Ladies and gentlemen, the Railroad Hour. And here comes our star-studded show train. Tonight, the Association of American Railroads presents a new American operetta, Night Music, starring Gordon MacRae and his charming guest Dorothy Warren Show. Our choir is under the direction of Norman Luboff and our music is prepared and conducted by Carmen Dragon.  And now, here is our star, Gordon MacRae. Thank you, Marvin Miller, and good evening, ladies and gentlemen. Our story tonight is based on the words and the romance of one of the best loved of American poets, the Walterith Longfellow, Night Music. Journal of H.W. Longfellow, 1836, Interlochen, Switzerland. On this, the summer of my 29th year, I have met a girl. Her name is Frances Elizabeth Appleton. Tonight, I walked by her hotel. All the windows of the inn had shut their eyes for the night. And I knew she was there. And so, under the starlight, I wrote a verse to her. Of the sun. The next day, in the sunny silence of Medellacan, we walked together.  Well, yes, Miss Frances, as a hobby, you might say. Oh, I love poetry, particularly colleridge. He tells such good stories. Stories? Well, everybody loves stories, Mr. Longfellow. Why don't you tell me one? Well, I don't quite know how to begin. What sort of stories? Oh, old stories. They're the best ones. The tales that told me were so deep. Right, Miss Frances, a story. Once upon a time, how do I go from there? Oh, I want a beautiful story. It shouldn't be difficult telling you a beautiful story, Miss Frances. I know. I'll tell you about a tree that I love. A tree? Miss Frances stretched across Battlest Street in my leafy blossoming village of Cambridge. I've begun a poem about that tree and about the man who works under its cool green shade. It begins, under a spreading chestnut tree, the village smithy stands. Journal for July 13th, 1843. Seven years have passed since that day in Interlochen.  Frances and I live in Craigie House in Cambridge, the village that is a fringe to Harvard Square. Each day, I tip my hat to my favorite chestnut tree. Each evening, I tuck my daughters into bed and by candlelight, I greet the lovely night. Well, let me read to you, Henry. Be very nice, my love. Now close your eyes. There's something I want you to hear. Good. Something light and frivolous. No. Now listen. Tell me not in mournful numbers, life is but an empty dream. Where did you get that? This is the Nickerbocker magazine for October 1838. A Psalm of life, author, anonymous. Oh. Well, I suppose it was written by somebody we know? Yes. And his name is Henry Longfellow. Why have you hidden it, Henry? Well, it's a voice from my inmost heart, Frances. Besides, I never thought too much of it. It's just a little verse. A little verse.  Oh, my beloved, it sings. The words sing. Tell me not in mournful numbers, life is but an empty dream. For the soul is dead at slumbers, and things are not what they seem. Life is real, life is earnest, and the grave is not. But enjoyment and not sorrow is our destined end away. But to act that each tomorrow finds us farther than. Muffle drums are beating funeral marches partingly behind us. Has made my life sublime. Journal of H.W.L. Tuesday, the ninth day of July, 1861. I sat in my study. Frances was downstairs, seating some letters with wax. I was composing a verse. And suddenly I heard a scream. I rushed downstairs. A match had fallen unnoticed from her hand. It caught on her frail dress. My Frances was enveloped in fire. I tried to smother the flames with a rug. Her face twisted in agony. The flames died out, but she fell to the floor. All the medical skill of Cambridge in Boston could not save her. So I sit staring into the night. A terrible lonely empty night. Black night. Oh, her distance dies. It's hard to realize that about half the history of railroads in the United States could have been covered in the working lifetime of one man. Intraven movements are guided these days by automatic electric signals, which tells the engineer what is ahead. Then there is centralized traffic control so that one man can direct the movements of trains over maybe two or 300 miles of track by simply throwing the switches and setting the signals to control the movement. To supplement these signals, they are trained telephone so that the conductor and the engine man may talk to each other or they may talk to the man in the signal, tower or station. Yes, Railroad has come a long ways in my work and lifetime. But when I started, we never dreamed that we would live to see such things as air-conditioned panjacars clean and comfortable in the summer as well as in the winter and streamlined trains. In those days, the railroads had just bought about the use of standard time zones all over the country and had just achieved standard gauge of track. And of course, Mr. Haycock, that made it possible for the cars of any railroad to run on the tracks of any other. You know, I wonder how many people ever stopped to think what that means. Not just to the railroads, but to you and me and all the rest of us to be able to make through shipments all over the American continent anywhere the railroads go. Thank you, Mr. Haycock, for this glimpse of the changes in railroading in your lifetime. With all these changes and improvements and with the others that certainly will be made in the future, the fundamental idea of trains of cars pulled by locomotives and running on rails will remain. For there is nothing like railroads which can do so well and so economically. The big, basic job of transportation which this country of ours needs to stay healthy and strong. Now here is act two of night music starring Gordon MacRae as Henry Wadsworth Longfellow and Dorothy Warren Schold as Francis.  Journal of HWM. No date. Any date. For 18 years I was a happy man. Now I am emptiness. How can I live any longer? How can I walk the stairs of Craigie House? How can I sit here and write? Hey, who is it? Alice Allegra? No child, go away. I'll see you tomorrow. Probably tomorrow. Yes, father. What am I going to do? Francis, I am nothing. It's not a father, not a poet, not even a human being. Francis? Francis, where are you? I hear you. I hear your voice like music in the night. I am here, my beloved. Francis, stay with me. I need you. Your children need you, too. I can't reach them. Help me. A poet should read his own poetry. And you remember? If you'll help me. If you'll come to visit me like this and give me my inspiration. Every night, every night, my beloved. I'm glad to see you. You're always hidden away in your study. Well, now that's all going to be changed. Edith, I've written a little verse, especially for you. There was a little girl who had a little curl right in the middle of a fire. And there it is. There's the curl. And when she was good she was very, very good. But when she was bad she was horrid. She didn't mean Edith. Tell the mother to watch. Tell me how. Now, what do you know about them? Our eldest daughter. How old is she? Little girl's ages keep changing every year. I never can remember exactly how old she is. You always had a much better memory than I have. I know this much. Alice is a very nice girl and she loves poetry almost as much as you do. And Edith? She has blue eyes and beautiful golden hair.  And Annie Allegra? My baby. With a name that means Mary. I often hear her singing and laughing. Oh, give yourself to them, my beloved. What can I give? Stories. Your stories. Yes, I've begun a series of tales. Tales of a wayside in, I call it. But the stories will be all for them. I'll begin the first one. Listen, my children, and you shall hear of the midnight ride of Horry Beer on the 18th of April in 75. A famous day and year. The story of Angela is so lovely it's such a wonderful story. I love them a hundred others. Well, tell them about your boyfriend, Henry. You wrote such a lovely poem about him. And my youth comes back to me. I shall tell them stories every day. Love us for this hour. Well, you know, Edith, it's my favorite time, too. Mr. Dickens called it the mongrel hour. Half day and half night. But I think I have a better name for it. Between the dark and the daylight When the night is beginning to lower Comes a pause in the day's occupations That is known as the children's hour I hear in the chamber above me The patter of little feet The sound of a door that is opened This is soft and sweet From my study I see in the lamp light Descending the broad hall stair Brave Alice and laughing Allegra And Edith with golden hair Then a silence Yet I know by their merry eyes They are plotting and planning together to take me By surprise A sudden rush from the stairway A sudden raid from the hall By three doors left unguarded They enter my castle Such an old mustache as I am Is not a match for you all Have you fast in my fortress And will not let you depart Love it is good.  Yes I know. I counted the tears in your eyes Why did they have to cut it down I said Is it so important to widen Brattle Street? But then I sighed and said goodbye to our tree Today they came here The children of Cambridge and brought me This chair, this throne I sit in It's made from the wood of our chestnut tree And do you know what they said Francis? Yes my love, I heard them Thank you Mr. Longfellow they sent For giving us stories to read And songs to sing Oh my beloved Out of the shadows of night The world rolls into light It is daybreak everywhere And our thanks to Dorothy Warnschold Issa Ashtown and to our entire company Night music based on the works of Longfellow with special music Composed by Carmen Dragon And for the railroad hour by Lawrence and Lee The railroad hour is brought to you each week At this same time by the American Railroads All aboard! Well dear friends it looks as though we're ready to pull out So until next Monday night And our musical version of the million pound bank note On behalf of the other members of the cast And of the American Railroads This is your friend Gordon Macrae saying goodbye Gordon Macrae can soon be seen Free sailors and a girl in Technicolor Our choir is under the direction of Norman Luboff And our music is prepared and conducted by Carmen Dragon A portion of the preceding program was transcribed This is Marvin Miller saying goodbye until next week For the American Railroads Now stay tuned for your Monday night of music On NBC! The voice of Firestone features Robert Ronsaville on NBC


Old Grissom was not the most pleasant space. It was very 1960s, 1970s, beige, low ceilings, not a lot of natural light, and this program started as a way to liven the place up. To make the environment more inviting and show that you were making a lasting impact on the space that you spent a lot of time as a student. So Beautify Grissom is a competition we hold in the spring each year.  And the competition prompt is what does industrial engineering mean for you? So it still has a really strong place in the building. We've reviewed those initial submissions and chosen at least five. And then we provide the large canvases and the paints and everything so that they can actually go and paint the ideas that they had. Each of the contestants, they do include a piece of paper that has a description of explaining what their vision was and why they think this represents IE to them. If you go up the stairwell, you see all the way back to the beginning, all the way back to the first submissions for Beautify Grissom, it's here. So it's a really nice lift for I think everybody in the building. The thing that intrigued me the most about the contest itself was the fact that even though we're industrial engineering majors, there is something that is set aside for artists within our niche. A lot of people don't think of engineers as very artistic. I'm an engineer as an example that is not very artistic. And I think showcasing the multifaceted aspect of what it means to be an engineer or could mean to be an engineer is a really cool thing. It just provides a space for a creativity that the coursework and so forth doesn't necessarily provide. Over time, getting to see how excited students get to have a chance to showcase something that they already are doing on the side. We've had past participants where they do portraits just because. And it is a nice release in another part of them. And I think it's a great reminder for students that you're not just an engineer. You can be so many different things. It made me really excited because I'm a very creative person and I really love expressing myself through art. And so knowing that there was an opportunity to do that within my major specifically was really encouraging. I was always an artistically inclined person since I was a kid. My parents are both really sciencey people. My dad's a chemical engineer. My mom's a genetic biologist. But it never came across in my mind that art wasn't accessible. I was encouraged to express myself in any way that I chose to. I've always been the girl who's like doodling in my notebooks in class. I like to DIY a lot of things. It's just kind of always been my nature. I really got my creative juices flowing in that I had to somehow combine engineering and Purdue into this like massive canvas. It makes me super excited that all of the engineering schools do have their own traditions because that gives everyone their own sense of belonging. But I do love that IE's is artistic. I feel like there's a part of the student body that isn't necessarily to do with academics or professional life that's always going to be a part of Prism. And that's really nice and it gives a more personable touch to the IE building than other engineering schools I feel for that reason. It's like a part of their student bodies forever going to be in a hallway. And that's special. So many students at Purdue feel like they have to put themselves in a box. Like they have to be an academic.  And the truth is you're going to be so much more well rounded if you don't put yourself in that box. Allow yourself to be in all kinds of boxes. So for me, I'm an industrial engineer and I'm a musician and I'm an artist and my life is so much fuller because of it. And so knowing that this is a tradition for industrial engineering and this is something we're encouraging to me feels like we're encouraging a more holistic lifestyle, which is really cool.


