I'm the comic weekly man, the jolly comic weekly man. And I'm here to read the funnies to you happy boys and honey. Yes, boys and girls, it's comic weekly time.  Right out of the pages of Puck the Comic Weekly, straight into your living room, your friend the comic weekly man, the jolly comic weekly man. Hello, hello, hello. A little bit sunny. How are you today? I'm so excited because Christmas is here. Yes, Christmas is here, the best time of the year. Well, that's good. And no one has reason to be mad. Oh, that's true. Yes, it is. Well, let's wish everyone a merry Christmas. Yes, let's. All right. Merry Christmas, everyone. Merry Christmas. Puck the Comic Weekly. Very well, I'll read that in just a moment. But before I do, let's listen to this nice man. Now here we go with Puck the Comic Weekly. And on the first page, Hop along Cassidy. Magic words for the music, please. Very well, my lady. Six guns blazing as you thunders along. Give us music for Hop along. The Marshal, Hoppy and his pals have ridden to Pike's Landing to warn the citizens that the Indians are on the warpath. They trail Black John, who's been the ringleader of the troublemakers for so long, into town. The citizens get to work throwing up a barricade as the Marshal rides up and down, telling all new hands to come running up what the excitement's about. All party-headed this way, armed to the teeth with smuggle rifles, help throw up that barricade and manned gun positions. Meanwhile, first picture next row, Hoppy, California, and Lucky are going down to the waterfront at the Landing to Beaker's office to warn him to be on the lookout for Black John. As they near a pile of barrels, Hoppy suddenly makes a leap at them. Throws a gun and he thugs. He's knocked over with the barrels, he says. Next time you attempt to ambush, you better cut out cigarette smooths. The smoke gives you away. California snorts. These mavericks may have been posted here to keep us from finding Black John. Hoppy tells him, he'd hide him up California. I'll check on the freight office. And Hoppy walks over to Beaker's office and goes in, last picture, second row. He sees Beaker huddled before his safe. And he says, working late, aren't you, Mr. Beaker? Beaker, who's been hurriedly stuffing things into the safe, slammers. Well, I heard about the coming attack and I'm, well, I'm stowing away all valuable records to protect the boat company. First picture bottom row, Hoppy goes on. Yeah, maybe you also heard of Black John. He's been working for Kirby's bunch, helping to smuggle guns to Iron Claw's tribe. We chased Black John to this town. Well, I'm afraid there's no such person here. All right, I'll take your word for it. And Hoppy goes out. He tells Lucky in California, hey, Black John's in there, all right. Hey, you mean you saw him? And last picture, Hoppy answers. Oh, I didn't have to. There's blood on the ladder leading to the upstairs storeroom. I guess the Black John was in the storeroom. Yes, you bet it was. I wonder why he didn't knock that Mr. Beaker down and go up the steps after Black John. Well, Hoppy has his own reasons, so I'm afraid we'll have to be patient before he does that. Oh, next week do you think we'll see the Indians attack Pike's Landing? I wouldn't be a bit surprised. Now? Well, let's go over to the next page because you remember last week Bolton, the pirate, well, he escaped from King Agua and he's heard that the Dems are going to attack Val's homeland. That's exactly right. I wonder whether Bolton is going to warn Prince Val about this. Well, let's find out. So turn over the page to page three and here we go with Prince Valient in the days of King Arthur. Hecket, break it, Gray Malkin and Quince, music romantic for a fair, fair prince. Part of the North, Bolton, who has fled from the anger of King Agua, tackles a difficult problem. He alone knows of the coming invasion of Thule by the Danes. He realizes Val and King Agua must be warned, but he's angry because he was thrown in a dungeon by King Agua and revenge and loyalty battle in his simple heart. But loyalty wins. A messenger is sent to warn the King of coming danger.  Come demand the great fleet of ships gathering in the fjord and in no time at all the ships are prepared and ready for war. King Agua will command the center. Prince Val will lead the right wing. But who will captain the right wing? Always, Bolter had been the leader of the right wing. But Bolter is far to the north where he has fled after his escape. What to do? And then Nalita comes forward with a scheme. She suggests that little Prince Arne, the two-year-old baby boy, be appointed captain of the right wing in Bolter's place. Because she says, where Arne goes, there goes Tillicombe who Bolter loves. And if Tillicombe is there, Bolter is sure to come. First picture bottom row before the fleet sails. A consul is called and the captain's listening surprise as King Agua gives the order of battle. I command the center. My son, Prince Valient, the left wing. And then pointing to the little two-year-old boy wearing sword and shield, he says. And my grandson, Prince Arne, the right.  For his place, his battle station has been given to a mere child. What an insult. Why, he, the roughest of all sea captains, finds out that Val and his father think his place can be taken by a little child. That's why he's angry. Oh, I see. But that was just a trick. They're hoping he'll get so mad that when he hears this, he'll come back to show them that they can't do without him. Oh, you win? Yes.  Well, we'll find out about that next week. Now? Well, now, too. Why, we certainly can do, Donald Duck. So let's go over the page, past page four, over another page, past Perry Mason and the Lone Ranger. Here on page six is Donald Duck. So here we go with Donald Duck and say the magic words with me. Squee-jump, squee-jump, squee-jump, squee-jump, squee-jump, squee-jump. Let's have music to fit a quack-quack. Daisy, Donald's girlfriend, is home in bed sick. The phone rings. She sits up and says, Hello? Oh, yes, yes. I feel awful. Flugh or something. What? What? Oh, no, no, not today. What? In 10 minutes! And the click on the other end of the line tells her that the party is hung up. A second later, Daisy's in the bathtub.   And then she's slipping into a very pretty nightgown, squirting herself with perfume. And then slips back into bed again. Pulls the covers over her. And then she hears. The door opens last picture. And in walks Donald with a bouquet of flowers. He stops beside her bed and looks at her. And when he sees Daisy looking precious at Daisy, Donald exclaims, how do you do it? Sick, but still beautiful. If he knew how much trouble she went to to get beautiful, he'd be surprised. You bet he'd be surprised. Yeah, I saw that, Daisy.  