what's up guys in today's video I'm going to be viewing a brand new hohem gimbal that was just released I've been a fan of hohem gimbals in the past I've reviewed many of them two of my favorite ones that I'm using currently is the hohem iSteady v2 a very compact portable nice small gimbal for your phone and the hohem go which is a two-axis rotating AI gesture gimbal which I use on my tripod sometimes this is the brand new one that was just released today this is the hohem iSteady m6 this is the full complete kit that comes with this magnetic AI vision sensor fill light really excited to show you how this works it's very premium looking the features that you get on this gimbal for your smartphone you would generally find for those larger gimbals for your DSLR or mirrorless cameras and just to give you a quick snapshot of some of the key features of the gimbal I'll just show you the reverse of the box this is all complemented with the hohem joy app that you can download by scanning the QR code it comes with all of the main accessories you would expect including the tripod a very nice storage bag USB C charging cable a type C to type C charging cable and you can also purchase a type C to lightning cable for iPhone separately so let's go ahead test this out see all of the features heading up go through the app and give you guys some sample footage of how stable this looks as well as testing it out with this AI vision fill light so let's get into it okay so here's the gimbal a very nice design let's go through some of the buttons and the ports and how to balance it so you've got a nice little OLED display here which I'll turn on and showcase all of the different features for joystick shutter button mode button on the right hand side you have the power button you just hold down for a few seconds the USB C charging port you also get a quarter inch thread if you want to mount any other accessories like another larger light or maybe a microphone you can do that you have the Rolex's lock switch it's a little latch there at the bottom you just flip upwards trigger button and this is quite nice you have yourself a control wheel which can do various different things this is actually what is going to control the magnetic light that's actually on the phone mount and I'll showcase how to do that you have a be trajectory buttons to show maybe a time lapse or panoramic shot you've got another quarter inch thread there if you want to mount anything else another accessory and then you've got a third one just at the top there right next to where the phone is mounted if you want to maybe connect a microphone that's connected to your phone then there's plenty of different options to really make this a super powerful all-in-one filming solution to balance the gimbal you've got yourself some measurements there with a little latch you can just move this left and right to make sure your phone is balanced and then you lock it back in place it's very quick and easy to do so on the phone mount itself it tells you which direction to face the camera so you know that it's mounted correctly now with this magnetic AI field light this actually is detachable you can take this off and you can actually face it in both direction quick and easy to do that you've got a little on and off switch just there on the right hand side and then this will enable the AI gesture control if you want to use that I will turn this on and showcase how to use the different color schemes but this is also not just a warm light that you can use as a studio light but this also has the whole RGB spectrum so you can actually turn this like red blue green yellow whatever you like and this is something that I've not found on any other gimbal so far and it's for me personally really going that step further to give you the best experience for no matter what scenario you want to do your filming for okay so let's go ahead and mount the phone I will load it up with the home enjoy app so you just need to make sure that it is balanced moves the little axis at the back hold on the power button and it will center it for you so very quick and easy you've got a trigger button at the back to recenter the phone so by default it is set to pan follow if you wanted to change the mode you just press it once it goes to pan tilt follow locked POV and then back to pan follow if you double press this will go forward if you single press this will go back to the modes that it has if you triple press this goes into permanent 360 degree inception mode so you can see this will keep rotating and tilting 360 degrees and you can stop it at any time by just hitting the mode button again so it's kind of like an infinite inception so you can create some really cool videos like this and then back to pan follow so you have your joystick here as well very easy left right up and down now before we move on to the fill light and AI gestures let's go quickly through the app as you expect from a home app you can go from video photos panoramic time lapse you can set the settings for that then you also have at the bottom slow motion as well and then when you go to moment these are all of the different preset templates that you can use this will basically create it for yourself you have inception smart dolly zoom dolly zoom smart motion time lapse panoramic video clone me and fantastic rotation I'll try some of these out and I'll showcase that during this video you can also change the settings you can change the resolution to 4k and 30 frames per second which is what I will shoot at and everything that I'm going to shoot in this video will have the magnetic light on top I will not remove this just to show you how everything works with that always attached if you go into settings you can change more of the general settings you would expect from an app like this then you can also change the gimbal parameter settings from here as well just to customize a bit of the features that I've just shown you so now let's move on and talk a little bit about the control wheel and what this can do because I really like this feature okay so if you double tap this this will go into focus mode if you double tap again this can go into roll mode with the control wheel so I've got it in focus mode I'll just start recording and you'll see as I move the control wheel I can control the manual focus in the settings you can also use this to control the zoom if you switch it around but I think manual focus wheels are quite good especially if you want to really take your filming to that next level and be in kind of more of a professional setting if I double tap this you'll see on the OLED screen it goes from focus to roll just there on the top left so now this can go left and right roll up to 45 degrees like so and it's a very smooth motion which I quite like there you have it double tap the trigger to go back to center I'm now going to turn this on with the switch you'll see there's a red light that turns on on the fill light you get two flashes to say that it is ready so now I can start using gesture controls for this to follow me around the room so let's take a look at that demo first so it's very simple two main gestures you give the okay hand symbol to start the tracking and you give the full five palm to stop the tracking and that will go green to let you know that it has started so I'm going to be about maybe half a meter away very quick and easy the light has gone green I can now move around the room and just like the previous hohem gimbals I've showed you this works very well so I can stand up if I go left and right move around you can see how quick and easy this follows me and then when I'm ready to stop it's now stopped the light has gone red and it's just done a great job so I'm very happy that this works so well and this is one of the reasons why I'm such a big fan of hohem gimbals especially with their AI gestures working so smoothly and so quickly now I did mention if you wanted to you can actually take this off so if you're shooting someone else you can face the light towards them and get that on the subject so now let's dive into that magnetic light which is one of the key features of this gimbal it's simple once you have to switch on to turn the light on you just hold down the control wheel for about four or five seconds there you go it turns on and by default you have the cct spectrum so it goes from a cool white to a warm white and to show you that you'll see on the OLED screen there you can