Today, our world is experiencing many problems because of global warming. What is the major reason for global warming? It is the greenhouse gas emissions right. Many international forums like UNFCCC, UNEP, EU are keep on trying to limit the greenhouse gas emissions through various initiatives. One among such is carbon border adjustment mechanism of European Union. Now, what is this carbon border adjustment mechanism to know what is this video? Let's understand about carbon border adjustment mechanism. Carbon border adjustment mechanism is a policy proposed by European Union.  See right now, most of the industries in the European Union are covered by a program known as Emissions Trading System. This system charges polluters for the carbon dioxide they emit. Here, we are specifically talking about carbon dioxide because it is the principal greenhouse gas. This emission trading system is also known as cap and trade system and it originated with a QTOP protocol. Now let's understand how this emission trading system works. See, this system is authorized and regulated by government and it is conducted between companies. Here, each company will be given a maximum carbon pollution allowance and unused allowance can be sold to other companies. The idea behind this is to ensure that companies in aggregate do not exceed a baseline level of pollution. See, this baseline level of pollution will be reduced annually by the European Union countries. Currently, the price of those permits is nearly $60 per ton. So, this gives European companies strong incentive to cut greenhouse gas emissions. This is about emission trading system. Now moving on to see carbon border adjustment mechanism. See, under the carbon border adjustment mechanism, European Union is proposing to tighten the emission gap further. See, this will face out the number of free allowances it has long given to industries exposed to trade competition like steel. So, in simple words, the carbon border adjustment mechanism is a climate measure that is trying to prevent the risk of carbon leakage and it aims to help slash the European Union's overall greenhouse gas emissions 55% below 1990 levels by 2030 and the mechanism will also aims to help European Union to become a climate neutral continent by 2050. See the carbon border adjustment mechanism will also help reduce the risk of carbon leakage by encouraging non-EU producers to green their manufacturing processes. Here the term non-EU producers means the producers belonging to non-EU countries. Now let's see how does this carbon border adjustment mechanism works and how will affect the developing countries. Consider India. Now let's assume this. The European importers are importing steel from India. See to purchase steel from India, the European Union importers under the carbon border adjustment mechanism need to purchase carbon certificates equal to the carbon price. Here the carbon price is the price of carbon that was emitted by Indian steel manufacturing company while producing the steel. Now what is the case with India? India is still relying on traditional methods to produce steel that is it uses more coal in the steel production process. This process emits more carbon right so the European Union importers will have to pay more to purchase carbon certificates in their respective country. This discourages the import from India and obviously it impacts the India's growth. Now in contrast if the Indian steel company can prove that they have already paid a price in India for the carbon which was emitted in the production of steel then the corresponding cost for the European Union importer to purchase carbon certificates can be fully deducted. This encourages import from India. Now what is the problem? See India is not having such fully developed carbon pricing mechanism. So this also creates problem to the developing country like India and because of all these reasons the developing countries like Brazil, India, South Africa and China are opposing the carbon border adjustment mechanism of EU. I hope now you have got an idea about what is carbon border adjustment mechanism and how it is going to work. See these types of environmental topics are very very important for your preliminary examination. So make note of it and to learn more topics like this watch Hindu News Analysis of Shankarai Aceh Academy regularly. Thank you for listening.


Hi everyone, Marianne Espresso Press Design. This is kind of a bonus video today. Normally I don't do videos where the viewer might have to buy a lot of additional things, but I made these flowers from Momagami paper using the techniques in the last three videos, two videos, I guess, the clips, the button clips and the Momagami paper kneading technique, and I thought they were so pretty that there might be some people who want to know how I did it, so I thought I would quickly just assemble, explain and assemble some. They're very pretty, they're not attached to this tag. I think this this is a very sellable craft in my humble opinion, so I think I might do that myself and turn some of these into pins and pins and or embellishments and sell them in my hopefully soon upcoming boutique. Okay, so this is the bonus video, so I'm just going to assemble today and explain what I did, but the next video is going to be for the average person and that's going to be Momagami flowers and charms using, oh dear, did that come off? Yes it did, using magazines, very organic, very pretty, and anyone can do it with materials they have readily available, so let me just get a tag here and pop these up here so you can see them more clearly, so that's tomorrow's or next video, not sure what day it will be. Okay, so I have everything, sorry I've had a cold this week. I have everything ready to assemble. What I did, I got two separate dies in two separate sets. They're nested dies, one's a circle and one's this scallop type circle and the other one is just a scallop circle and I nested them according to size.  Let's get something here and press that a little bit, so let me get my stylus here. I'm going to press that slightly because you really can't, you can't shape these like a paper flower and that's not really centered. You can do that again. Once they become Momagami you really can't shape them like a paper flower because they're more like fabric but I still want them to have some dimension to my flower and I want to get this and make sure I follow the same then my this and third. The doily came third just because that's where it fit, so I think this is something I could be wrong but I think this is something that would be very sellable so that's why I wanted to share it. I could imagine these being brooches, pins, tuck them in an Easter hat. I could imagine that packaging and everything for these, so that's why I'm sharing on a cute little tag. They could even be a cute little, a very sellable tag for like a wedding gift or something. They could even be a going a little note card. I personally think when you want to sell something you have to create value for the customer, meaning that it's either either they don't want to take the time or they don't want to incur the expense and these do take time, mostly needing the paper and then cutting out each individual piece, so there that's assembled. And for this mini button clip, it's not a clip. I did use foam tape, dimensional. If I had it, if I had the little circles I would use that.  Even though that's tape, I'm going to apply glue to this little topper. I shape this the same way as the button clips. Okay, I'm just gonna put that aside to dry and that's not totally centered, but it is what it is. I'll pay close attention to that because when they're not flat it is a little more difficult to get everything perfectly centered. But that's what I did and for those who want something to sell or I'm sure the craft fair people will tell me if I'm wrong but I personally think things like this are sellable because as I said you're, you know, that's definitely off. But it's okay. When you're selling something I think you have to create the value for the customer. So I personally am thinking of turning these into brooches or pins as well as embellishments and I just have to resource and try to figure out what I'm going to do to the back to attach a pin. Probably felt, but they're very soft. I mean they don't, the time is in the Mamagami. That's the real time. The die cutting isn't that difficult and nothing else is really that difficult except for kneading the paper. So I hope you'll be back for the next video because it's going to be for everyone and making these cute little Mamagami charms. Okay, have a great day everyone. I'll see you next time. Bye.