Well, she should. After all, she's his girlfriend. And she's afraid she might lose him if he saw her unpretty. Well, if he... But do you think she should take a chance? Well, no. No, I don't think she should take a chance. No, neither do you. Now, I know who you are. That's right, Uncle Rimmer. I certainly will if you'll turn over to the last page of the first section. All right, section. And there he is, Uncle Rimmer's in his tales of Brer Rabbit. Say the magic words with me. Hippity hoppity make it a habit to give us music for old Brer Rabbit. Uncle Rimmer says, Brer Fox is all the time thinking about Brer Rabbit, till something better comes along. Yes, in this day's no different. Brer Rabbit peeks out his window and sees Brer Fox hiding behind a tree. Brer Rabbit says, Well, Brer Fox has been laying for me all morning. It's about time I was getting rid of him. So he opens the window and stands behind the safe where he keeps his valuables and says loud enough for Brer Fox to hear. Now that I have put all my gold in one big ball, I expect I better take it down to the bank for safe keeping. Brer Fox exclaims, Gold! Hmm. So he sticks his head up out of the bushes, looks through the window and sees Brer Rabbit open his safe, glass picture top roll. He sees him take out a big gold ball. And then he sees Brer Rabbit practically break his back trying to lift the gold ball because it's so heavy. And he hears Brer Rabbit saying, Oh, I'll be glad when I get this gold to the bank.  And he watches as Brer Rabbit staggers to the door, down the steps and down the path. First picture bottom roll, he sees Brer Rabbit coming toward the tree where he's hiding, still carrying the gold ball. And he hears Brer Rabbit saying, Hey, this gold ball is getting heavier by the minute. Then Brer Fox pops out from behind the bushes and says, Well, I'll relieve you with that weight right now. Let go of that gold ball. Brer Rabbit pauses into the air. It up, up it goes. Third picture bottom roll. Brer Fox exclaims, Hey, hey, what, what's this? And Brer Rabbit says, The price of gold is going up. And as the gold ball sails through the air, Brer Fox chases off after it. And Brer Rabbit saunters down the road. Last picture saying, I knew that gold balloon would come in handy someday. And Uncle Rima says, A greedy man is always too willing to settle for something better. Isn't that a good joke on Brer Fox? Yes, Brer Rabbit found a good way to get Brer Fox away from the bushes so he could go off to town and enjoy himself. Yes. Well, he'll be running for quite a while anyway. Now. Oh, not that. And I'll read that in just a moment. The first hears that nice man again with something interesting to say. Now here we go again with Puck the Comic Weekly and on the first page of the second section, Blondie and Dagwood. Magic words for the music, please. Very well, my lady. Rima food, Rima fun, Zim Zim Zombie, conjure me music for Dagwood and Blondie. Blondie! Blondie tells Dagwood, Dagwood, you have to get rid of that mouse. It kept me awake again all last night. Dagwood throws down his newspaper, goes out into the other room, walks over to Daisy and her pups and smiles at him. Fine thing! Six big healthy dogs around here and you can't even catch one little bitty mouse. As tears of shame run out of the dog's eyes, Dagwood roars last picture top row. What we need around this house is a good old-fashioned cat. Well, everybody starts looking for cats. Alexander reports first picture next row. Alvin loaned me his cat for the night. Cookie reports. I found these two strays in the alley. Dagwood gets one from a neighbor. Oh, Esmeralda's a wonderful mouse at Dagwood. Last picture, second row, three neighbor kids bring cats to the Bumstead house.  That night, first picture, third row, as Dagwood prepares for bed, he says to Blondie, well, it's gonna be a different story around here now. That mouse isn't gonna keep us awake any more. In the middle of the night, the dogs come down the stairs. They see the cats lounging around. The dogs are very jealous, go, and the cats who don't like their tone of voice go.  And the cat answers, and the last picture, third row, the dogs go after the cats. The cats go after the dogs and they all dash up the stairs making a terrific racket into Dagwood and Blondie's room they go across the bed and around the room.  He knocks at a door. When it's open, he hands one of the cats to a lady saying, I'm returning your cat, Mrs. Ribney. Thank you. And she snorts at two o'clock in the morning. An hour later, Dagwood is back in bed again. He's just dropped off to sleep. When Blondie sits up, shakes him and says, Dagwood, I hear that mouse again. I hear that mouse again. I hear that mouse again. Yes, poor Dagwood. He has a terrible time solving his problems. Yes, poor Dagwood. Well, I'll look underneath Dagwood and Blondie. Yes, who's always so sad around the train that was captured by the Crocs. Yes, they uncoupled the engine, laid down a spur track, and then made off with a whole train while Roy and Dolfel, who were tied up, watched. Well, I'll look. Well, let's find out right now. So here we go with Roy Rogers, King of the Cowboys. Ah, yippee-yoh. Now here we go with Roy and Trigger. Ah, yippee-yoh. Dolfel says, ain't it awful, Roy, to humbrey steal a whole cattle train for a ride? And leave a snubbed-off like jugheads? Roy replies, I don't give up yet, Dolfel. The engineer got blown off the train. Looks like he might only be stunned. At that moment, the engineer slowly sits up, holds his aching head. Roy calls to him. Hey, over here! The engineer gets to his feet and recognizes Dolfel and Roy's the guards on the train. In a moment, he's untied them. And in another moment, Roy and Dolfel are on their horses, heading down the road, the last picture-top row, trying to catch up with the cattle thieves. They gallop along the tracks to find out where the siding leads to. Meanwhile, in the first picture-bottom row, the cattle rustlers, led by Dude, have rolled the train to a point by the river's edge where they unload the cattle and drive them down to the river and onto the flatboat. And Dude shouts, Hold on those critters on the flatboat! I want no trace left of steers or cars after this last haul! Last picture, Roy and Dolfel hear the falling cattle. They take a shortcut through the shrubbery and come out at a point overlooking the landing where the cattle thieves are. They see the cattle loaded onto a flatboat and at that moment see the box-cars of the train being rolled back and pushed into the river. Roy exclaims, Well, as your answer, Dolfel, that's how the cattle and cars vanish into thin air. And Dolfel exclaims, Jumping catfish! Neatest rustling trick I ever saw! I'm stealing things so you won't see the evidence. Yes, no one will ever know what has happened.  