see the percentage of the brightness level of the light and what spectrum of the Kelvin scale the light is on to switch between that I just need to press the control button once you can see it's now moved over to the Kelvin's and I can switch backwards and forwards if I wanted to now the light is on on the Kelvin spectrum if I'd now go maximum 6,500 Kelvin's this is a very cool white light and if I go all the way down 2,700 is a very warm white let me go ahead and make it the max brightness to 100 and you can also dim it down all the way to 1% very quick and easy and I really like how this works now if I triple press this this which is over to the RGB spectrum so you can see there's a blue light if you cycle through you can see I can keep going until I find the right color and it goes through the whole RGB scale and I've not seen anything like this on a smartphone gimbal this is really cool if you want to create some nice effects nice video filters or anything like that and again you can also press the button once to switch the brightness level of this color so now what I want to do is just quickly turn off the lights a little bit on the studio behind me and put it back on to the warm light I'll make it 100% and see how much of a difference this makes when filming in low light conditions okay so I've turned the lights off from my studio lights I've closed the shutters I have a little bit of background ambient lighting but that's fine this is how it looks with the feel light turned off and if I turn it on it's just made me illuminated it's so clear now and if I really wanted to film myself in kind of like darker rooms darker environments this feel light actually works very well even though it is quite small it does a great job so if you really wanted to film maybe in an indoor setting where there isn't a lot of natural light coming in or it's very dark or it doesn't have bright white lights maybe in a gym for example then having this small feel light will really capture that video and show you all the details and give you that clarity that you need it's just a small attachment which I think goes a very long way so no matter how you're filming what you're filming just having that strong magnetic attachment on the top of your gimbal that will just really stand out not for yourself but for other people that are in your filming okay so there's nothing left to do other than take this outside get some really cool shots use the gimbal with the app and showcase some of those smart motion templates and see how this performs so let's take a look okay so I'm outdoors ready to do some filming now before I shoot some sample footage I just wanted to showcase how to turn this into portrait mode because I will take some portrait mode shots it's very simple all you have to do is tilt the gimbal sideways like this it automatically switches to portrait mode and then you just kind of move this forward in front of you and you hold it like a torch it's so simple you don't need to worry about pressing any buttons double pressing it's just controlled with the gesture and then you get it back to vertical like this and then shoot horizontally like that so very quick and simple let's go ahead test out some of the sample footage using the hohem joy app and let's see how it looks so as you saw from that footage guys I've found it so smooth so easy to use it has this enhanced stabilization system that they've built into their software and into the gimbal itself which has been so much more smoother than not just previous hohem gimbals I've used but pretty much any gimbal that I've used it's packed with a lot of features I really like using the actual zoom button as well you'll notice that around the shutter button you have this kind of orange metallic switch if you use this you can see on the camera it zooms in and out very smooth zoom which I really like a lot of zooms I've seen in the past have been very jittery and again if I just wanted to record myself walking I can triple press the trigger button at the back and switch it around and use the back camera on my iPhone 14 Pro Max so it's packed with so many different features I really like this and hopefully you guys found that footage as good as I did so there you have it guys the hohem iSteady m6 very impressed with this it's got tons of features I was able to get you know a full day's worth of shooting done and this has 18 hours of battery life which I can't fault because you know that's more than you need just charge it up it's very quick charging and it just packs with so many features this is now my number one go-to gimbal for my smartphone for me personally hohem have always produced really awesome gimbals and I've been such a big fan of their product for many many years and this is no exception to find out all the details about this brand new release hit the link in the description find out all the latest pricing information any discounts they're running any offers if you have any other questions about this gimbal and its capabilities of course drop a comment down below make sure to subscribe I review gimbals and all other tech which I know you're going to like so make sure you catch those when they do get released make sure to like this video and I will catch you at the next one take care


On Monday, August 28, three UPIKE students from the Kentucky College of Optometry received a full ride scholarship through the Air Force Allied Health Professions Scholarship Program. These students will be pursuing medical careers in the military after graduating to contribute to our armed forces. Each of these students has achieved outstanding academic performance in order to receive the scholarship. Receiving the scholarship is a great honor because it is very competitive first academically and then the process of being approved. And I am absolutely thrilled to have the opportunity to continue doing my studies and then serve in the Air Force for three years, providing eye health care to veterans and service members and their families. If you keep up with it and you, you know, you stay disciplined, it's a very rewarding experience because you learn a lot, not just from the material and becoming a doctor, but in resiliency and staying disciplined. So overall, I'd say it's been great for me. When my baby was born, it was magical. And as she grew, having a hospital close to home with advanced healthcare and specialized physicians being there along the journey was important. And along that journey, many special doctors touched our lives.  Pikeville Medical Center, caring for every moment in life. The Air Force has given these three students the opportunity to continue pursuing higher education. Their goal is to return the favor by providing medical care in the military. I feel elated. This was a very long and drawn out application process. However, I kept pushing through because I knew it would be very rewarding. And so I'm very honored and happy to be awarded the scholarship. All of my professors have been extremely supportive. I probably asked five of them for different letters of recommendation and they all willingly did it. And the university definitely holds us to a high standard. And so I'm glad I was able to put the university in a positive light and be one of the recipients of this award. Reporting from Out in Top News, I'm Nick Collum.