In October of 1963, the largest trans-oceanic Army Air Force deployment ever made was translated from a Pentagon-drawn blueprint into an actual fact. This was exercise Big Lift, a maneuver whose scope and breadth of conception challenged military minds and fired the imagination of the entire country. Big Lift was designed to prove and demonstrate in realistic terms the U.S. military capability of dispatching joint Army and Air Force strike forces anywhere in the world in a short space of time. It involved the unprecedented transportation of a full armored division of approximately 15,000 combat-ready men to pre-positioned equipment areas in Germany from which points they were to push out and engage in simulated battle. In this real-life drama, the Second Armored Division, the famed Hell on Wheels outfit based in Fort Hood, Texas, was selected to play a starring role. Major roles were also to be played by the combat units furnished by the U.S. Strike Command, as well as the Seventh Army Support Command in Germany. Altogether, approximately 16,000 soldiers and airmen, 116 combat aircraft from the Tactical Air Command, and over 200 Matt's troop carriers were to be committed to the most daring peacetime maneuver in military history. As if this mission were not staggering enough in its complexity and size, the Joint Chiefs of Staff laid down the dictum that the entire airlift had to be accomplished in the almost unbelievable time of 72 hours. Could it be done? In one of these tanks, four men asked themselves this same question. They are a tank crew in Company B First Battalion 66th Armored Regiment. They are a part of big lift. This man is Sergeant First Class Harley J. Everett, tank commander and professional soldier from Temple, Texas. Sergeant Sesta Ayers, tank gunner, 38 years old from Houston, Texas. Private Charles B. Napier, Austin, Indiana, driver. And Hugh L. Denton, Private, 24, gunloader from Madisonville, Tennessee. Shortly before midnight on October 21st, General Burba and his staff of the Second Armored bordered a Matt's jet at Bergstrom Air Force Base in Texas. Minutes later, the plane lifted off the runway to mark the official beginning of Big Lift. Point of the spear is the story of Exercise Big Lift and the men who were a part of it. This is where it all began. Fort Hood, Texas, home of the Second Armored Division. After the order came that sent Big Lift into motion, Major General Edwin H. Burba, Division Commander, spoke to four of his tankers about the operation. It's going to be a wonderful experience for every professional soldier that has a chance to go and all of the citizen soldiers, too. We'll be remembering this long time. I'll see you over there. Aware of the need for speed and readiness, the men of the Second Armored went into action. The first step was the mothballing of armor and equipment to be left behind. When your people are staying back here, I want this tank left alone, no parts taken off of it. And when we come back, I want it exactly the same shape it is right now. Scenes like this were commonplace at Fort Hood this day. Vehicles were greased, oiled and put in storage against the day their occupants would return. In a foreign country, 5,400 miles to the east, an identical tank is waiting. At Fort Hood, there were many signs of things to come. Drivers were quickly conditioned to German signs and rules of the road. Their machines would be the same type, only the places and the names would be different. Since there were many who had never been overseas before, they anticipated the problems to be met. Everybody crammed. It was serious, but it had its lighter moments, too. I don't understand. Ich versteh nicht. I don't think so. Ich glob nicht. Customers are usually friendly toward Americans, though you may have to make the first move. Wait a minute. Maybe you ought to read this first. Every time a fighting man goes away, he must put his house in order. For some, there were two houses. Sergeant Everett was given orders of a non-military nature, but they were equally important. The final goodbyes having been said? A full division is poised to move. For the second armored, the first actual movement begins with the converging of units on nearby Air Force bases in Texas. Over 200 Matt's troop carriers are standing by to execute the biggest airlift in history. Before this operation is concluded, the fuel consumption alone will have mounted into several millions of gallons. Air Force pilots receive final briefings on the mission. The primary offload bases for the Army troops will be Rhein-Main, Sembach and Ramstein Air Force bases in Germany. Some additional troops will be offloaded at Schombli and Toul-Rosier air bases in France. From these terminal points in Europe, the troops will be moved to areas containing pre-position combat equipment, will marry up or collect the equipment and move to a forward assembly area near Darmstadt, Germany. As the long, cigar-shaped carriers take on their human cargo in round-the-clock loadings, the faces of the men of the Second begin to reflect the seriousness of their mission. The business-like drone of the huge carriers and the proximity to takeoff time bring home to them the awesome fact that they are on the eve of making history. A few moments later, they are airborne and the dramatic race against time begins. Fighter planes also make the long journey across the Atlantic. For the men in the troop carriers, there are hours to kill and a notion to cross. Soldiers will always find their own ways of amusing themselves. The ways are familiar. Only the place is unusual. Music in the air. Outside the carrier, in another part of the sky, a fighter makes rendezvous with a tanker and refuels high above the Atlantic. The hand in the card game is being played out. Soon, the music will fade. In a few minutes, these men will touch down at Rhein-Main air base and go about their business. During this first day, Matt's troop carriers will land a plain load of army troops at Rhein-Main and other bases once an hour around the clock. High-ranking officials of the Defense Department, Air Force, Army and NATO are on hand to analyze and evaluate the mammoth joint operation. Secretary of the Air Force Eugene Zucker, already on the scene, greets Army Secretary Cyrus Vance on his arrival. The second armored division is now a vital part of the German scene. A few short hours ago, it was in Texas. For the division, this marks a return to German soil. It was in World War II that it was given the name of Hell on Wheels. Trucks will soon take the men to a Bivouac area along the Autobahn, where they will be fed a hot meal with steak heading the bill affair. This is the pre-positioning area near Kaiser's Louder. Waiting here for the men are tanks, guns, ammunition, carriers and trucks. They are outfitted with the same type tanks and armored personnel carriers they left behind in Fort Hood. They also quickly discover how much thorough and intense preparation has been made for their arrival. After they marry up with their equipment, they will load up and move out to the forward assembly area. Our four tankers have found their land legs and are adjusting to their new environment. Still, even in a strange country, a soldier wants something familiar around him. NATO observers watched with keen interest this demonstration of U.S. capability for reinforcement of NATO forces in a hurry. And they liked what they saw. Marrying up operations were being accomplished almost 24 hours ahead of schedule by the fast-moving men from Texas. The second armored was proving it was worthy of its proud name, Hell on Wheels. They were ready to roll. The famed German superhighway, the Autobahn, soon became a river of tanks and weapons carriers. With the river stretching on for miles, refueling stops were made with efficiency along the Autobahn. American MPs and members of the German police force did a remarkable job in directing this stream of men and arms. The working harmony was such that civilian and commercial traffic went on as usual, with scarcely a break in the traffic routine. Lieutenant Colonel Clark L. Shoemaker, Provo Marshall, discusses this phase of the maneuver. I'm the Provo Marshall of Second Armored Division, responsible for discipline, law and order within the division proper. I have also the prime responsibility for traffic control of this division here in Europe. To accomplish this mission, I have 177 military policemen and seven officers assigned. Now, some of our problems have been taking these long tracks, these long columns, giving an example of how long this outfit is. The division alone will stretch out something like 200 miles, both combat and support elements have placed in a single file. Doing this, we have placed this on a road net with German traffic on holidays and in no way interfere with the German traffic proper. One of the prime concerns in the maneuver phase of Big Lift was the control of damage to privately owned property. The final result showed that damage claimed during Big Lift was low, and conversely the safety factor was high. Also on the plus side, the German-American relationship of friendliness was maintained. The German people turned out to welcome our men, and as always the children headed the reception committee. While the men of the second armored were undergoing their orientation, the third armored division, the aggressor force, had moved into position for the imminent battle. At their Bivouac area, the men of the second were taking on the energy they were going to require for the action ahead. The meals were good, steak again, and the meals were hot. Major Charles E. Turek of Johnstown, Pennsylvania tells of the challenge presented in feeding a full division of troops. For breakfast this morning, the troops at Exercise Big Lift, second armored division people who have just come overseas to Germany for their two weeks' stay, had bacon, 4,000 pounds of it. When the language barrier got rough, Sergeant Ayers and his buddies knew there was always one place where they could understand and be understood. On payday, a universal language was spoken. They didn't require a book for that. Foreign country or no, a soldier always gets paid. By the evening of October 26th, the last unit of the second armored had moved out of the pre-positioned sites and was on its way to the assembly area. On the next afternoon, the entire division was assembled and ready, a full day ahead of schedule. For nearly a week, the war phase of Exercise Big Lift was a seesaw affair that saw first the aggressor, the third armored, then the NATO or friendly forces take the initiative. The aggressor made his big push just before dawn on November 5th. This was hit hard by enemy advance elements. Frontline reports indicated that they had rolled with the punch according to plan and suffered a minimum of casualties in the initial action. Rivers were crossed and machines were moved. Some were towed and some swam. The carriers resembled prehistoric monsters in the gray dark light. Waiting in the wings for their cue to go into action, our four tankers have lunch and talk over the situation. After being held in core reserve, General Burba and his men of the second armored counter-attacked in full force. The U.S. Air Force went into action. Gradually, the men from Texas pushed the enemy back. The presence of important military officials from seven NATO countries, the Hell on Wheels division blasted out a decisive end to the war game. At this breather stage, the four men of the BDI were seeing Germany the hard way. I better get my book out on this one. I don't see it in the book. No, it's not in this book, but I believe it means keep out. That's what I think of me. The process of cleaning up began. The equipment must be left as the man had founded, serviceable and clean, as clean as if they had been a division of ghosts who had never been seen rolling their strange looking war machines over the German countryside in the mists of night and early mornings. The tactical aspects of the maneuver now written into the official books, the men of the second awaited further orders. Captain Walter G. Washington delivered the good news. Here once we get the vehicle and the equipment turned in, then special service has been good enough to provide us with tours of Garmisch, Birches Garden, Heidelberg. I do my utmost to get as many people as I can on pass and out to see some of the scenic German towns. As their reward for a job well done, the men were given a little time off before their return to Fort Hood. Some visited relatives and some went on conducted tours through Germany, while others, being true men of action, went off on their own. Excuse me, please. What is this? Oh, this is the famous Heidelberger Schloss. It was founded in the 12th century and many gentlemen have already lived there. In addition, there are many Americans coming here to see it. Many have already turned me over. Ah, I don't understand. I don't understand. Well, what my girlfriend is trying to tell you is that this is a very famous old castle and it has been built in the 16th century. And actually, you should know it because many American tourists come here and I think it's quite well known in the States. Exercise Big Lift and its accompanying war maneuver were a definite success. The largest and most daring peacetime military operation in history demonstrated that the United States could count on an army and air force to move a full division of men to a trouble spot anywhere in the world under certain conditions. Instead of 72 hours, the lift was accomplished in 63 hours and 10 minutes, more than eight hours ahead of the deadline. Big Lift was an affirmation of the words of our late president, John F. Kennedy. We have the strongest peacetime army in the history of our country and one which can meet its responsibilities all around the globe. To make it more mobile, to increase its training and competence, to make it more responsive, to make it better able to fulfill its mission. These are the assignments of the army and I believe that a strong army can mean a strong America. We must continue to meet our responsibilities. We must continue to have a strong country and a strong alliance and a strong free world. And to do that, we need a strong army, which is the point of the spear.