Yes. Well, you'll need to be smarter because there's a lot of rustlers there and there's only Roy and Dolfel Hawkins. I wonder how he will do it. Well, that's something we'll find out next week. Now, let's go over the page. All right, Gordon. Yes, and remember, Flash Gordon is on the planet Mars where he's been captured by the Queen Menta. That Queen... I wonder what she's going to do to Flash and Dale and that nice man Link. Well, let's read right now and find out. Here we go with Flash Gordon. A rig-a-dig-a-doon-doon-sash-com-a-tash. Let's have music for heroic flash. Queen Menta has plans to capture the earth. Her scientists have developed a new secret weapon called the Melt Ray. Today, Menta has decided to find out how effective it is. Last picture, top row, Menta has brought Flash, Dale and the others to the great hall of the prison. There, a cage is opened and an armored animal called a horofang is freed and stalks toward them. First picture, bottom row, is a snarling beast pranks forward a technician throws a switch. There's a blinding flash and the horofang disappears before their eyes. Menta turns to Flash and Dale and tells them that they saw what the Melt Ray did to the vicious animal. She says now she wants to learn whether it's effective against earthlings and promises them that if one of them volunteers for the test and survives, all will go free. Last picture, Link volunteers. Flash tells him quietly, no, Link, I'm in command. I'll make the test. I used to let her try that thing out on him. I think I wish Menta Zippered had an iron flash. I feel the same way about it, but maybe Flash has a scheme in mind whereby he hopes to outsmart the Queen. I wish he tried to find another way to try to pull it. Don't worry too much about it because remember Flash has gotten out of difficult spots before. Next week, maybe we'll find out he'll get out of this one too. I can hardly wait. Let's help you wait by turning over to the very last page and Dick's adventure. Oh yes, because Dick is on his way to the wilderness Yes, they're under orders of the President of the United States to make a trip to the Northwest in the early, early days of this country. Yes, and a foreigner last week who was a man from a different country tried to offer Dick some money to become a trader, but Dick wouldn't do it. No, sir, re. But they know now, though, that they have enemies who are going to cause them trouble on this expedition. Let's read now and find out what happened. All right, here we go with Dick's adventures and say the magic words with me. Let's have music for adventurous Dick. It's the 4th of July, the year 1804. For two months now, Lewis and Clark's expedition has been working its way up the mighty Missouri River, which is in the middle of the United States. Being the 4th of July, the men want to celebrate by having a great banquet. So that night, after the boat's anchored, Dick slips off into the woods by himself with his long rifle. An hour after dawn, he drops a deer. Now he has the main course for their meal. On his way back toward the river and the boat, he passes through a melon patch. As he stops to pick melons for dessert, the last picture-second row he's surrounded by Indians who spring out of the bushes, arrows, and tomahawks in hand. However, a careful explanation from Dick soon convinces the Indians that he wishes to be friends. A little later, Lewis and Clark and their men come out of the river, loaded with bittles for a good feast. And last picture, the Indians and white men in the Missouri River wilderness celebrate the 4th of July with a hearty feast. So as I believe me, I'm glad he made friends with them. I hope so. So am I. Those diplomats that Dick met in Washington are up to no good. And I think we can look for trouble next week. Oh, I hope not too much. No, not too much. Now, look. I hope not too much. I hope not too much. I hope not too much. I hope not too much. I hope not too much. Now, look. Oh, yes. Here underneath Dick's adventures, here's Rusty Raleigh. And you remember last week, we found out something about those two Englishmen that came to the Miles farm. Yes, they were pretending to be wealthy men, but we learned that they were so poor that they had asked the boy, Pete, to give them a ride in his car. Yes, and now Rusty knows this, and maybe he'll tell Tex and Mr. Miles, and they'll find out that these fellows are not to be trusted. Well, let's read now and find out. Here we go with Rusty Raleigh. Gallop and run till the road is dusty. Give us music for his horse and Rusty. Pete is going to take Rusty for a ride in his car. They go to the garage last picture top row to get the car, but they find that Sir Percival's is parked in front of Pete's. Pete looks for the key so he can move Sir Percival's car so he can get his own. He turns to Rusty and says, hey, look at this, Rusty. A receipt from a car renting service right here in town. It fell out of the glove compartment when I got the key. Rusty exclaims, gee whiz, then this car doesn't belong to Sir Percival at all. Meanwhile, in Sir Percival's room, first picture bottom row, the man named Nabi is saying, well, how about it first? What's it going to be this time? One of your investment swingers? Why not get him to cash a rubber check and scram? Sir Percival replies, Not since Nabi. Miles is good for something big. I haven't made up my mind yet as to what it'll be. Besides, I'm enjoying my sojourn and these pleasant surroundings. Later in the barn, Tex, Pete, Rusty and the man named Nabi pretending to be Sir Percival's chauffeur are out at the barn. They see a car fall off. Rusty exclaims, hey, hey, look, Tex, a man with a big police. Gee whiz, a sort of a cop is with him. Tex looks and replies, hmm? Oh, well, well, well, that man in uniform is Danby. One of the guards at the bank in town. Hey, hello there, Danby. How are you, Tex? Hey, Danby, what are you doing here with the shooting iron on? The guard replies, Well, I got a valuable delivery to make to Mr. Miles, Tex. Something the bank was keeping in the vault. Is he at home? Well, yeah, sure. In the house. Go right up ahead. Thanks, Tex. The guard walks up to the house carrying the valise. Last picture, Rusty exclaims, Gee willikens, Tex, what could they have on that valise that they'd send an armed guard with? Well, you know, Mr. Miles, the chairman of the charity horse show, Rusty. I figure them fellows is carrying the awards. And one of them is a $5,000 gold cup. And as Naby overhears this, a crafty gleam comes in his eye. How about you? He's going to go and tell Sir Christopher about those valuable things, and I wouldn't be a best surprise if they tried to steal them from out of the safe. You know something? I wouldn't say that you're wrong about that. I hope not. I hope that they don't get Rusty or Pete into trouble. We'll find out about that next week. Now, that's all the time I have, but before I go, here's that nice fellow with some more interesting information. Well, honey and all you boys and girls, I gotta go now. Okay, that's a date. In a date with all you boys and girls, be sure to meet me with a little friend, Miss Honey, the comic weekly man. The jolly comic weekly man. I'll be back to read the funnies. Do you happy boys and honey? Don't forget, boys and girls, see you all next week. Your friend, the comic weekly man. The jolly comic weekly man.