Ac ydych yn ymwneud? Yn ymwneud, gwneud am ymwyneud y gweithio ac y gallwn gwneud yn gwneud ar hyn yn y cyfwysig. Rydych chi'n ddweud, ymwneud, ymwneud, yw'n ddwyf yn ymwneud. Rwy'n gweithio'r botwch a'r flwyddyn yn fwy o'r gweithio'r ffwyd. Fy rydyn ni'n gwybod i'r ddwyngau, yr ysgol yn y fideo rysgwpeth, yw'r ysgol i'r fideo yn ymwneud, Cyn ni'n gynton i fyny o drafodaeth ar gyfer yr Gweinod AGUMIL.com. What happens when you discard the narcissist? When you start thinking about discarding the narcissist, it is because you have realised that if you don't do something about it, nothing is going to be done. Nothing is going to change.  If you have tried to work things out and you have come to the conclusion that nothing you say or do in that situation is going to make any difference because they like a dysfunctional environment, it works for them. Cyn gyrddwch yn roi'r gaelu'r amser, rydyn ni'n gorfu'r ffair o'r fawr. Rydyn ni'n gorfodd o'r gai ffair o'r fawr o'r iawn i fynd i fathodig ac yn gweithio'r fawr nid, o'r diphysig y ffair o fail o gwnaeth. Ygoch yr amser yn ciaeth ddweud i'r rhaid, fel yn ei chyma roedd cyfaenu o'ch gwell. Yn gwrs dw i dus i fe wnaeth i mynd i chi'n fathodwch cyfnod i fi, o ddyn ni'n gweithio'r fawr, .. sydd wedi bod yn rwyf am gydag o'r ddweud. Nid oes y dyfodol bod hynny yn ymdusio gydag i ymdodol. Rwyf wedi'i gawr o'r ddweud o'r ddweud o'r oedd. A oedd yn ddweud o'r ddweud o'r cyhoeddwn o gyfnodol yn y rhan. Rwyf wedi bod yw'r oeddaeth hynny.. .. o bwysig, o gyfnodol, o bwysig, o bwysig a o gwasgol. Ond eich bod yn gofyn o hynny'n gweithio ar y ddweud o'r argyffindig... ..dill ni yn unig gweithgaredd pan ddweud. Rwy'n cyflwynt ymdweud, y byddai f burden o'r adrodd... ..io falch ac yn ddod. Felly o'n gweith yw ddim yn popeth. Mae gen i'r cyfryddau i'r ffordd i'r cyfrwadau. Mae gen i'r cyfrwadau o'r cyfrwadau i'r cyfrwadau... .. ac i'r cyfrwadau i'r cyfrwadau o'r cyfrwadau. Llywodraeth fel y gyfnod i'w ddim yn ei chawch iddyn nhw yng Nghymru. Walko'r ffordd i fod wedi'i ddim yn gweithio'r rhaglenau nid yw'r Ymddangosedol i feddwl fy mhartagol o'r ddweud o'r Ymddangosedol i'r ddwyclod. Yn y ddweud i fathions iddyn nhw'n credu i'ch bod yn ddiweddol i'r ffrodd. Yn ddoddi du'r ffodd i gweithio ariio a'r ddweud o'r ysgrifennid yn ddoddiad yn ddigwydd ychydig yr Ymddangosedol. This is a real shock to the narcissist. They didn't expect you to suddenly wake up and realise what is going on. They expected you to remain asleep. Compl样wit their demands. Doing whatever they want you to do.  But they don't really believe that you're going to leave. They don't even think of it as a possibility. When you do discard an arsist, it is a real shock to them. They panic. They're terrified, hysterical. They try to recreate the love-bombing phase that will bring back the fake character that they displayed to you at the beginning. They might start being kind to you again to try make you believe ond ydy'r wrth i'w ddweud ar gweithgol i enw i chi wch i gyd-weld, yw'r dweud o hynny'n gweithio, yw'r ddwy'r gweithio. Dim yw'r gweithio i'r ffiantfag yn ymen a'r bydd yn hyn o lawer o fe gwych. Rwyf am yn yr un o brinodau i chi i ddech chi. A maen nhw'n gallu ddweud i'r cyhollfain. Onw ei tha'r panig, rwyf yn iawn i gyd-attu'r icinfa. Rwyf yn amlwch i chi i chi i chi i'r gweithio i gyd-weld. nhw i'ch gael gyd yn ychydig fel yna i'ch gael i chi ar hyn o'r lleolion. They will bring up things that you have told them, things that may have happened in the past and they will now use all of that against you. If that doesn't work they will start a smear campaign against you. They will make damaging statements about you to everyone around you. Cywethaf gyntaf, cywethaf gyntaf.  They will be left without a primary source of supply which puts them in a state of desperation. They have to quickly prime or train their secondary source of supply who is probably around even while they were with you and then make them the primary source of supply. Many times they don't want to do this. They might not know enough about the secondary source of supply but when they lose their primary source they haven't really got a choice. This is why they want to be in control. They want to be the ones that discard you. When you discard them you've just messed up everything that they had planned for you. Now that their secondary source has become the primary source they will triangulate them with you. They will use them in an attempt to make you jealous and get you interested in them again. This can happen in just a few days after you have discarded them. It doesn't take long because most often the secondary source was already around while you were with them. They choose the secondary source out of desperation because they never expected you to leave and not come back once they know that you're not coming back. They will try to start a relationship with the new source. The cycle repeats itself again. The new source goes through the love-bombing phase. Then the narcissist looks for another target in case something happens with the new source. Then the new source goes through the devaluation and discard phase. Just as you went through, the narcissist expects the relationship to end from the beginning. They know that it's only a matter of time until you stop putting up with them. But they prefer to be the ones to discard you. You are never the only one with the narcissist. They've got to have a backup source. They cannot deal with being alone. Even when they advance the secondary source to be in the primary source, they're already looking for another secondary source in that situation. They already expect this to happen from the beginning of the relationship. It is a cycle, a repeated sequence of events. Just as there were many before you, there will be many after you are gone. They leave behind them a trail of victims that they have attempted to damage or destroy. Thank you for watching. I hope this video resonated with you. Please like, comment, share and subscribe. Click the bell icon to receive notifications for my future videos. If you would like to donate, my PayPal link is in a video description. Coaching inquiries you can email me at narcosfevercoaching at gmail.com Thank you for watching and I'll talk to you soon.


I feel like a pterodactyl out there. How's it going, Coach? Hey, guys. How's it going? Great. How are you? Good. Todd, what did you want to see these first four days of camp and how much of it did you ultimately see? Yeah. You know, you want to see the offense come together and execute efficiently and take care of the football. And I think we've done that in spurts. I think we've grown in building roles on this football team. And I think there have been times that we've fallen short of. Racing and math is someone that stood out as having made some big plays. What's his development been like so far and where can he still maybe stand to grow? Yeah. Racy's a hungry kid. It's awesome to watch him work. He loves coming to work and getting out here early, you know, putting in the extra time to try to learn the techniques we're asking him to do. So really excited about where he's at and the progression he's made. I think Rob Moore is doing a great job with him getting him acclimated to our system and excited to see what his future looks like. AJ Brown kind of looks like a different player. I mean, he's always been good, obviously, but he seems to have taken another step this year. Just what have you seen from him? And I know you also talked about expanding his, you know, Routeshrie a bit. Just how have you seen him kind of develop in that regard? Yeah. My perspective of AJ over the last couple of years has always been that he loves football and he competes. I think he has a great competitive spirit. And I see that on display now. So to me, it doesn't look like necessarily a different AJ.  His energy is something we need. How has the onboarding process been for you and Julio Jones? See, you guys are doing a lot of side conversations and those kinds of things. Yeah, he has such a wealth of knowledge, you know, and a great football IQ. So many experiences that it's fun to be able to process through some of the stuff with him and, you know, talk about the same-as type concepts that he's run in the past. And so, yeah, there is an onboarding process, but it's a fun process. So we're excited about where he's at. So there is some back and forth just as far as, like, what are some of the things you've seen? This is what we see, et cetera? Yeah, absolutely. I think I'd be a fool of a coach to not take the wisdom off of a veteran like him. And so talking through kind of some of the things he's done in his past and how we can acclimate him to the things we're going to ask him to do here and find that blend, I think, is an important process. What do you think? A short bit of time. Have you seen anything from him that kind of surprised you or just, hey, I didn't know that he could do that? I won't say that I'm surprised. You know, I expect a lot of a guy of that caliber, but I've certainly been pleased to be working with him. What's Lou bring to the table? You guys have brought him in, Todd. And how important was it, I guess, to get another bigger blocking veteran in? Yeah, I think somebody with that many snaps of blocking a defense event straight across from him at the professional level, you always love adding pieces like that. He brings, you know, that veteran presence. He's seen a lot of defenses. He's tough. He's gritty. He's smart. He's plug and play. He knew the system. So excited to have Luke Brown. What have you seen from