This year, our Prime Minister, Honourable Philip J. Pierre, actioned several people-first policy decisions taken at the Cabinet level to address the everyday realities that confront the average St. Ocean household. Inflation has never been higher, affecting costs across the economy. Our Prime Minister and the Cabinet stood up to inflation. The government contributed on average $15 for every 20-pound LPG cooking gas cylinder you bought. This year, the government spent more than 11 million to subsidize LPG cooking gas cylinders instead of allowing consumers to pay the maximum retail price. How cool is that? The 6% service charge on price-controlled food items is gone. And the government continues to heavily subsidize essential consumables like flour, sugar and more recently, menstrual products like tampons, sanitary napkins and pads. Right now, there are several bad amnesties in effect to save you on costs. The cost of lumber, cement, steel, plywood, galvanized and solar PV systems are now 12.5% cheaper than it was last year. The importation of select medical equipment will be VAT-free until 2025. This is expected to lower the cost of a host of routine medical exams. And you can look forward to a 100% waiver of all penalties and fines if you settle taxes in full by May 1, 2024. Prime Minister Pierre prioritizes strengthening consumer spending power to beat back inflation. Because of his successful fiscal policy measures, in March 2023, the government was able to pay out 11.5 million in outstanding back pay to public servants. NIC pensioners currently enjoy a 4.2 increase in their monthly pensions. And good news for you contractors, the government will no longer deduct refolding tax from government contracts valued at $10,000 or less. And it gets better. 40 million in tax refunds will have been paid out by March 2024. 10 million is expected to be paid out in December alone. And here's another outstanding achievement. The government was able to settle more than 50% of its outstanding payables. Since March 2021, the government has paid out 80 million to private sector service providers. These policies are literally putting money back in the hands of consumers, businesses and St. Lucia households. With Prime Minister Pierre at the helm, St Lucia's economy is on a solid footing. Our economy grew by 18% last year. And the income and economic structure of the economy received a triple B plus rating from Caregrizz. Investor confidence is at an all-time high. Since July 2021, the government has facilitated more than 2.5 billion in private sector investments. Now, what does this mean? This means hundreds to thousands of new construction jobs will become available in the coming months and hundreds of new job opportunities are expected to open up in the near term. The Prime Minister has laid the foundation that will give rise to a new generation of indigenous entrepreneurs and a new era of wealth creation in St Lucia by establishing the Youth Economy Agency, an agency tasked with enhancing the future of our dynamic young entrepreneurs. The MS Semi Loan Grants Facility is another initiative aimed at entrepreneurship and wealth creation. Hundreds have benefited from these programs, injecting millions of dollars directly into the local economy, empowering business leaders of tomorrow. Our Prime Minister and the Cabinet of Ministers skillfully stared St Lucia through the challenges of 2023 and set St Lucia on a course to extend our gains in 2024. The government's timely social programs like Housing Assistance Project, the Public Assistance Program and the Reinstated Distress Fund lend support to the Prime Minister's fiscal policies to ensure we all move forward together. Season's greetings from all of us at the office of the Prime Minister.


Well, hello everybody. That was a live dissolve. You just saw there here on here on logic live I want to thank you all for joining us and If you wouldn't mind make sure you set your chat window to panelists and attendees so everybody can see The chat as it comes in and if you do have any questions, please be sure to throw them in the In the Q&A section. My name is Andy and welcome to logic live. I'm so excited to have you here with us today I'm Let's start off with you know the usual with a little slideshow you wouldn't mind this episode of logic live is brought to you by or brought to you All by sinuses.io solutions development integration and support these guys have been my personal reseller for the last 15 years Could not do what I do without them and I just want to thank them for not only supporting us You know at lively but also supporting the logic community in the flame community they stay sponsor user groups all over North America and We couldn't do what we do without them. So thanks so much guys and sinuses If you have any questions at all about their remote workflow solutions, please check them out at sinuses.io Sinuses supporting flame artists since 1997 well Let me give you all an update. We had a hell of a week First of all over at the forum forum logic TV The forum is doing really really well and I want to thank everybody for for all for embracing it for contributing And for really helping to make it grow Just to give you some stats. We have over 700 users now over at the forum over 65,000 page views each month and the time to respond to new topics is less than an hour and Another another statistic that's kind of so fresh. I didn't really have a chance to put it in the the slideshow yet is Traffic over on the logic Facebook group is down 40% since The forum went live actually really since in the last month And so I just want to thank everybody for trying to help make the forum over at logic TV The go-to place for flame artists We had one frame of white last week. We announced our big winner We had a fantastic it was I think last week show was one of my favorites In the six plus months that we've been doing logic live it like I said to somebody I think before one of the Contestants before we started that you know having Everybody from all over the world live here on zoom like on the show with us really kind of Captured the true essence of what you know one frame of white was was always meant to be In years past, you know, we would always show the winners at like a New York user group meeting and then I would have people who who entered send little videos like thank you videos and things like that but to actually have Everybody on or so many people on so that they could talk about their entries and answer questions Just kind of really it showed off in its purest sense that global community that logic has become so I just want to thank everybody And you know a huge congratulations to our friend Tim Hendricks from Pasadena, California for his winning entry called catch Tim was our first place winner and he took home a Dell Precision 7750 mobile workstation which is a rather kick-ass laptop and I believe Tim said that it arrived Thursday or Friday, and so I can't wait to see all the fun stuff he makes with that Tim I discovered in addition to being a flame artist teaches art at at an art school in Pasadena and so it's it just it just all the feels there, you know in terms of helping Tim out But please if you haven't already go over to one frame of white comm check out all the entries from this year And in fact check out all the entries in the last six years or six or seven years rather It's really inspiring to see what flame artists are doing So speaking of being inspired by flame artists I'd like to welcome my guest today my guest today is Amanda Elliot and she's a flame artist based in LA I've had the pleasure of meeting Amanda and working with Amanda and when she reached out to me about being on the show I thought this was kind of like the perfect perfect guest Amanda are you there? There we go. Oh Just have to unmute you There you go. Hi We're living through zoom updates in real time and everybody's automatically muted, but welcome aboard. How you doing? Hey, good. Good. You're good Well, like I said, it's really a great pleasure to have you here and I thought that the topic Oh, I'm sorry. Let me just stop everything Renee. Tim has just a name What's up Renee? Okay, Renee has been acknowledged Yeah, it's I thought what you wanted to discuss was was kind of perfect for, you know, the Conversation we have here at at Logic Live I've had the pleasure of working with you and I even remember when like the first time we met at the lively office LA, you know, you really presented yourself as like an artist who lives in both worlds, you know, like, you know offline and you know What us old-timers call online, you know, what an issue you know both worlds and that's kind of You know made you an invaluable resource Because so much of what we struggle with has flame artists, especially like finishing artists is trying to You know create that like the smoothest transition of metadata and like, you know brain trust, you know from the offline edit from the editor through to finishing and You were telling me some of your experiences. I was just like, oh my god. This is this is, you know You almost have like the perfect job because you do live in both worlds But why don't you tell us a little bit about yourself and about your career and and we'll go from there Sure, sure Um, I do want to give a little bit of credit to Randy McEntee because the podcast that he did a few ago When he was like building max and stuff like that one of the questions he asked was what artists do you see yourself as? And I just that really just made my mind spin and just thinking about like my career and what I do and it even made me Just think about myself what artists I want to do and so thinking of all of that in my career That's when I contacted you. So, you know, thank you for any for asking all of us that question in your podcast because it really got me thinking about that Um, thank you, Randy. But yeah, thanks, buddy But my so my timeline is it I don't know. I think it's very different, but I've been very very Fortunate to have the career that I've had in this business And so basically this goes all the way back to when I was like 18 years old. I was living in michigan Um, I went to a school called spex Howard media arts and I originally wanted to go in for radio So I was even uh, yeah, so even interned at a country radio station. I thought that's what I wanted to do Um, but it turns out that no, I didn't want to do that and then I was like, I want to work on I want to be like the first weather girl or or something like that and then One of the things that they have you do at the school is you have to be like the td the camera person behind the desk and I was like, I'm gonna be a Uh, weather girl and then they do the thing where they pull the prompter So you kind of have to ad lib and I just froze. So failed at that The story almost sounds like a country. It's almost sounds like a country music song, you know, in my limited experience I like it's better So and then they had an editing class and nobody wanted to edit because everyone wanted to be on camera So I ended up editing everybody's project and so that was cool, too um, and then after That school was only nine months because it's like a concentrated school and then after that I was 19 years old And I ended up working at j walter thompson which is the JWT now And working on mostly like edit reels and concepts for the agency. Uh, they call the chop house And then so this is the best part so So it gets way better than this.  