Hello, good day and welcome to today's session. Thank you for joining us. Today, we're going to be talking about scaling with confidence, and we're basically going to have a deep dive into auto-scaling in Kubernetes. Who am I? I am Bube, and I am a DevRel Engineer at SpectroCloud. I used to be a full-stack engineer for six plus years, but over the last one year, I've been working on the infrastructure side of things at SpectroCloud. In the agenda for today, we're going to be looking at the scaling dilemma. Why do people want to scale, and why do people need to scale? We're also going to understand the different scaling mechanisms and see if they fit together, if they do, how to use them. We'll be starting from the basics of scaling, and we're going to look at some manifests that you can run on your cluster to apply the different scaling mechanisms. So why do we need to scale efficiently? Traditional infrastructure struggles to meet the demand of fluctuating workloads. Let's look at two scenarios. The first scenario is one where an e-commerce platform underestimates the demand during a flash sale and doesn't scale up its server capacity adequately. The outcome of this is that the website is going to experience slow response times, errors, and potential crashes due to insufficient resources, leading to a poor user experience, and sometimes a drop in sales. Let's look at another scenario where a retail company allocates excessive server resources on its on-prem data center to handle high traffic during the holiday season. The outcome of this is that during the peak season, those resources are largely unused, resulting in wasted electricity, increased cooling costs, and inefficient resource allocation. There's also a potential operational strain on your team, and this is because people need to manually monitor things and make changes accordingly. Because of these problems, there's an urgent need for a solution that allows organizations to adapt seamlessly to changing workloads, and autoscaling is the answer to this scaling dilemma. So what exactly is autoscaling? Autoscaling is a cloud-competing feature that allows organizations to increase or shrink cloud services like server capacities or virtual machines automatically. It does this based on defined situations like traffic utilization levels. Now let's look at the two scenarios we saw initially. Autoscaling ensures that the server capacity is automatically increased during peak times for the e-commerce platform, therefore preventing performance issues by dynamically adjusting resources to meet the heightened demand. For the business that overprovisioned resources during a holiday, in a cloud environment, autoscaling can help dynamically adjust resources based on demand, and in that way, prevent overprovisioning. So with autoscaling, you have a better user experience, for example in the case of the e-commerce platform, and you also have better cost management and little operational strain. While autoscaling provides significant benefits in terms of resource utilization and responsiveness to changing workloads, it also comes with its own challenges. And some of these challenges include knowing or predicting the amount of resources you need to allocate to create a balance between peak and low usage times. Also, not everything needs to be scaled. So how do you determine what needs to be scaled and what should be left out? And even when you determine this, what is it going to cost to implement it? Autoscaling can actually result in increased costs, especially if not managed properly. Provisioning additional resources during peak times may be necessary, but understanding the financial implications is also very important. So these are very pressing concerns of autoscaling. Before we go into autoscaling, we need to talk about metrics and metric servers, and we also need to understand the role that it plays in autoscaling. The metric server is a component of Kubernetes that collects resource usage metrics from various parts of your cluster and makes them available for monitoring and decision-making processes. It also serves as a crucial source of real-time performance data, providing insights into resource consumption of nodes and pods. Autoscaling relies on accurate and up-to-date metrics to determine whether to scale resources up or down to meet the current demand. And this is why metrics are a very key component of autoscaling. So what are the various scaling mechanisms that are available in Kubernetes? We have HPA, which is horizontal pod autoscaler. It's a foundational autoscaling mechanism in Kubernetes, and HPA automatically adjusts the number of running pods based on metrics such as CPU or memory utilization. VPA, on the other hand, is a complementary approach to HPA. For HPA, it adjusts the resource requests and limits on a pod. There's also CA, which is cluster autoscaler, or node autoscaler. What it does is add or remove nodes from a cluster based on demand. We also have CADA that adjusts the number of resources based on events. We're going to go into all this in details in comment sections. So what exactly is HPA? HPA is part of the native Kubernetes ecosystem. It is a feature of Kubernetes that automatically adjusts the number of pod replicas in a deployment or replica sets based on observed metrics. The goal of HPA is to ensure that the application keeps running in your cluster and has the right amount of resources to handle the current workload. Of course, HPA relies on metrics such as CPU utilization or custom metrics to make these decisions about scaling up or scaling down the number of pod replicas. It operates in automatic mode by default, adjusting the replica count automatically based on observed metrics. However, as a user, you can switch to manual mode to set a specific replica count without automatic scaling. If you look at the diagram, you can see that HPA continuously monitors metrics like CPU or custom metrics for pods in a target deployment. Users can set target values or thresholds for desired metrics and HPA evaluates the current metric values against targets and makes scaling decisions based on this. So if metrics exceed or fall below targets, HPA adjusts the number of pod replicas. As a user, you need to define constraints like minimum or maximum replicas to prevent excessive scaling. If you also look at the manifest on the screen, you can see a manifest that presents a horizontal pod autoscaler. And the API version and kind specify the API version and the kind of resource indicating that this is a horizontal pod autoscaler. There's also the metadata name, which is the name of the HPA resource, which in our case is myHPA. We also have scale target reference, which defines the target resource that the HPA is scaling. In this case, it is scaling a deployment that's named myDeployment. And then we have the minimum and maximum replicas, which specify the minimum and the maximum number