the young Titans so far in camp? Yeah, I think they've been developing well. You know, Luke Steckel's doing a great job of those guys. He invests a lot of time in them. And I think that they've each grown in their own way. Certainly their work's in progress, but, you know, we're going to hold their feet to the fire and see who steps up. What's your plan with those guys to go to the camp and to appreciate the games? The model for a number two quarterback is to be able to run the system like the starter and take care of the football. And so a little bit like my answer earlier, I think we've done that at times and other times we haven't. So look them for consistency from that spot. The transition you've done for Oluia, which is from the standpoint of guy who played 10 years with one team, one quarterback who started fresh out here. I think the transition's been good. You know, he's having dialogue with Ryan on a constant basis and with myself and Coach Vrabel. I think, you know, it's going to be just a matter of time until he's fully comfortable in the system. And once he is, I think things will ascend quickly. I think it's that Spanish to English dictionary, right? It's it's figuring out what he used to call things or how he used to run them and then how he can quickly, you know, assimilate to this system and and go play fast without having to think, OK, that used to be called this. Now it's this right. So as soon as he can, you know, kind of translate that, I think it'll take off. Eric Frazier said, yeah, Eric's been doing a great job. You know, he has experience putting together a pass game at Montana State, so it's fun to kind of pick his brain on how he did things. He's a diligent worker, you know, certainly a guy that adds a lot of value to the staff and can kind of float around and help in different areas. So I feel very, very fortunate to have him on staff with me. And Byrd was saying that he believes Anthony Berkser could be a top flight tight end in the NFL.  Just what kind of growth have you seen from him, you know, from from when he the last couple of years to where he's at now, just, you know, four days. Yeah, confidence is a really powerful thing. And Anthony has grown in that area every year that I've been around him. And I think he, you know, had such a great foundation of a receiving skill set even before, you know, I got here and started working with him. But I'm excited to see him grow in all aspects of his game. I think it's a year for him to step up and take a leadership role in a lot of ways. And so excited about him and where he's at. Look what you were in a good mood after practice and what kind of put you in a mood where you can't wait to kind of get back out there next time. Yeah, I think we all, you know, we wouldn't be in this industry if we didn't have a competitiveness to us, right? And so you want to succeed and you certainly want to pick up first downs and a third down drill and score in the red zone and all those things. I work really hard to not confuse results with the process, right? We're trying to build a foundation here and we're trying to make sure that that foundation is solid. And then we said an identity is an offense. So if we do the things, the little things the right way and it looks like what we want the product to look like, the results will come and I believe strongly in that. So, you know, when I come off the field, if I feel like we've put in great effort and play with good energy and attention to detail and we've finished, then I'm at least knowing that we're stepping in the right direction. Can you guys come up with a plan to pull AJ and Julio out of individual at the end there, get them with Ryan? And how much will that accelerate kind of those relationships, particularly Julio? Yeah, it's a group decision. You know, I think it helps give Ryan a little bit of time to communicate with them what he sees and then vice versa. Sometimes in meetings you get wrapped up in the install a little bit and you know, you're making sure you're covering all the plays and formations and motions and so on. But that's a time that they get to kind of discuss out on the field in between the stripes. You know what they see and I think that's a really powerful thing for them. So I think it's a valuable piece. We've seen it. All the challenge to stick with the progression that you talk about when you don't have Julio and team and obviously there's not enough to run it yet. Is it all a challenge, especially the first new play caller here, to not want to accelerate that and to put it all together too quickly? Yeah, I think obviously when you have new toys that you want to play with, it's always tempting to try to figure out the way to tinker with that and maybe accelerate certain people's roles. But I have to be disciplined in this progression as well, right? It's my job to make sure that we're doing things the right way before we move on to the next. So ultimately I keep that as my focus instead of trying to win a drill. Are we seeing a trio of the receivers practicing and returning punts? How much is versatility like that gonna be key? Is that position looks to work itself out as it comes to making the roster? Yeah, the pump piece of it, I can't give you an answer on that. That's out of my lane. Yeah, but certainly the ability to play multiple positions, conceptual learning, learning multiple spots and not just locking in on one spot, that's extremely valuable as is availability. Darren, it's clear that he's healthy. What will a full practice schedule during game weeks do for him this year that he didn't have the benefit of? Give it to me one more time, I had that. It's clear he's healthy. He clearly wasn't healthy last year, didn't practice a lot during the weeks. What will a full practice week during the season do for him week after week as they had to get through the season, you think? Yeah, we firmly believe around here that practice is really important and it translates to the game. It helps you have confidence again and to go play fast in the game. And so certainly think practice versus no practice is a big benefit for us. Sir, I'm Darren, how's he coming along in terms of past pro and are you seeing some of the explosiveness that you want to see from him in this offense? Yeah, I think I'll hold evaluation on anybody's past pro technique until we have pads on and really can stick his face in there from an assignment standpoint, pleased with where he's at. Tony Doos does an incredible job getting all those guys ready to go and understanding our protections and we're excited for Darrington to contribute it all possible. What about that bond with Tannehill, like into that where you guys think is one, how is that coming along? Because obviously he and Coach Arthur Smith had that last year. Yeah, a benefit to me being here as the tight end coach the last couple of years is developing relationships with these guys. So it's not just a fresh start. We're not getting to know each other personality wise. We've kind of been around one another. I really enjoy that aspect of this job, talking through scheme with the quarterbacks, making sure we're on the same page. He sees it like I see it. Ultimately, that's what's most important. If we see it the same, we've got a chance. If we see it different, again, I have a mixed bag of results. So that process has been great and I've really enjoyed my time with Ryan and I think we're heading in the right direction. What's I appraised you for being such a great worker with quarterbacks? How did you get to that point? I know David Carr is in your past and there's some of the other QVs. Why are you so good at that? I will take the compliment, but I'll say I'm always a work in progress. My time with Derrick and even before that with quarterbacks in Buffalo and Detroit, I think it's a learning process through every stop. And each quarterback's got a little bit different personality. So I try to remain as consistent as I can be so that I can relate to those guys, whatever level they're on, and try to have a servant's heart in that role and find out how I can best help them succeed. Trying to get through camp first, but there's three preseason games this year.  Will you go good going into season or for those conversations? Yeah, those decisions will be above my pay grade. You know, I'll cross those bridges when we get there in those conversations with Coach Variable, but that'll be up to him. Thanks guys, appreciate you.