Um, and so I was just so freaking excited I sent my resume and I was like, oh, and I went in for the interview and I was just like, I have no idea What I'm doing. I don't know what's going on, but I really want this job and they were like cool You're hired So my very first day was a 19 hour day and it was uh during this paunette campaign with like the james brown and like Music and it was just a crazy campaign and I remember as we were doing this Um, I I even have this picture of me sitting with like a million dollar worth of neg because I was logging it in and um I remember working with this editor and he was just like, yes We need to do everything in a key code because they didn't slug the neg and I'm like, huh? Sounds great Like what does that mean and he's just like, oh god So I'm just like that was uh, I had to rethink my life decisions at that point And the funny thing was is that I started right before christmas and I was only 20 So they had to sneak me into our christmas party that was at a restaurant slash bar. So that was fun, too Wow, you know what as you finish that yes, this is a country music song Just kind of live that in real life Ending with a very strange king, but yes, I'm sorry go ahead. Yeah, and then um And then even well it gets even better because the editor that worked with cam He was a very very good editor and this is actually the foundation Of my career that I have now and it's so important to point out Was that working with that editor? He said something that really stuck with me and I would start for example calling folders like for amanda for cam And he would just look at be like what what is this? What is this shit? What am I supposed to do with this and I was like it's for color and he's like Then you put for color then you put for audio and then so that started like the bases of like naming stuff so where Anyone can take over and then one other thing that he said to me too in that time was just that amanda If you get a hit by a bus tomorrow I need to finish this commercial anyway, and I was like whoa Okay, I don't label any folders for anybody's name ever again So that started the foundation of my career now, but so after that I'm 22 years old I work at a place called the user universal images in detroit and they were the biggest discrete house at the time I think they had 11 flames 10 smokes one inferno three 3d studio max and like a Combustion uh, yeah, I don't remember that one but Yeah, so they were very kind of like segregated in a point where it's like the online people stuck to online and graphics people stuck to graphics and so um That was really good time when I was there I worked on a ton of auto show stuff various clients car commercials If you need like 200 Chevy commercials and you need them out to dg channel. I'm your girl that was uh That was fun time. Oh my god. Dg fast channel, right? Oh Oh, I just got like sorry Most of a good chunk of my career just came flooding back. I'm sorry. Yeah, I think a lot of good just got PTSD Sorry about that. Um, and then and then so not only did I have a really good opportunity to work with a really good editor and offline Immediately after that, I was able to work with a really good Uh an online editor as well His name is paul garland and he works at switch in detroit and he was actually one of the editors That was just like here take the pen you try you do a slate you lay it off here I'll show you how to conform no problem whatsoever So I was just really lucky to be able to work on both sides at such a young age with two different Two different artists and editors that were just you know willing to do that So, uh, I give them both a lot of credit for helping me with my foundation today Um, so then I fast forward to 24 years old move to kelly And then I think uh, and then I started at red car, which I feel like everybody started at red car Which is awesome. Yeah, which is really awesome And um, they hired me specifically because I knew offline and online So I remember they called me in detroit. Um, because I actually oh the website la411.com I believe you can go to post production and you can find all these companies and I literally sent out probably 300 resumes I was like, I'll be your receptionist. I'll do anything you want. I just want to move to kelly I want to live by the beach because that's what everybody in the Midwest says, right? So, um I'm like, I'm gonna live by the beach Yeah, so, uh, so yeah, so I ended up working at red car and they were just like, you know offline and online I'm like, yeah, they're just like, okay. That's cool. Come work with us. So as I was working there for a little bit Me and actually the online person at that place we left and we went and started elephant posts instead of lost planet So that was really cool at that point like being like a year into la and I was like, whoa, what's going on? so Got to work with a lot of amazing people over there as well um, and then Let's see here. Oh and then Back in 2014 I actually did end to go end up going to australia for a couple months looking for work And I hadn't interviewed at method. Well was method sydney Um, and then there was a class taught by joel osis out there because uh, yeah Sadly, I didn't get the job and then he was teaching a class and I'm like, who is this guy? What's going on? So I know joel you projection horror node you? Everybody knows that um But yeah, so he taught a really amazing class and so that's when I met him and so but but basically other than I've just been freelancing in the past 12 14 years um Yeah, in the freelancing world in la so it's it's been quite amazing Why don't you take me through like a typical day, you know, uh, you describe yourself as a finishing artist I know other times, you know the You've also been described as a as a flame assist, you know Why don't you do that take me through a typical day, uh, where you're bouncing back and forth from offline to online Okay, yeah, we can start with like a flame assist for example Uh, should I maybe give an example of one of the jobs that I worked on before? Yeah, sure. Okay. Yeah, so when I was working in a place called significant others It's the flame room inside a final cut. Uh, I was working on a huge job in 2018 with justin blouse Another fantastic flame artist. Um, what started off. I think is like six spots for kaiser Ended up turning into like 150 or something like that, uh, which is just like a ton of versioning But so the original project was like six spots.  So what kind of turned into that job is like as he was working on other I just random stuff that gets thrown. He's working on beauty. He was working on different versions All of a sudden he needed different versions to show clients I could overhear the clients talking about like, oh, we need to make another version, uh for washington dc That has a different disclaimer and in my head. I know if something has a different disclaimer He's another iski. So I'm kind of taking notes and writing this stuff down as well. Um, so I guess it's just as an offline assistant. I'm in this particular job I'm the one that started the google doc. Um, we didn't have shotgun or anything So it was like just a big google doc of what disclaimers matched what iskies Uh, for anything that changed in the middle, whether it was a certain art card or something at the end Like whatever these versions were it was it was for kaiser. So it was just all these different versions Um, the account person ended up using my spreadsheet that I made so her and I like I just gave her a seat pull up right next to me And uh, let's let's figure out all these versions on our own So I'm just constantly listening to like what's going on in the room And also how I can you know help the other artists or the senior artists and lead artists on the project With what they need to do, uh, as well Yeah, I think you know, it's funny You you and I have had a couple conversations prior to the show here And we talked a few times about you know, this label of being Excuse me a flame assistant, you know, and sometimes, uh, you know There's a there's there's there's a there's a negative association with that, you know It's it's a you're the junior you're the person who you know does the tasks that the senior artist doesn't want to do or It's that's just such a misnomer, you know, like in in all the conversations, uh, I've had with you about this You you said the magic words there like you're the eyes and ears in the room, you know The the the assistant is it is the flame sometimes as the flame artist You're especially when like the shit hits the fan. You're just you have blinders on your brain I mean, you just you are so focused on that Impossible task and that deadline that you could not possibly make That you can't be aware of anything else that's going on, you know and having someone in the room Uh to listen to I mean to not only like take accurate notes of what the either the client is telling you or the account person It's telling you but also to be able to play chess, you know To eavesdrop to overhear like the agency creative and account person and producer All like dealing with their own personal or professional crises And then gleaning from that what that might mean for you and the rest of your team and then you know Putting your phone in silent mode and texting it over to you know Pretending like you're looking at them and while you're not looking at the screen like texting to the you know The producer at the at at the post house you're working at it's invaluable and it it's the kind of thing that You know a flame assistant is really an artist a producer a scheduler a You know a technical Like just problem solver and client services sometimes and client services sometimes it's uh I just remember my at my the phase of my career where I was I was doing that kind of stuff It was it was eye-opening for me. I remember walking into Flame suite and seeing like that chair And and trying to figure out like what do I need to know to get into that chair? And it's really it has nothing to do with the keyboard the pen the buttons It's all about that room, you know Um, you you had mentioned a couple of other spots or we had prepared a couple of other spots that you know We're kind of good examples. Oh, yeah. Yeah. Yeah. Yeah, let's um Let's actually start with the kio one that one. They actually played during the nba playoffs. Um, so this was this was a really huge job and uh This was pretty fun to work on actually this one All right, cool. I'm going to impress everyone now with a dissolve ready Oh, man My mother if she was watching this right now, she'd be so proud Brides made us feel something once They can do it again Introducing the turbo charge k5 all right so That was a lot of fun to work on this one I actually did the offline assisting for the editor was brick at white house and he was in london So, you know, that was fun Text at five in the morning and trying to figure out stuff, but hey gotta do what you gotta do. Um Yes, it was very very very cool commercial work on so, um I guess just going through Now that I have both experience and offline and online being able and since I've Freelance with white house for about like 10 years now on and off working on that one, um Editorial assistant you have to know all the dailies you have to go through all the dailies You have to go through script notes make sure the script don't match the dailies You gotta make sure nothing's missing then you gotta go through and pull sound effects And sometimes you have to do I started off doing a little bit of sound design On another spot and then finished up some a little bit on this spot as well Um, and then sometimes you just you do ghost editing in the background just regular editing you have ideas You have to go through um pull the takes whatever takes are in the script notes You do breakout sequences for the editor um anytime you hear and since this was all remote Everything was going on in zoom sessions So as I heard the client say stuff like oh, where's that one take of the one car that spins around the carousel? But it turns like really sharp. I'm like, oh, that's one on one take five I I just agree and take it for you So it's like I have to know all the footage and have to be able to uh respond immediately to what the clients need It's like, oh, did we