of replicas that HPA should scale between. In this example, the range is 2 to 5 replicas. There's also the metrics, which defines the metrics used for autoscaling. And in this case, it is a CPU resource. If the average CPU utilization across all pods in the deployment exceeds 50%, the HPA will scale up. And if it falls below 50%, it will scale down. And the number of replicas will be constrained between 2 and 5, or whatever you define it as. Where is HPA most useful? It is useful in scaling web applications that are based on HTTP. Another use case is API services that are responding to increased demand. There's also batch processing, gerindpick R's. And you can also use it when you are managing seasonal workload fluctuations. It comes with its own challenges. One of the challenges is being able to choose the right metrics for scaling decisions. There's also the challenge of potentially over or under scaling. And some of the best practices will include setting meaningful metrics for scaling your application. Besides that, you also need to monitor your HPA and adjust accordingly. The next scaling mechanism that we're going to talk about is the vertical pod autoscaler. VPA is also a feature in Kubernetes that is designed to dynamically adjust the resource requests of individual pods based on observed usage. Unlike the HPA, which adjusts the number of pod replicas, VPA focuses on optimizing the resource allocation of existing pods. There are two major components of the VPA, and they are the VPA controller, which implements the autoscaling logic. There's also the VPA admission controller, which validates, mutates pod admission requests. If you look at the diagram on your screen, the VPA collects data on how much CPU and memory pods are using. It then looks at a historical data to see if those pods consistently need more or less resources than initially requested. Based on this analysis, VPA suggests adjusting resource requests for each pod. It can automatically update pod resource requests to match the recommendations that are made by the VPA recommender. It is very important to note that VPA operates by collecting historical resource utilization data from running pods and then recommending or applying adjustments to their resource requests. The manifest is a vertical pod autoscaler. When applied to your cluster, it configures VPA adjusts resource requests and limits for containers within the specified deployment based on observed usage patterns. Like the HPA, the API version and kind here specify the API version and the kind of resource, which is a VPA. And of course, the name of the VPA resource, which is example VPA in this case. We also have the target reference, which refers to the deployment that you want to scale vertically. In this case, it's example deployment. We have update policy set to auto, which means that VPA will automatically update the resource values. And we have container policies for each container within the deployment. So from our manifest, the container name star here applies the policy to all containers in the deployment and controlled resources indicate that both CPU and memory resources will be controlled. So this manifests when applied to your cluster will configure VPA to dynamically adjust resource requests and limits for the containers within the specified deployment based on observed usage patterns. So some of the places where VPA can be applied when you're finding resource allocation in pods, you can also use VPA when you're optimizing pod resources over time. And another place where it comes in handy is when you're trying to enhance performance for memory bound pods or applications with variable resource needs. It also comes with its own challenges. And some of the challenges include that it can take time to initialize because it has to look at historical data to make decisions. It is also more complex to set up than the HPA that we saw initially. Some of the best practices include rolling it out gradually. You need to test and validate that it works in in test environments before rolling it out in production environments. Now let's look at cluster autoscaler, which is also known as node autoscaler. It is a component in Kubernetes that automatically adjusts the size of a Kubernetes cluster by adding or removing worker nodes based on resource demand. The primary goal of the cluster autoscaler is to ensure that there are enough resources available in the cluster to accommodate running pods while optimizing costs. It integrates well with most cloud environments like AWS, GCP and Azure. How exactly does cluster autoscaler work? If there are pending pods due to insufficient resources, the cluster autoscaler considers scaling up. The CA coordinates with the pod scheduler to place pods on newly added nodes or evacuate pods from nodes being scaled down. So from the diagram you see that there's a pending pod due to insufficient resources. The cluster autoscaler considers adding a new node to the cluster. As soon as this is done, the pending pod is scheduled on the new cluster that has just been created. In cloud environments, cluster autoscaler often work with other scaling groups or any similar constructs to manage the underlying virtual machine instances. As a user, you can configure various parameters such as node pool sizes, scaling limits and constraints. An interesting thing about cluster autoscaler is that it ensures graceful termination for nodes when they are being scaled down and it allows running pods to be rescheduled before a node is removed from the cluster. If you look at the manifest on your screen, which is one for a cluster autoscaler, you can see that the metadata defines the information about the deployment, including the name and the namespace of the deployment. We also have replicas which ensures that there is only one instance of the cluster autoscaler. We have the selector that defines the labels used to select which pods will be controlled by this deployment. We also have the templates, which is templates for the pods controlled by this deployment. And this cluster autoscaler is also associated with a service account's name, as you can see. We'll have the containers within the pod and the image that specifies the docker image of the cluster autoscaler. In the M section, you can see the various environment variables that are needed by this cluster autoscaler. So you can adjust these parameters based on your use case. Some of the scenarios where cluster autoscaler works best when you're scaling nodes based on overall cluster node and when you're trying to handle increased traffic in a multi-tenant cluster. There are also cases where you want to right size your cluster based on resource demand or cases where there is a node failure and you want to maintain the workload regardless of the node failure. So these are the scenarios where cluster autoscaler works best. It also has its own challenges and some of the