We had an umpire have a great game behind the dish last week So I figured I'd highlight it since I'm always talking about when I'm mess up and this guy had a great game That curveball was a strike that fastball. No, that's a click outside this pitch. No, that's a click low broke before the zone this one No, that's low as well. This one is brought to you. Ooh, that's a strike This one is brought to you by keeps calm two out of three guys are gonna Experience some form of male pattern baldness by the age of 35 and keeps is out here trying to help you with that So this umpire John Libka, I'd never heard of him because you don't really hear about good umpires a lot. They he had a 99% overall accuracy overall consistency 99% outside zone accuracy 100% called 90 of 90 true balls correctly now how accurate is whatever your system is generating this report I don't know, but everyone tends to just believe these enough that we can like base it off of something I'd never seen a report card this good ever and I never heard of this up Like I said, but I should have want to know why we all should have because when he was a rookie at 32 He had the best what they're calling bad call ratio of only 7.59% So he's kind of known for being really good at calling balls and strikes good for him This was a study done by some college in 2018 Oh, no the line right above is talking about how angel herdanda's is Routinely described as one of the worst.  Oh, look at that. He says yep that clipped it. I liked it. How about that one? No, no, how about that one? No, no, how about that one? Absolutely not and this one? No Those are all off the plate that one. He liked it came in Josh Donaldson Tweeted like these ump reports So even players are looking at this Twitter account who tweets out these ump record ump score cards And they usually look like this usually all the balls that are outside that are called strikes They do the little circle and show you like well, this is what his own was really like Here's Ron Culpa missed a lot of balls. Look at these numbers. Look at these numbers Look at these numbers and then you know you had Lipka's which was one call and that one call I've got the pitch. This is it Now they're saying that's a strike. He called it a ball It is interesting that the one pitch he quote-unquote missed according to the scorecard in that at bat It led to a home run for st. Louis, but the pitcher he threw more strikes in the zone He didn't generate another called striker swing and miss. So I don't think it played into the home run But I just thought that was funny that that happened. But yeah, dude I mean real real cool real good just wanted to put the name out there John Lipka if he's behind the dish Know you're gonna get some consistency because he's been doing it since 2018 his rookie year. Good job by him I'm proud of him strike Game over there's a picture of me right before I made this video and this is what it would look like if I went Fully bald and we can't have that I got to do whatever I can to keep my hair And if you're ready to take action and prevent hair loss for yourself You got to go to keeps comm slash John boy You get 50% off your first order keeps comm slash John boy Keep your hair keep it consistent umping and hair. I'll wrap it into one umps with hair up better because younger umps ump better So there's more data and science


So legendary class mods, where is the best place to get these? I've been asked hundreds of times, but luckily thanks to today's event I can send you in the right direction to get these legendary class mods. Has it gone guys? My name is DPjenn, I'd like to thank you for stopping by and checking out the video, if you do enjoy it leaving a like really helps out and subscribe if you want more Borderlands videos. Also I'm giving away copies of Borderlands to win one for yourself or a pal, simply subscribe and make sure you have notifications turned on, drop a like and a video and leave a comment down below. Okay so bus week is alive until next Tuesday, during bus weeks certain buses have increased chances of dropping certain loot. If you saw my Borderlands 3 video earlier I covered what buses drop what loot, I might do a guide on all bus locations and said loot they drop so stay tuned for that. But two of the buses this week have increased chances of dropping legendary class mods, so this is where we have to be farming to get them. Now farming offline as far as I know does not reward legendary class mods, whether this is a bug or something I don't know. Will this bus week event change yet? Again I do not know, I can't confirm any testings at the moment. So the two buses too far for legendary class mods are Kassagawa Jr who is located on Promethia upon Atlas HQ, seem pinpointed on screen now but if you don't know your way here, you don't know the route, I will show you the route to follow at the end of the video. But assuming you do, go here and farm this bus for an added chance of getting those legendary class mods. The second bus you can farm all week is Payne and Terra located within the guts of Carnivora and Pandora, the route is straightforward but I will show you guys who are unsure in a few seconds the exact path you take. But yeah, get to Payne and Terra, farm them for increased legendary class mod drops. Now I know what I am doing is next week because I am desperate for certain class mods so I am hoping I will get them from these spots. Okay so on screen now we can see the route to Kassagawa within the Atlas HQ on Promethia, follow the route you can see I take on screen now to find your target. Route to Payne and Terra upon spawning into the guts of Carnivora. So yeah guys, farm away and I hope you get those rewards. But on that note we have come to the end of the video, I just wanted to bring you guys a quick guide on this new update which is basically bus week which allows us to farm specific legendos from certain buses for those who weren't aware of this event. So yeah, if you are new around here and want to see more Borderlands 3 videos, be sure to subscribe if you never want to miss a video I upload, you can turn notifications on by hitting that bell button. Hopefully you enjoyed the video and hopefully I will see you on that next one.


Welcome to meningitis part 1. In this section, we will discuss the pathophysiology and presentations of meningitis and encephalitis. Meningitis and encephalitis are infections of the central nervous system. Meningitis primarily affects the meninges. Encephalitis is confined to the brain parenchyma. If left untreated, meningitis and encephalitis cause a significant CNS dysfunction and sepsis, leading to lifelong neurological disabilities and even death. Therefore, there are both must-not-miss diagnosis in the emergency department. We'll talk about the pathophysiology of these two diseases. In terms of meningitis, it can be caused by bacteria, viral and other causes. The main one we need to concern ourselves with would be meningitis caused by bacteria. Organisms enter the meninges through the bloodstream from other parts of the body. The main bacteria include strep pneumoniae, myserium meningitis and hemophilus influenza. All these bacteria are part of the normal flora in the upper respiratory tract. Viral meningitis are usually caused by antrovirus and HSV, or the herpesimplex virus. Common causes for meningitis include TB, Lyme disease and others. Encephalitis is usually caused by virus. They include the herpesimplex virus, varicella zoster virus, measles and others. In terms of at-risk population, as with most infection, they include patients who are immunocompromised such as those on chemotherapy, malnutrition, chronic sterile use and those who have not been vaccinated. Another reason is if there is any break in the blood-brain barrier, the bacteria are more likely to invade. They include reasons such as surgery, trauma including basal skull fracture, or indwelling hardware such as VP shunts. Let's move on to presentation. In terms of history, patients with meningitis may complain of fever, headache, neck stiffness or pain. Although less than 50% of patients have this classic triad for meningitis, particularly if it is early. The associated symptoms include decreased level of consciousness, either into confusion or lethargy. They can also include nausea, vomiting and photophobia. Atypical symptoms can also occur particularly in the elderly or infants. These two groups might only have lethargy or decreased level of consciousness without headache or neck pain. For encephalitis, the symptoms are quite similar. The patients can complain of headache, fever, although neck pain is not as prominent since the meninges are not involved. They can also have decreased level of consciousness, confusion or seizures. As with all infectious diseases, it is also important to ask about travel, any sick contacts and particularly if there is an outbreak in where they live. On physical examination, we pay special attention to the vital signs. They may have fever or signs of sepsis such as tachycardia or hypotension. In general, they may look well particularly if they are early in their disease or very unwell if they are late in the course. On the neurologic examination, we look for focal neurological signs and papillodema. We will look for rashes, particularly for purpura. On examination, we also look for any signs of meningio irritation. There are a few of them available. The first one is kernic sign. This is when the patient's knee and hip are bent at 90 degrees. An extension of the knee is painful. Ritzinski sign, in which when the patient's neck is flexed, they lift their legs involuntarily. Nucleurigidity, which the patients have difficulty flexing their neck. Jolt accentuation, in which moving the patient's neck quickly or jolting, increases the patient's discomfort. All of these tests from meningio irritation have low sensitivity and high specificity. That means that if your patient has it, that is much more likely that they have meningitis. But if they do not have it, it does not mean they don't have the disease. For physical examination of patients with encephalitis, they will not have any signs of meningio irritation. They may have a fever, a headache, have change in level of consciousness, or presents in a seizure. They may have cold sores, this suggests herpes and Plexivirus. In summary, we talk about the pathophysiology and the history and physical impatience with meningitis and encephalitis. In the next video, we will discuss the treatment and investigations. Thank you for watching.