have any sound effects for like the tire screeching but not too loud I'm like actually I grabbed real k5 sound effects from blah blah blah or whatever if we didn't get one supplied for us so Going through all of that and then um the other fun part was so towards the end There's this whole like clown mouth that the car drives through at the end before the art card And so this is this is a fun part where having a lot of online experience really comes in handy Um because as we know as flame artists when light hits something especially sheet metal like you can see it It reflects on everything So as the car was going through the clients plan to play with the idea of like What if certain things were shutting off at different times and the thing is because the mouth is this huge A bright thing that when that turns on and off it reflects everything else um Yeah, so that that's one of the shots and then also towards the end too before the art card There was another another shot too. So we know that um the light just reflects Off of everything on there. So basically when they were like, oh, we're gonna prep uh for you know One of the vfx companies to do like a test and and so basically I told the the producer and the editor I was like actually I have a flame license. I have a mac mini. I could do a mini comp and they're just like What so that's when I be able to So that's when I'm able to give a little comps for them But then also when it comes to color prep too when they're like, okay We just want to hurry up and do a test and you know, we just want to send this off to color And I said well since I know light reflects off a sheet metal I want to be able to grab another take of the car the carousel and the very background that turns on and off I need to make sure I have on and off of every single little object I also need to make sure I've on and off of the floor I want to make sure I have a plate of the floor. I want to make sure the carousel in the back clean So it's just all these kind of little things that play into like building a scene like that with lights Reflecting and turning off at different times I can just kind of you know reach in my online pocket and go like oh I remember those things from comping that I need to supply these to color It's just invaluable.  Everything reflects off the floor So yeah, so then like little pieces, you know Production tape and ramps when the car comes in there's a huge ramp and I was like, hey guys Just you know, there's a ramp that kind of stuff and then also the the wheel locking up Yep being able to flag things that that need to be that are going to need to be cleaned up or may need to clean up And making sure like you said before if you know that in one of the other takes there's this perfect Moment where I could grab. I mean we do that as flame artists all the time You know when you're asked to clean something up you look at the shot and you I like to say You see it for like the sum of its parts, you know So knowing all the dailies knowing that there is a take that was marked no good for performance But actually has a clean shot of the door or the windshield or whatever Where they're looking for all those pieces. Yeah, and as I'm actively going through the dailies And then I'm starting to look at the storyboards and build it in my brain I'm kind of like, okay, and then like even the wheel locking up at the end There's other commercials.  Does it locked up? Do I have to find a cleaner shot of that hub cap? So I need to give it to be effects that we need to actually make it spin So it's like all these little things that I'm constantly asking questions to my producers about that Do we need to darken the windshield? Like do we need to see the talent not see the talent You know when the lights turn on like that just these little things that happen to come up in the past Are really invaluable to bring them up then and there It's great. I mean, there are so many times I've I've I've wanted to take like all of the assistant editors Who work at our company and put them through Like a finishing bootcamp You know Where we could expose them or put them in these scenarios You know a half a dozen or so different scenarios where you can see that if certain questions were asked Before the color session or before The prepping was done, you know I don't just I really feel it's so passionately about how the people who work across different departments or different disciplines in the creative process If they knew just a little bit about each other's jobs or maybe a little bit more than they than they do It would make everything a million times better Yeah, and kind of makes you like a brilliant assistant And the thing is is that I can also sympathize with both parts too. So sometimes being uh in online It'll be like, oh god. Why is this edl a mess? But then I've also been the offline assistant where it's like the producer came in to do just Can you just quickly get an email an edl out right now? And I'm just like but and they're just like no right now. Can you just export it right now? I'm just like, oh, okay go Um, so it's like I've been in both seats and then I've also been in the offline seat where we get like a Graphic back or we get something back and it's like why it's a time code Minus whatever zero like what is the time code the mess up? Like why is there edl all off?  It's like, but you know, I also understand sitting in the on so it's like I have sympathy and compassion for like both sides Where it's like I can almost look at the way the edl is structured and be like they were in a hurry They didn't understand that was probably newbie or something like, you know, nothing nothing like bad But just like I can understand What was going on in the process and and just and try to help at the same time And the best part is when I actually conform my own stuff that I prep. That's fun Yeah Yeah Yeah, I've done that before there's a couple A few places that I actually freelance at regularly um stitch editorial has bacon bfx with mitch gardener final cut has significant others I've also worked at nomad because nomad has their online there as well Um union editorial used to have resolution a while ago. So it's like I've I've been Able to just constantly be busy because it's just like oh, we're missing an assist Hey, Amanda, can you come help out or somewhere? It's like, oh, I don't have time to conform this Can you just go in online and do it real quick? And I'm just like, well, I prepped it. Yeah, sure. Why not? I know what I need. That's great. Yeah, that's great. That's great Um, we've got another spot here that we want to take a look at right for haras This one was so much fun to work on I did the um I know And here's a fun fact about the the first shot with that guy though The clients were saying like when they were doing when they were doing casting Um, they loved his hair. He was great. It was perfect. And then they were like, oh, wait a minute Did anyone tell him he's going to be in a crop top and then it just turns out he has abs So it worked out great for everybody If I had a nickel for the amount of times that happened to me anyway, uh, let's take a look at this hair spot And so it begins Your epic adventure Where champagne bubbly meets rose petal rain Floating away to a life of leisure To the victor go the spoils as the neon most of my dreams lady Set up there's an endless like dolly move funner and a liberachi cape To state of mind find your funner here Yep So yeah, that was that was a lot of fun watching that And picking the right take of the guy I think there was one cut to where the guy was in the background He kind of just did like this moonwalk off like camera at one point So it was it was actually really a lot of fun going through the daily So this was one that I offline on as well And the best part of this was uh So it was done in premiere with the editor at stitch and In premiere like the way that they had shot it. I think it was all like, I don't know 90k or something You know, it was really crazy. So it was just really a processor intensive, but also when in premiere when they were trying to Just like mask and do stuff. It was just really grainy and it was really taxing on the computer And it was just it just wasn't really giving them the results that they wanted, especially with the client sitting in the room So this was another instance where I was like, hey guys, it's like I'm gonna talk to my I talked to producer and I was like, I can just go and flame and do some really really rough comps and then also on a side note Me saying this I don't say this to the clients. I usually only talk to the editor and the producer beforehand And they're the ones that know and the people that I usually get hired at They're the ones that know that I know also no flame because I don't want to undermine I don't want to put the online people. I don't want them to think that I can just do it all That's not why I'm there. So I just tell them my setups aren't going anywhere I'm just going to do a rough comp real quick though. And then sometimes they just tell the client I did it in after effects, whatever. I don't care. That's totally fine But the cool thing was is that I did a lot of rough comps for this one too And there were a lot cleaner and it just looked really impressive. The clients were really super happy It was really easy for the editor to just be like, hey Amanda I you know trying to do something different with this shot You know, I would export my shot and then I would go jump over to flame and then I would comp it And then I would export it and I would jump over to the offline And so it's like I was really versatile To be able to work on this project for it to go smoothly and you know For the clients to be happy and be able to kind of see something that looked close to Pretty much what it looks like there That's awesome and You're a hundred percent right about being sensitive to you know, all parties involved, you know I think especially what you know, one of the things that's maybe under underappreciated is When there is such an overlap in the creative process, you know Sometimes there's a tendency to forget that certain parts have a have like a monetary value attached to them, you know, like You don't want to Undermine like the the post houses ability to charge for something just because you know If you did it as part of the if you did the flame stuff as part of the offline And that might be a comp that might be flame time. They can't charge for you know So it's really I think it's just an important thing that you pointed out It's it's a very delicate kind of Territorial and then I just really bring up like, you know, if they want to tell the clients that that's great Because it's all under one roof too. It was getting finished under one roof But if it's going someplace else, it's just like this is literally just for rough like I'm not booked in online I'm not taking this away from online It says I want to be able to show you guys something It's a little bit more true, but this is not by any means finished Sometimes I'll do kind of a shitty job just so they kind of understand that it was rough too Because I don't want to take anything away from the online people You know, if I can help make anybody's life easier like that's kind of part of my job But I do really stress, you know, the producers to to the editors like I'm not I'm my I'm not sending my bash to online This is not how it works unless and then I'm getting booked and you know, then there's a different story Then we can talk But it's just really really important that that's kind of that that gets said and and actually it's Everything's gone over really well. I've never really gotten any bad feedback from anything. You know, they always say A lot I think I've only had a couple people where they're like, oh, she did an after effects And that's that's totally fine. If that's you know, because