challenges include the fact that adding nodes to a cluster might take time. So this leads to a potential delay in responding to sudden increases in demand. There's also another issue with cloud provider API rate limits, which may impact the speed of scaling. Some of the best practices would be to implement provider API integration and constantly monitor your nodes to ensure that there are no issues. You also need to configure cloud provider specific settings. For example, in AWS, you need to configure autoscaling groups to align with cluster autoscaler requirements. You also need to test and simulate to understand how cluster autoscaler behaves under different scenarios to avoid any surprises. Finally, let's talk about CADer. CADer stands for Kubernetes-based event-driven autoscaling. It is an open source project that extends Kubernetes to provide event-driven autoscaling for container workloads. Essentially, it enables Kubernetes to scale workloads dynamically based on external event sources. It is mostly useful for scaling applications in response to various types of events. Some of these event sources can be Apache Kafka, Azure Q Stories, Rabbit MQ, AWS CloudWatch, and many other events. CADer introduces the concepts of scaled objects, which basically defines how an application scales based on certain event sources. How exactly does it work? If you look at the diagram on your screen, you can see that the CADer controller runs within the Kubernetes cluster and continuously watches for changes to scaled objects. When a new scaled object is created or an existing one is updated, the CADer controller configures the necessary components to monitor the associated event source. Based on the configuration in the scaled object, it collects metrics from specified event sources. It then translates the external event source metrics to custom metrics in Kubernetes. That way, creating a bridge between the external world and the native Kubernetes metrics system. The custom metrics are then used by the HPA to make scaling decisions. The HPA reacts to changes in custom metrics and adjusts the number of replicas of the associated workload. If the external source indicates increased load, for example, more messages in the queue, CADer scales the deployment of it. Conversely, if the load decreases, it scales down the deployment. On the screen, there's a manifest for a scaled object, which is basically a resource that needs to be scaled using CADer. The metadata specifies the information about the scaled object and the scaled target reference specifies the target deployment that will be scaled based on the events. The triggers define the event triggers, and in this case, the type of trigger is an Azure Storage Queue. We can also see the authentication reference, which specifies the name of the Kubernetes secrets, containing the credentials for assessing the Azure Storage Queue. We also have replica count sets, which sets the minimum number in this case to zero, which is a very important concept in CADer. With CADer, you can scale to zero. So where does CADer work best? CADer works best when you're scaling microservices based on message queue depth. It also works well when you're adapting to varying HTTP request loads. It also works well in scenarios where you need to scale based on custom defined business events. Like the other mechanisms, it also has its own challenges, and some of the challenges include complexity. It's very complex to set up, and like the HPA, you also need to set meaningful triggers for events. Again, sometimes the event source might not be compatible, so you also need to handle that in some way. So these are some of the challenges of working with CADer. For best practices, as always, you need to test thoroughly before moving CADer to production environments. Testing helps identify and address any potential issues that are related to event source compatibility, scaling behavior, and overall system integration. Another best practice is to configure event sources thoughtfully, so that your team can effectively make use of it. Aside from that, you also need to handle security, because when you're dealing with event source adapters, there might be security concerns, so you need to also handle security carefully in CADer. What are the takeaways from this talk? Firstly, you need other scaling to maintain healthy clusters. We also looked at HPA, VP, CADer, CE, and we saw how they are used differently, depending on the use case. We also talked about monitoring your application wisely and using metrics to make sure that you are scaling effectively and based on useful metrics. If you're using any of the cloud platforms, implementing auto-scaling is as easy as deploying any of these manifests to your cluster. But if you're working with on-prem and on-prem deployment of Kubernetes, it might be tricky. We'll cover that in upcoming sessions. But for now, thank you for listening, and if you have any questions, you can always leave a comment, and I'll be sure to respond to you. Thank you again for joining this session.


The results of this study suggest that a diet with 94 grams of protein per 1,000 kilocalories, 4,184 kilojoules, is beneficial for maintaining the metabolizable energy requirements and body composition of neutered dogs. This article was authored by Iris Mojume Kawachi, Juliana Toloi Jeremiah's, Paula Takira, and others.


This study found that trust in the government was high at the beginning of the pandemic, but it decreased over time. Perceived vulnerability and an intention to adopt protective measures also increased throughout the pandemic. Trust and perceived vulnerability were associated with an intention to adopt protective measures in general only during the first period. Higher levels of trust and perceived vulnerability were associated with an intention to receive vaccinations. Respondents wanted to receive information about infection prevention from municipal health services, health care providers, and the media. The Dutch response to the H1N1 virus was relatively muted. This article was authored by Oudhorf Jürjen, Boagene Desiree JMA, Timmermans Danielle R.M., and others.


February was American Heart Health Month. This year Texas Heart Institute held 17 events to stress the importance of heart health and highlight THI's critical work. We accomplished a lot in 28 days. Over 1,800 members of the community were reached. $6,000 was raised for THI from Pilates. 142 project heart badges were earned and we scored at the Super Bowl Live. The Rewomen Heart Ambassadors shared their inspiring stories and nine THI researchers and professional staff presented at community events. We hit the runway at the Go Red Fashion Show and we shined at our celebration of innovation. None of this would have been possible without all of THI's volunteers and research teams lending a hand. A huge thank you to everyone who helped make THI's Heart Health Month a success.