Hey everyone, welcome to Tutor Terrific. Today, we're going to start my third unit on physics. We are going to be looking at kinematics in two dimensions. In the last unit, as you know, we were looking at kinematics in one dimension. So, we're going to be studying motions now in two dimensions. We're going to look at the 2D system, our two-dimensional world, and how it's based. We're going to look at vectors after that, all the combinations and all the components and how we resolve those in two dimensions. So, let's start first with this idea of the Cartesian coordinate plane. This is our two-dimensional world. What we're used to, guys, is this, the number line. The number line was our one-dimensional world. We could go right or left, and if we rotated it so it was vertical, we could go up or down, and those were our only options. We were quite restricted. Well, that world is gone. We have now replaced it with this. Two number lines, like this, where their respective reference points or their zeros are at the same spot. This is the Cartesian coordinate plane. This is now the world in which we live. So, let's first talk about how position is mapped in this plane. As you are well familiar with from algebra, we have two coordinates for our numbers for each position. The x and the y coordinate. We need both of those to specify a specific location in two dimensions. These are also known as ordered pairs. Now, a very special point will be zero comma zero. So, zero on the x and zero on the y, that would be the origin, as you already know. That's the two-dimensional reference point. These axes are both spatial, and I know we looked at what looked like two-dimensional graphing in the previous chapter, but in that instance, one of those dimensions was actually time, and the other one, the vertical axis, was your one-dimensional world as far as position was concerned. This is no time information on this graph at all. This is just two-dimensional position right now. If we wanted to include time in our analysis, we would show objects moving, and we would draw a trajectory into dimensions like this. And as time goes, sort of like a parametric curve, for those of you who are familiar with that from pre-calculus, this would be your trajectory, and as time goes on, the object moves to a different ordered pair or coordinate, a pair of coordinates in this plane. Now, vectors, okay? Vectors, we are used to now in one dimension that kind of look like this, that could be positive moving to the left, excuse me, positive moving to the right, or negative moving to the left, and we were very limited as far as which way we could go. And if there is up or down, the vectors could point up or down with different lengths. Well, things are a little bit more complicated in two dimensions, and some people say it's more free. We could actually graph position with vectors, okay? So let's say we've got this vector over here, vector one, it's at 3 comma 1. If I draw a vector from the origin, so its tail is at the origin, and the tip is at that point, this could be a vector for position. Just like we did when we were in one dimension where we would start at zero on the number line and go to the location of our particular point. And here's another vector for position V2, okay? Negative one comma negative two. So position vectors start at the origin and end at the location, that's one way to do that. Well, here's another example, 3 comma 2 for this point P. But what about this vector over here? What's going on there? It doesn't start at the origin, okay? We're not going to talk about that. Well, vectors do not have to start at the origin. Position vectors do, but displacement vectors do not. They can end and begin at any coordinates. And the numbers you show, such as right here, negative one comma negative two, illustrate the motion from start to finish. So here I start at negative two comma zero, and I move down to negative three comma negative two. So that's the change of negative one in the x direction and negative two in the y direction. These would work as displacement vectors, one position to another. All right, now these vectors, as you can tell, are at an angle. How do we deal with that? How big is the angle? Is it pointing up and to the left, down and to the right? There's all different combinations now. It seems like an infinite array of possibilities for the way these vectors could look. Well, there's ways to resolve those into components. Now, this process is to break down a single vector at an angle into a horizontal and vertical vector that make it up. These horizontal and vertical vectors are called components, and the process of getting them is called resolving. So I have here a vector I call A, okay? Now, we can look at A, and it's at some angle. Now, we would draw the components by looking at how far it moves horizontally separate from how it moves vertically. So it moves a decent amount from the tail to the tip, from the left to the right this much, okay? So I just draw that section, that's the horizontal component. Then, if I look vertically, it moves quite a bit vertically from this position lower to this position higher over here. So this vertical vector takes that into account. So now that I've drawn the components, how I find their magnitudes horizontally and vertically as far as length is concerned.  This angle theta represents the angle between the horizontal component and the vector itself. The horizontal component, specifically A sub x, can be found by taking the magnitude of A and multiplying it by the cosine of this angle. Again, the angle must be defined with respect to the horizontal. So basically this little set of phrases here makes it clear what to do. To get the horizontal component, multiply the magnitude of the original by cosine of theta. For the vertical component, multiply the original magnitude by the sine of theta. Make sure that this angle that you're using is defined with respect to the horizontal and is not this angle up here, which is defined with respect to the vertical. If you were to do that, you know from trig, for those of you who are experienced with trig, you should be in physics, at least at the Algebra 2 level, you would flip these two formulas. So if the angle was up here, the A y would be A cos theta and the A x would be A sine theta. But usually what we do for a simplicity and sort of consistency is we would define the angle with respect to horizontal by default. All right, so let's practice. We've got this angle, 50 meters per second, so it's a velocity vector at an angle of 60 degrees. I want you to resolve this vector v into components. First we draw the components. So here's the horizontal component and here's the vertical component. So we can see this right triangle we're going to use. And the horizontal component would be 50 meters per second, the angles, I mean, the magnitude of the vector times the cosine of 60. Okay, 50 times the cosine of 60 degrees meters per second, which would give you 25 meters per second. V y, the vertical component would be 50 times the sine of 60 degrees in meters per second. That would give you 43 meters per second. Now, if these particular vectors were drawn and labeled, they'd look like this. 25 meters per second for the horizontal component and 43 meters per second for the vertical component of this vector. Now, what if we have a vector who's not in the first quadrant? Okay, we've got angles and we know from a little bit of studies of the unit circle or from the Cartesian coordinate plane that each section is a quadrant. This is quadrant one, this is quadrant two, this is quadrant three, and this over here is quadrant four. So clearly this vector is in the second quadrant, not in the first. So the angle that we are used to using with respect to the positive horizontal x-axis is larger than 90 degrees. Well, there's another angle here that is less than 90 degrees, called the reference angle, that is related between the vector and the nearest horizontal line, which would be the negative x direction. So how could we find the components dx and dy of this vector, which are labeled in black? Let me give you some measurements to start. Let's say that the magnitude of the blue vector d is 253 meters, so it's a position vector, and the black angle here is 55 degrees. We could find dy and dx, the components, the following way. We could use the black angle. So dx would be the magnitude of d 253 times cosine of 55 degrees, and dy would be the magnitude of d times the sine of 55 degrees. That's fine, but because we're in the second quadrant, dx would have to have a negative sine slapped onto it, because we know that in the second quadrant our x component is negative and our y component is positive. We could do that. Now, another way to do it would just be use the original red angle, even though it's bigger than 90 degrees. In your calculators, the way cosine is defined, if you would do the cosine of 180 minus 55, 125 degrees actually, you would get a negative value for dx by default, and that's what's meant by this statement here. 253 sine of 125 degrees would continue to be positive. So if you use the red angle instead of the black angle, in other words, you found the red angle and then used it, you would get the proper signs by default. Now, you might come across what are called bearings, and there's many ways bearings are used. This is not the way that air traffic controllers use bearings or pilots, but this is another way to write bearings, something like 20 degrees south of east or 47 degrees west of north. What in the world is this garbage? What am I talking about? Well, let me explain. In order to figure out the direction of a vector using this bearing language, we would start with the second word as our home base. Here, east, for example, we'd start with a vector pointing directly east, and we'd go in the angle and the direction of the first word, so 20 degrees south. We'd start at east and go 23 degrees in the southern direction, so it'd be a vector that would point from the origin to about here. Nice compass. Well, you may be given an angle with respect to the vertical, and we'll need to find its complement so that you can have an angle with respect to the horizontal so we can use our formulas. 