there is politics We all we all know there's politics that that happened in this kind of stuff and that's totally fine But just to kind of keep it in the sense where it's like, I just want to help you guys make this look good for your client So let me ask you what advice would you give to a younger artist who's just starting out who knows that, you know, the The stepping stone in either editorial or finishing is, you know, that assistant level How would but it can be over learning one of those can be overwhelming, you know Um, what would you what would you say to someone who's starting out? Uh, there's it's so much more than sitting in that chair and I'm going to kind of reiterate going back to what you were saying earlier Um, as that everyone just wants to sit in that chair And the thing is is that my whole entire career since I was 1920 years old is I've always been sitting in front of clients I've never been in the back room with headphones. Nothing wrong with that. But that just that's not me. I've always sat in front of the clients I always dress nice when I go to work. I always make sure I'm making a statement But I think when it comes to assistant starting out is they're going to be the same thing that brings assistance up to when they almost sit in the chair And that's reading the room that having eyes and ears on everything at all times. And so I can even give you an example. I'll bring it. I'll bring it back to How I've been brought up though too is working an offline at mad river So young and being so like malleable like like my editor being able to impress these things He was the one that really enforced like you need to keep an eye on these clients and you need to make sure that you know They have the coffee when they need it. Do they want dinner or you get their dinner? Oh, and then I need to make sure you break down my Dailies. Oh, I need to make sure that I'm okay too. So they really he really stressed that Into me really early on And then I also realized how successful it had made my career So not only was it from a standpoint and just kind of me personally Not only was it in a standpoint emotionally being there for the clients and for the artists there as well Um, I think it was just being able to read it from an emotional standpoint But also business standpoint and what I mean by that for example is going back to that kaiser job Back in 2018 where we had all those different for like a hundred and whatever versions Is that everyone was just so stressed and there was all these different versions and their clients were young There are clients we need this version. We need to do this and all I'm doing is just listening So they're just like we have another version with another disclaimer I just put that in my google doc and put work in progress And then they're telling me oh the disclaimer is just a city change and I was like, okay Well, I already have like the photoshop document. Maybe I'll just change it work in progress Oh, yeah, we might have another iski. So I just add it to the google doc. So everything's already built So but I'm not telling anybody this I'll maybe text my producer. Hey, by the way Just you know, I heard there's another iski coming along which means if it's a different Change for a city they say the city in the spot So that means they're going to need another audio change. So we're going to need more audio time and And it's like, oh, is it an art card change? Is it just a disclaimer change? No, it's just disclaimer It's like I'm just constantly like getting the feedback from them and then telling my producer and then also And then to cut and interject with like an emotional standpoint too if I Happen to walk in the kitchen get some coffee and I noticed my artist hasn't eaten I need to find a way to make sure that my artist is also Drinking water and eating. This is also really important too. And maybe my clients are getting stressed that they need coffee They need snacks. Let's get veggies in here stat, you know or something like that and calling client services But you know or I'll just go to my producer and be like get the artist out of the room for 10 minutes and let him eat You know and then she'll call and then he'll and then they'll step out You know kind of thing So I'm constantly just checking and making sure not that everybody is like business point But just like a personal standpoint too if I notice clients are getting stressed I'll turn around and start talking about like a dumb Like story that I had from like 20 years ago like I remember. I don't know puppies and ice cream whatever I just I just bring up something to change the tone of the room But in the background I already have these two versions done on my desktop that they were just talking and stressing about So yeah, and then then I'll say something else like oh, maybe we need to do a VFX shop for blah, blah, blah But I already know that my artist is busy working on this and he told the producer earlier that he needs three more hours And I'm going to be done in a half an hour So I'm just going to start building this or is it okay because they can see my machine if I Because they can see my screen is this something I can work on So I'm constantly chatting with the producer like I overheard that we might need a comp for this Do I need to send something and prep something for you know the effects at another company like oh, but there might be a Vio change. Okay, I can switch over and I could do that real quick. So it's like just the constant back and forth Um of listening and I can just see that the the other lead artist is just yeah with the blinders Like you were saying so just having the eyes and ears in the room constantly paying attention to what's going on And it's not all about you like you have to really make sure the The lead artist is taking care of you know, hey, I noticed when they're not drinking water So I'll just go grab water and I'll just I'll give it to them. I notice the clients man They went through all their snacks. Maybe it's time to get some dinner or something like that cheese plate in here stat Yeah, yeah, exactly. So um, and then also Um, or you know or a bowl of m&m's and skittles make it fun. You know, I don't know mix the two See what happens.  Yeah exactly Especially that like magical year when all the flame bays likes see I said flame base so that way You know, it's like an east coast west coast thing that when all the flame bays like switched around so that we face to the client, you know Uh everything changed, you know, so I mean at least in in the way that our like my room is set up I have a table they can see my feet So, you know, I have to wear nice, you know And uh, you know, and they have to wear the good pants. I mean and then, you know Um And they can see me no matter what happens. They can see me. I have to always like Be cognizant of that, you know that I'm on stage that that, you know That I'm going to set the tone of this room We're also setting the tone of the company too like you're setting an example for the company as well And uh, like there's no problem with this like magical pen that we can't solve, you know So let's just do it one step at a time. What are the issues, you know Let's solve them and once once you solve one problem That the agency or your client is having like The the tension just you can see it. It just melts off of them, you know Then you can start to like have a creative process again And maybe, you know, just blow their minds and sometimes all that really means is making the legal more readable or, you know Making the title just a little bit bigger or something like that And that's what they're going to remember too. I believe it or not. It gives us this stuff Um, I rolled in their stress and we left happy and that's That's that's just as important as making like the coolest Like the coolest shed the coolest images, you know Yeah, and on that note though, too, I think another thing for assistance.  I don't care. What is the name of a rose? It smells so sweet as I hope it's um, but it's like I really It doesn't really matter what you're going to call me I just mostly use like I guess finishing artists a lot But I do take on the assistant roles because I just don't have the ego for that So another I think a another thing to kind of point out to assistance So is you have to let your ego go is that you will sit in that hot seat eventually But you have to understand that you're really in the hot seat Like your hot seat is actually way more intense. Like the floor is lava on fire kind of thing Where sitting is way more intense because Yeah, sure the the lead artist is next to you and they might be getting all the The prestige and all the stuff for being lead artists, but think everything else that's going on with you so even Yeah, even going back to the job I was talking about the Kaiser job It's just like as you know, the lead was focusing just on one spot and working in all these other things I was building 50 in one day making sure everything was good checking slaves checking disclaimers Making sure I got all the specs export specs for social media And all that kind of stuff So it's like if you if you really really think about what what is the hot seat You're in it And then you have to let your ego go thinking that you like you're eventually going to be the lead And your name is going to be in the credits and you're going to and it's I would rather Have or what means more to me is having the trust of my clients And the producers of the companies that I work at I've been freelancing and doing this for like 14 years That trust and bond that I have with these clients and companies mean more to me than having my name in a credit in a movie It means so much more to me. That's how I've been able to have my freelancing Like business thrive for so long as I'm looking out for you. I'm looking out for the producer I'm looking out for the clients. I'm intertwining. I'm making sure everyone's paying attention I'm sitting in a color bay and offline and I overhear something about a different version I'm getting the producer. We only have an hour left in color and they want to do another version What do you want to do? And then they call their producer and everything gets figured out. So it's like I have to pay attention But I'm here for everybody. So it's not just I need to get my stuff exported for the clients Like I need to get my stuff exported. Did you eat? Are you good? Are you emotional? Okay? I don't know if I can help you but we got this going on over here. So it's like So there's it's more than that and I think just because the assistant rule gets kind of maybe downplayed We have to understand that We're still trying to figure out where's the ceiling and and where's the floor with all of that I've worked with senior artists that don't even know how to conform But they can do the most crazy coolest comps I've ever seen So where's the ceiling? Where's the floor for a senior artist and the same thing goes for an assist?  