Hello, everybody, and welcome to another hobby-cheating video, and today it's time to get iron within, iron without. It's time to paint the Primark of the Iron Warriors, Pertorapo. Let's get into it. The strict technomancer that is Vinci V. Let us get to the technique and learn it Vinci V style. This is week two of heresy launch content, and you might have thought if you watched last week's video where I'd painted up the Alpha Legion that I might be doing alfarious, but of course I am alfarious, so I couldn't paint him. Instead, I was given the challenge of painting Pertorapo, previously my mortal enemy, but that's alright. I thought he would be such a fun unique challenge. A lot of the Primarks still feel very, well, human, for lack of a better term, that is to say, they look like people in armor. But Pertorapo looks like a complete and total monster, somebody who's given over totally to the machine, and I think that makes him an interesting challenge. So today we're going to paint him in true metals, and I'm going to show you lots of awesome ways to bring your true metallics to life, to make them more interesting, to add colors and tones and take control of the light with those true metallic metals, so it's not just two colors, steel and gold. We're going to go through a lot of different really fun techniques. We're going to get this guy a little messy, a little grimy, just a little grim dark. So let's get over to the painting table, and let's have some fun. Alright, so he's already steel, and if you want to see the exact steps I took to get him to this place, it's the exact same prep I did last week in the Alpha Legion. So this is a dark metal, and then Xenothode above with a bright metal. Check out that video, it's linked up above if you want to see those kind of pre-steps. Now we're going to go ahead and basically hit all of these sort of bronze, or whatever they happen to be, these other contrasting elements. And this is where I'll actually say that this figure poses an interesting challenge because he has lots of different layers of metal on metal. One of the things that you always have to be careful for in a figure is when you have too much space that is all exactly the same. So what I mean by that is when you have a figure highly dominated by one material, one substance, one something, it's easy for a lot of that to end up looking samey. The key is usually to break that up and make sure that there are spaces that make your eye alternate between one to the other. So hence making sure the gold, or bronze in this case, is evenly distributed around the figure. Now since this is metal and I want it to retain its highly lustrous qualities, a regular wash or something like that isn't going to do, now I'm going to end up dulling the metal in lots of ways later. I want to get that deep recess shading without really messing up my metals. So hence an oil wash is just an easier thing to do. The advantage to oil washes is not only do they flow into the recesses incredibly efficiently, but as you can see after we let it sit for a little while, maybe like 30 minutes I let it sit here, then I just came back with some makeup sponges and wiped it up and you can see how easily it cleans off of the highlights, it leaves no coffee staining or anything like that behind and yet I still get the advantage of all those nice deep lines and deep recesses being shadowed without any kind of damage to the shine of the more lustrous elements of the metal. One of the things it can do if you're fairly careful and you let it sit a little longer is it can actually stain the metal a little bit too, in this case I picked a couple colors and they were going to give me just a slight brown sheen, which is what I want. I want this guy to appear warm, he is chaos after all. Now my next step here is to make sure that all these little recessed vents or whatever they are, these things are really dark and black. The wash isn't intense enough as you can see to actually darken the whole thing, so instead we're going to take some black Templar, always a great thing for doing your own panel lining or tracing or something like that and just clean up a couple of those areas that need that attention. And that's just again, we want to create more instances of that light, dark, light, dark transition and break up the large areas of single materials. Now let's talk about shading metallics. When we're working with pure metallics it's best to treat them just like non-metallic metal, although you're going to get a lot of your work done for you, you still want to take control of the light. Some of this would be in shadow and we need to establish a viewing angle and reduce the shine in those areas. Contrast paints are actually wonderful for this. So here I've simply thinned them down and I'm going to apply them as a thin glaze over all the areas that I want shaded. And I'm not going to do it just once. I come back in with multiple passes with this Wildwood, slowly building this up, covering less and less with the glaze each time so I get a nice natural transition. And the more you apply this into the shadows, the deeper you get of these color transitions. But I don't just want to do light and shadow, I also want to control some of the hue. Create some variation of hue here. Hence my move to something like fire slayer flesh, which has a lot more red in it. This gives me not only the variation of value on my metals that you would normally get out of non-metallic metal by, you know, sort of controlling through black to whites or whatever you're having to be doing. But it also gives me variation of hue, of color. And it just makes those metals much more interesting. I can do the same thing on the steels. Now this time I'm being much more light. Because the steel already had such a significant transition because it was part of the initial zenithal, I didn't need to do as much here as far as value goes. But I did want to make sure we integrated other colors. That same color can also be used on the brown just to restore some of the richness, some of the sepia tone to some of those bronze colors, where it might have been subtracted a bit too much. But either way, these light brown yellow tone spread around on both the steel and the bronze helps keep it more interesting. But just like with non-metallic metal, all metals need to be edge highlighted. Light gathers around the edge of metallics.  But on metallics, it's pretty much essential. And that's because metals really do gather light around the edges. So here I'm just working my way around the fig. And yes, this is incredibly laborious and time consuming. And I'm hitting all of those edges with this bright silver color. I'm also moving off the edge and focusing in just a few points to really show where some light gathers direct the eye and create those spots like right here on the knee. I want that where the triangle is to be very bright and direct the eye. My next step is just to black out all of the areas that I think are going to be that I need to turn a different color. So I'm just using some standard old rubber black to basically rebase code over these. This color from AK Interactive is really, really intense and it covers really well. So it goes over the metals. One of the problems you might worry about when you're doing something like this is if I did a lot of that initial step through the airbrush and then I mess up later, how do I fix it? Because I can't go back to the airbrush now, can I? Well, one, yes, you could. You could simply be very tight and controlled with your airbrush. But if you feel like that's outside of your sort of current skill level with your airbrush, no problem. Mistakes when you're messing with true metallic metals can often be valuable. They're not mistakes. They're happy little accidents. When you have to cover something back over with a brush, if it makes it look more rushed or sorry, it makes it look more if it's not as smooth, if there's sort of brushed metallics to it, if there's scratches, if their coverage is uneven or whatever, who cares? Integrate all of that into your paint job. Make those spots of damage, of wear, of weathering. Integrate other tones into it over those areas to make it look like what? Not a painting mistake, but instead just part of the natural organic weathering and damage that would happen to this metal as it exists out