47 degrees west of north is an example of that since we would start at north and we would go 47 degrees west. This angle would be defined with respect to the vertical. I'm going to give you another one here. 72 meters at 55 degrees west of south. I don't want you to resolve that into components, so we have its magnitude and we have its angle west of south. We start at south and we go 55 degrees west. I'm going to call this vector s. This angle right here is 55 degrees. That's not defined with respect to the horizontal, so we would find its complement. 90 minus 55 would give us this angle here.  Notice how this vector is in the third quadrant. It's in the third quadrant. That means that both the sx, s sub x, x component of s, and the y component of s are both negative. If we had been in the first quadrant, we would have north of east or east of north type bearing language used. I'm going to slap those negatives on and use this 35 degree angle here, not the angle with respect to the positive x axis in the easterly direction. I have a negative 72 times the cosine of 35 degrees. It gives me negative 59 meters, and then sy would be negative 72, the original magnitude, times the sine of 35 degrees, which would give me negative 41 meters. Those are my two components. If I were to draw those, I'd draw the sx from the origin going all the way out to the same horizontal position as s. Then I'd start there and go straight down for sy to the tip of the original vector s. You might see a phrase like to the horizon instead of this bearing language. That means we start in the positive x direction, so east, and we go north. It would be the same as north of east. If you saw 20 degrees to the horizon, that means 20 degrees north of east. Let's look at combining vectors. There's many ways to do it. Let's refresh ourselves with some addition and subtraction of vectors in one dimension. Addition. Vectors in the same direction combine to make one vector whose length is the sum of the vector's individual lengths, such as these first two examples here. Vector with magnitude 5 plus vector with magnitude 5 in the same direction equals a vector in that same direction with a magnitude equal to the sum of the originals 10. These two vectors, which point in opposite directions with the same magnitude, 5 plus vector negative 5, would be a zero vector, so it would have no length. Then we have these two vectors, 5 plus 10. Well, it would be a very long vector with a magnitude 15. What about 5 plus negative 10? Now we've got adding vectors in opposite directions. We combine to make one vector whose length is the difference in the individual lengths, the difference in the individual lengths. For here, we have 5, the vector 5, and a vector negative 10. Well, the difference in those lengths is 5, and it points in the direction of left because the larger vector points in that direction. This is just like adding integers. Here's another one. 5 plus negative 15, the difference in those lengths is 10, but we'll point it to the left again because the larger vector is negative 15 and wins out. What about these two? Vector 10 up plus negative 5, which would point down, the difference is 5, and it would point up because we have a vector 10 that's larger, longer than the vector negative 5. Now let's look at subtraction. When we're subtracting vectors in the same direction, we subtract by mentally switching the direction of the second vector and following addition rules. You could look at this vector here and treat it as this vector here, negative 5. 5 plus negative 5 would be 0. That's one way to do subtraction. In this case, you would write a plus here and turn this vector around, so it would be 5 plus negative 10, like this situation over here. The result should be negative 5. What about this one, where it's already pointing in the opposite direction? When you subtract vectors in the opposite direction, you would subtract by mentally switching the direction again of the second vector and then following the addition rules this time. It would be 5 plus positive 10, which would give you 15. This one, 10 up minus negative 5 down would be the same as 10 up plus 5 up, which would give you positive 15 upwards. This is how we would add vectors in one dimension. Now the reason I showed you that is because it is important when we relate to two dimensional adding. But first, before I leave this, I want to remind you that when you combine vectors, the result is called the resultant. All of these answers over here on the right side are called resulted vectors. Now let's go to two dimensions with that one dimensional foundation. Addition and subtraction, there are multiple ways to do both. To add two vectors in two dimensions, we can do the tailed tip method. This is the favored method by most students. What you do is translate one of the vectors so that its tail is at the tip of the other. Look at B right here. What I do is I move B until it's at the tail of A. The tip of A. Right now it's at the tail of A and it could be anywhere, but I'm going to move it so that it starts at the tip of A. I'm translating it so I don't change its magnitude or direction. I just move the whole thing isometrically, which means I don't change anything about it. It's congruent to the original value of itself. Now B is at the tip of A. Tail to tip. What you do is you draw a vector from the first vector's tail to the second vector that you translate its tip. This vector C would be A plus B. Here's another example. I have A lined up here and I put B right at its tip. The tail is right at A's tip and I keep B the way it was before where it originally was located. I draw another vector from the tail of the first vector to the tip of the second. In this case it's called R, but in this case it was called C. This vector R is vector A plus B. As you might have guessed the length of R is not equal to the length of A plus the length of B unless the vectors were originally parallel and that's how 2D vector adding works. You can add in either direction. I could have put A at the tip of B and I've gotten the same magnitude and direction for my resultant. It doesn't matter the order. The addition is commutative for two dimensional vectors just like it is for one dimensional vectors. Well there happens to be another way to add two vectors. It's called the parallelogram method. What you do in this case is translate one of the vectors so that it's at the tail of the other vector. So they start at the same position and go in the respective magnitudes and directions. What you do then is copy the lengths of these two vectors at the tips of the other vectors respectively and you create in this case a parallelogram. Now the diagonal from the original starting point of both vectors where their tails are to the opposite vertex of the parallelogram is your resultant in this method. So that's another way to do it but some find it hard to create this parallelogram.  The first one is called the triangle method. What you do here is you translate one of the vectors so that its tails are at the same location. So it's kind of like the parallelogram method for adding at the start. But then comes the tricky part. You create the resultant of the subtraction such as vector a minus vector b by putting the tail at the head of the subtracted vector. Okay that's the hard part. You put the tail of your resultant at the head of the subtracted vector. That's this position and you finish your resultant at the head of the first vector. So this is a minus b. Some would really think to put it backwards but that's incorrect. So you take a basically and you move its tail so that its tail starts at the tip of the vector you're subtracting. Now it's called the triangle method. You'll always create a triangle with it. Okay but there's another way to do that which involves something we did on the last slide. The opposite method. So what we can do is multiply the vector we subtract by negative one which essentially just switches it around. So it points the opposite direction. So now I have v2 here plus negative v1 which points to the left instead of to the right. And then I can add by the tail to tip method. So I move v1 so that it starts at the tip of v2, translate it so it looks like this now. And then I would create the resultant by starting at v2 and ending at the tip of v1. So this would be v2 plus negative v1 or v2 minus v1. This is another illustration that shows that if we're doing a minus b what we would do is we could put turn b around. So it's negative b. Put it in the