 1 upon 4. Now we have to find the conditional probability that both are girls given that at least one is a girl. That is we have to find probability of E given F. Now by key idea we know that if E and F are two events then probability of E given F is equal to probability of E intersection F upon probability of F. So here we get probability of E given F is equal to probability of E intersection F upon probability of F. And this is equal to now probability of E intersection F is equal to 1 upon 4 upon probability of F is equal to 3 upon 4. And we get this is equal to 1 upon 3. So the answer for the second part is 1 upon 3. Thus we get the answer for the first part is 1 upon 2 and answer for the second part is 1 upon 3. Hope you have understood the solution. Bye and take care.