in the world. It truly can be a happy little accident. All right. So now that we have everything blacked out, it's time to create some hazard stripes. What are iron warriors without hazard stripes? And for this, I'm just going to leave the black. It's already been done with the rubber black. It's a very nice, soft, cray black tone that's perfect for this, so it's just about getting that yellow. And of course, to do that, we're never going to just try to paint yellow directly over black. We always use something like an ivory first to reset it because that makes our lives so much easier. So after working those in and getting them all squared away and even, then I just start with a little bit of yellow ink. I love hazard stripes. They're actually really easy to do because you can alternate with just white and black like this as long as you can paint a straight line. And remember, the key is you don't have to actually be able to paint a straight line in one go. You can just go back to the other color and fix it. And as I work these up, I'm just slowly reinforcing the yellow, creating both highlights and shadows in them. And that leads me to my next point. When you do other elements on top like this, you see how I'm creating the shades in the yellow with this light rust tone. If you have your metals and everything with a high amount of tonal variation, then you want the same thing on your other tones as well. Consistency in the lighting situation is important across the miniature. And so for Pertorabo here, we want to make sure that everything appears as though he's actually in some kind of realistic lighting conditions. From this point now, honestly, most of him is done. He is mostly metal. So it's just about hitting those final, final details, those small items. And I want to talk for a minute here about the importance of these last details. So here I've chosen the color red for many of his pipes and tubing. And I'm just working them up with some rather gentle highlights. Nothing too exceptional, nothing too crazy, but again, making sure that we have contrast on all the elements. But why red? We already have two effective colors in this model. Yellow and orange in the sort of bronze color. Red stays in that warm spectrum, but red does something else that's important. Red draws the eye. That is a color that human eyes are naturally attracted to look at. And as such, it makes your eye more excited to look at the piece. So by distributing a little bit of red here and there on things like these various tubes and pipes, it makes it so the eye is encouraged to move around a figure. Sometimes little tricks like that, taking out color that is bright and interesting, but making sure it's evenly distributed around the figure. And you can see how all of his different tubes and pipes presented the perfect opportunity for that can help keep the figure, even when it's mostly one tone or two tones as it is like in this case with mostly metal, it can help keep it visually interesting. Now this guy's face is a real problem, but I wanted to keep the recipe fairly simple. So as you can see, we're just slowly working it up. The key here is I'm going to accidentally hit some of those metal pipes when I'm working on the skin. There's no way around it. What I really want to talk to you about with the skin because I'm basically just doing some layering of various flesh zones here and creating the light on the small amount of skinny as exposed is two things. First making the skin a very bright pale color is important here because that makes the brightest area of the miniature, the center of the miniature and his face where we always want to be drawing the eye on our miniatures. So I purposely push the highlights on the miniature quite high. The second thing I want to say is you will never be in a position most likely where you will not make some mistakes. As I was layering this flesh around, especially trying to do it on camera, I sometimes touch the pipes. Don't worry about that. You can always go back and just retouch. Doing good work is a matter of covering over your previous mistakes, not making no mistakes. We all make mistakes. When I last step here, I took a little raw pigment. I mixed it with just a little water to get it flowing and then I run it down into the recesses around his feet and his heels and stuff like that just to add some more tones as though he's been walking on kind of a red iron earth base as would seem appropriate for him. All the metals, those red tones feel very natural. I hide a little bit of it here and there in some of the upper metals, especially in creases, because it's just water and dry pigment. It will dry extremely matte and look like dust. So there you go. There's Pertorabo all painted. I hope you found this helpful in case you want to join the Iron Warriors. I am going to roll some pictures over the top here. This was a really fun challenge. I love true metallic metals as long time fans of this channel will know and I found this to be a really unique and interesting challenge to integrate a lot of different techniques into this single figure. I hope you found something here that's valuable in your own painting. If you did, give it a like, subscribe for more hobby cheating in the future. We're here with new videos every Saturday. If you're interested in taking your painting to the next level, we have a Patreon focused on review and feedback. You can find that link down below. As always, I thank you so much for watching this one. I really do appreciate it and we'll see you next time.


So we're counting down the days now until the restart of the Premier League. Where is the squad in terms of where you'd like it to be? Yeah, good. I think we've worked hard, worked well, worked smart, hopefully. A lot of trying to re-enact what will happen in terms of behind closed doors games and trying to get the players adjusted to the environment and the surroundings that they will play in. So we're happy with how things have gone. Hopefully they'll add to feel confident. How does this mini-preseason feel like compared to a normal preseason? Yeah, very different. I think normally with six weeks we would work the players harder than we have done. I think we've tried to get the mix of work and recovery more balanced because with such a small window before you play again, I think the danger is you cram too much work in and the players are fatigued. So we tried to keep them fresh, able to do the work, be fit enough to play, but hopefully keep the squad intact. And the availability and the early team news for surprise? Well, I'll wait and see how we settle down after this game before saying too much. We've got normal things when you have training. You're always going to pick up one or two problems. So we'll wait and see how we settle down this week and hopefully I'll give you team news next week. And it's a completely different situation. Of course, we're here and there's no fans here, unfortunately, to watch the game.  Well, as I said, lots of behind closed doors games and trying to get the strange feeling that the games will be because they're going to be totally different. The supporters really do make the games and I think that does take some adjustment from everybody, especially for the players when they thrive off the energy the crowd give them. So we're going to be missing that at home. Hopefully that's something we can combat. And of course, then the opposing teams, when we play away, will be missing that as well. So hopefully we can thrive off that change. And of those opposing teams, how have you been able to tactically analyse them and what they all sort of do in terms of their restarts? In terms of the teams we're playing. Well, I think we've very much had to feed off the footage that we've had from before the season ended. I don't think teams will change too much. A personnel might differ, but I think in terms of systems and tactics, I think teams will be pretty similar. And how ready do you think you and the squad are? I'm certainly ready, but I'm not playing. So now I think the players are ready to play now. I think there's been a long wait during lockdown and that dynamic. That was a long period for the players. You had to keep themselves fit and ready if the season resumed. It is going to. We're happy with where we are now. The important thing is the last nine games.