proper tail to tip position and then create the resultant at this yellow vector from the start of a to the end of negative b. Alright, now let's look at multiplication. First by a scalar. So a single number multiplied by a vector. What is that? We're combining the two types of measurements. Oh no, can we do that? Yes. Here's one example. Okay, when you multiply by a positive scalar what that's going to do is it's going to magnify the length of the vector. So here's v, the original, here's 1.5 v. It's one and a half times as long. If you multiply a vector by a negative scalar it turns it around and then magnifies the length. So if we multiply by negative one all it's going to do is turn the vector around and it's going to have the same magnitude as the original. But if I multiply the original by negative two, which is this one over here, it not only turns it around but doubles its length. Okay, so this is how we multiply by scalars. You can imagine what 5 v would look like. It would be a vector in the same direction as this one five times as long. Okay, now multiplication of vectors together. There are actually two ways we can multiply two vectors together. The dot product and the cross product. Let's look at the dot product first. A dot product with two vectors, this is the formula we use in general. A dot product, the scalar is an output. Okay, it is not another vector that you get when you do a dot product. So basically it's like you're dissolving the two vectors into a scalar. And here's the formula for doing so. Let me explain this formula. To multiply two vectors together by dot product, what we would do is we'd find the magnitude of the components of each vector. So AX, AY, and BX and BY. Then we multiply like components together, such as AX times BX and AY times BY. Then we add, we finish by adding those two products together. AX BX plus AY BY. Okay, there's another way to actually do dot products. And that is to find the projection of one vector onto the other. What you would need to do to do this is to first find the angle between the two vectors and then multiply the magnitudes of the two vectors together times the cosine of the angle between them. This effectively takes the projection of B onto A. So it's like the shadow of angle B onto surface vector A. And then you'd multiply those two lengths together. Alternatively, this formula works great. The magnitude of each vector times the cosine of the angle between them. Now I know there are two bars on either side in this picture, but I want you to understand that this is what some images and textbooks use for magnitude. I like two bars, but this image was really nice. So I plugged it in anyway. Now the cross product is a vector product. The output is a vector, not a scalar. This dot product gives a single number as its answer, but a vector is the output of a cross product. The way we talk about cross products is A cross B. When we talk about dot products is A dot B. So here's a visualization. I'm not going to do the math for the cross product. It's beyond the scope of this physics course. But I want to show you that if I have two vectors A and B, I put their tails together like I do in the parallelogram method for adding. And A cross B is another vector that is perpendicular mutually to the original two. I'm not going to get into how it's like this defined, but it's definitely longer than the either of the originals. But its direction is mutually perpendicular to the other two. So we get into really three dimensions here. And there are rules for determining whether it points up. Let's say you've got a plane for your vector A and B. A cross B would point up, and B cross A would actually point downwards in this situation. And that's because the cross product is not commutative. You create a separate vector. And that's what we're used to in matrices as well. But it's a little simpler with vector cross products. A cross B would point in one direction. B cross A would point in the exact opposite direction. There is a special rule called a right hand rule that you can use to determine that. But I'm not going to get too much into that now. I just wanted to introduce you to all the ways you can combine vectors with addition and multiplication. That was a long one, guys. Thanks for sticking with it. I hope that was a good introduction to two-dimensional kinematics for you so you could see the world we live in and how we treat and handle vectors. All right, guys. Thanks so much for watching. It's the end of this video. Stay tuned for less of two. This is Falconator signing out.


Greetings my esteemed laddingtons. Today I want to talk about how magnificent I look. I haven't spent all of my narcissism points for this month, so I'm doing it now. I'm flexing a bit extra as well. Now okay, not really. I have something I want to share because in my latest video I talked about God the One, the Divine, not to be confused with the Christian God by the same name. So whenever I say God I mean the Universe or the Divine or rather the One. So that's what I mean with God. So we have here by Zachary Gill, Syncratic Indo-European Faith. Now Zachary has actually been with me for a few years now, so I appreciate you being with me for all of this time. And he has written this fine book which I've read and in it I stumbled upon a nice description or take on the One. So I'll read it to you and you can decide for yourself if it makes sense or not. So here it goes. I prefer to use the human body as an analogy of the One. Imagine the human body. The cells within the body are humans, animals and life. They are created by report to and rely on the organs. There are various types of cells and those that are more complex or more similar to organs would be akin to humans or the idea of demigods. The organs are the gods. The organs take care of these cells and produce them but also rely on them themselves for communication and resources. Of these organs the brain is what controls and regulates them all. Within this I would opt that the brain represents the Trinity or Godhead. The nervous system of which electric synapses of the fire element communicates through various frequencies is how the cells and organs communicate to the brain and thereby to the One itself. These communications could be done through rituals, sacrifice, prayers and hymns or meditation. The divine or One itself flows through these frequencies and lives within each of us. To keep the body healthy you must maintain a balance. In the same way a balance between order and chaos must be maintained as well. So that is a quite good take on the One. Of course you can use whatever metaphor or analogy. As you want in a recent video I made about a year ago. I made a following comparison. You have God and you have like an ocean. Everything is connected. So the world ocean connects everything but you also have separate seas and oceans. You have the sacred Baltic Sea and you also have the sacred Atlantic. They are in a way the same water but they are all different. The same thing if we are talking about something like milk. So you have milk and you also have way they are the same. Both are milk but they come in different shapes. So many different good analogies you can describe the One. Now something to point out as well that the One is beyond human comprehension. So that can be worthwhile keeping in mind whenever we are talking about the divine. Now I also have another quote from this book which I thought would be worth sharing with you all in regard to order and chaos. So he notes about chaos that it is the force of chaos that gives rise to birth, death, destruction and creativity. Chaos is the turning of the wheel, the burning of the old, the repurposing. If it weren't for chaos then there would be nothing for order to place in order or to establish into a pattern. This is why the so called forces of light and goodness are reliant on the chaos. One might think of it as that if you do not have sadness then your happiness means nothing. Or that if you do not have faults then seeking perfection and purity is impossible as it wouldn't exist by reflection. So quite a nice passage there as well. Now since we are talking about chaos something to note here as well. In most myths you have dragons and dragons they aren't evil per se and they are an expression of chaos that you can tame. So great stuff, great stuff indeed. So yeah I just wanted to share those two insights and I wish you all a high Thumos day ahead. Thanks for watching and thank you for your support XXO. Boom!


If you are a coach, consultant, or mentor, it's really helpful to have your own framework, your own methodology for how to make sense of the world, how to help your clients make sense of their issues, and how to get to their goals. So I have this online course called Create Your Framework, Create Your Unique Framework actually, where I walk step by step through how to create your own unique methodology that you can use with your clients and how you can organize, therefore, all of your content into this knowledge structure that makes your work truly unique in the world. And we also get into, therefore, using diagrams to illustrate your framework. And it just something, it becomes your body of work that you can really be proud of and that sets your work apart from everybody else. So if you're interested, georgecao.com slash framework is the link to check it out.