Does anybody have any questions for Amanda? Renee has pointed out that it's blasphemy to put skittles and M&Ms together. It is. It's a wake-up call for sure It's a big bright beautiful world Renee Oh, and then another thing I was going to point out too the best part uh is sometimes yes, rena I absolutely love it when I have to like hurry up and prep Stuff and then come to find out that I'm just conforming in 10 minutes later That's that's always kind of like a fun thing It was like, oh, we need to hurry and get prepped on it needs to be done because we're gonna do it today It's like, oh, we're actually keeping in a house. Can you go just conform that real quick? I'm just like, yes, of course No problem Press send and then your phone is the one that buzzes Yeah, yeah, so So, yeah, that's that's kind of the role of what it's it's so many things There's so many things involved with what the assistant does what the assist can offer Being able to pay attention to all of these things and then having great communication with your With your lead artist and with your producer and I think that's I can't even express how Ultimate is to have this relationship with all these people that I freelance with the the clients and the post houses Is because I love being able to have that trust of just like Whatever we can do we'll we'll figure it out together and I'm gonna help you through it I think I just think it's wonderful. Um, you had shared with me some uh, a story that oh, wait We've got a question here from Daniel Uh, it says how long have you been a freelance assist and are you planning on transitioning to a full-time artist? I have gotten a lot of full-time offers. Um It's it's very interesting. It's it's sometimes it's hard. I don't know if other freelancers can contest on this one, but uh Uh, I think maybe it's a money thing at first. Uh, where you're just like, oh, man freelance to staff kind of thing But I've been freelancing. I've been in la 14 years Or almost 15 years But I've been in the business 19 years Wow, um I've been in the business a really long time, but transitioning to a full-time artist I I mean, it's definitely I'd have to look into it. Everything is is super unique. I did have a staff position on Uh interview on march 12th. That was fun. Uh, that did not happen To be I know the exact date Yeah, so, uh, if the opportunity came up, there's a lot of things that I would have to kind of consider and and go into it um and ask but If if possible, yeah, that'd be cool in the future I always keep your options open, right? Yeah. Yeah, for sure for sure. And I always feel there's it's really good to have a Work-life balance as well. I do so many extracurricular activities and hobbies. What me? What do I do? What's that? What's a work-life balance? Oh, it's a work. Yeah that that whole thing. Yeah, it's still trying to figure that out though But I think it's really really important for people to do do have the work-life balance And be able to do that and express it and if there's something needed to do I mean people need to go pick up their kids all the time Um, I need to go to my karate class sometimes. So it's like I gotta figure out, you know the The balance and everything though I found it really uh challenging, you know to to to The lockdown like working from home, you know The I mean in terms of like the whole work-life balance, you know, it used to be like for me I had like an hour and a half commute round trip, you know, like one way like door to door And so, you know, when I left that like home, I left home, you know, when I left the office I left the office and you know, if I was within one train stop, you know, you I could go back to work but um There's there's I've I've found it kind of fascinating that you know in 45 seconds I can roll into work, you know And that's if I take the stairs, you know Uh and just and just trying to find a time making sure that I I have a, you know Yes, I could wake up at six in the morning and roll right in here and start working, but maybe I shouldn't do that and then the same thing. I need to kind of put the brakes on at a certain time in the evening I don't know. It's it's it's it's interesting that you um Just that you bring that up and and and you know as I sit here in this, you know, my Blue flame room. It's kind of changed a little bit, which is quite nice by the way I was going to say there what you got going on here that the thing uh the static ball thingy. What is it called? Yeah, it's like a plasma ball. You know, that's cool If anybody went to a Spencer gifts and like the like late 80s early 90s, that was definitely overpriced um You got a got a lot of nice stuff back there. I just have my my blue notebook that Quinn Richardson gave me Yes, this is all I have. Thank you Quinn Quinn, I think you gave me mine too It was like at the at a new york user group meeting you brought like a box of them and uh, I gave them almost all the way You know, I definitely held on to one for myself Oh, man, police. You kept one so that's good Yeah You're welcome. It's back at the office. I have to get it I think the last thing that I had in there I made sure that like I would only write in there all of my flame like tips and tricks for myself, you know yeah, uh I'm gonna have to go back and retrieve that one. See what I what I've left. Um, I wanted to have one too. Awesome It's awesome Thank you, Quinn. See the love see the love and enjoy you've spread around the community. Um, I did want to ask you why we still have time uh in that whole vein of like, you know Uh inspiring the the next generation of artists You you told me about how you and renae uh had gone to um Which I was a UCLA. Oh, it was um, it was uh, uh Cal Cal Cal State Long Beach. That's it. Yes. Yes. Oh, this is good This is this is really good. Okay. So, uh, where do I start? Uh, so they have um like a career day and the people that work in in the film business, uh, they So they have this whole thing where they have all of the people that work in the film business Lined up at computers and in this huge room and the the kids would come in one by kids students people Yeah, they come in one by one and they chat with us and they kind of treat it like it's a Like it's an interview situation And so everyone kind of is very I don't everyone I do different I do very different. I give these kids such a hard time and it's amazing So the very first thing is that like if I notice someone comes in I'm just like, ah You should really wear nicer shoes and they're just like, like there's respect to me to be like, hey, this is a fake interview blah blah blah Come sit down. Let me look at your portfolio. This is great You know kind of thing and I'm just like, uh, uh, okay cool So they sit down there put their laptop and I'm like, sorry that internet doesn't work And they're just like but but I'm like the internet doesn't work And then they're kind of just like oh Oh, and I was like, okay So it actually does work But I'm just saying if you're not prepared of the you're trying to show them on your laptop Internet doesn't work. What do you do and they're like And so I was like do you have a sketchbook? They're like, no, I'm like get a sketchbook.  Anyway, um, so this other girl.  Do you do your girl, right? So she's sitting down and she's really excited and I was like, what do you want to do?  She's like, but that's what I want to do Like I really want to be a pa and I was like I know not feeling it and she's like, but I mean that's why I'm here and and I was just like good You passed the test. I was telling you not to do something. You stick to your guns. Good. Okay. God next Um, and then there was also other people that uh, so this was the course of over like two years and so Oh, and then so the third year that I was finally that I was there just last year People were actually lining up outside to talk with me because I was kind of like the bitchy one So another girl comes in and she's good. You know, she's got like her sketchbook and she's just like so I just want to show you this and I'm just looking at her while she's like flipping the pages in front of me and I'm just like I was like, do you have anything else?  I'm like, it's not really that good. You know what I mean? And she's just like and she like started to cry and I was just like I was like, okay. All right time out time out time out. Um I'm telling you this because this is how the business works sometimes and I'm not I'm you know, I don't want to give her the impression Everyone's like that, but I'm just I'm being really tough on you for a reason You've got to stick to your guns and you've got to be confident about what you're doing So if you're going to show me something in here, I want you to stick by it And I want you to really like back it up and and and if I don't think it's good then just go okay and move on That's okay. Some other place is going to love you for you and you have to I don't I guess it's like a theory for life, right? But um, but this is just like you just got to move on and go someplace else if they don't like it They don't like it. It's great. I mean, you don't have to be you don't have to burn a bridge or anything um But yeah, and then there was a couple times that some people would request uh to see me again and chat with me And there was one kid in particular. I do not remember his name And he was really funny and he comes up and he's all dressed up and he just like shakes my hand He's like hello, man, and I was just like I remember you and he's just like yes I listened to everything that you said last year and I fixed it and I was like Why are you here? No, go get a job right now.  I'm just like see this is exactly what I want to see I need to see you less stressed because if I'm I I'm interviewing you because I want to see who you are as a person I need to know if I can sit in the room with you for 16 hours and and you know Be able to do that so I need to kind of get to the core for you are and I want to see your personality And so I didn't even look at the resume or anything and by the end of it They were just like happy and smiling and and it was good, but that was a lot of fun And torturing them a little bit. Oh, I can only imagine Oh, that's wonderful. Yeah, that was good. Good times Cool. Well Amanda, thanks so much for for joining us here and for sharing Thank you for sharing your story and I just think it's all great advice and uh And thanks so much for sure. Yes. Thank you so much. Yeah, right Let's close this out here. I want to push this. I got oh, there's another dissolve for you Jeff Mom Ladies and gentlemen It's prize time Here at logic. I made this myself by the way Using flame. Yeah, I'm sure you're familiar with it. I've got a little something to give away here I've got one of these wonderful, uh logic Uh phone chargers to send away pretty giveaway Let's see. Yes, you could be one of the cool kids. You could be like Carrie Welton or uh, or is Miriam here? Yes, Miriam Odejo Yep who won or Like the very talented Mindy Dubin or uh, peter tree size or speaking of queen with queen richardson There's his hand holding a logic phone charger. So let's go ahead and give one of these away I'm gonna do this I have here my very handy dandy web based random name picker, which is brought to you by host gator apparently And the new folding razor phone Um, which I understand is horrible. But anyway, I put everybody's name here in uh In this and we're gonna now go ahead and start the random name picker. Here we go Let's see. Oh, isn't that amazing? Who do we have here andrew malvasio? Oh, let's give it up for andrew Congratulations, my friend. You have won yourself a logic phone charger Congratulations All right. Congratulations, andrew All right, let me go back to the slides here next week We have a mocha deep dive with mary poplin of boris effects. That's next week at 2 p.m I have a whole bunch of sessions lined up for november I'm just trying to secure one of the dates and then i'll be able to share with you Full details next week of what's coming up For november, maybe even a little bit into december here on logic live the forum the forum the forum Funny things are happening on the way to the forum So please head on over there and and help to continue to build forum.logic.tv into the place For flame artists that we all know it can be this episode like all other episodes of logic tv or logic live Rather are available at logic.tv I will have a new episode of the podcast this week for you the logic podcast which now Is also available on spotify Our room so please be sure to Subscribe subscribe subscribe while you're in the mood in the mode to subscribe go ahead and subscribe to the youtube page And thanks again to sinises.io for supporting Logic live my friends that's going to do it for this week. I'll see you next time