Good morning, everyone. Welcome to our second lecture on BC 314. This is our second lecture for this week on media and technology in ministry. Thank you for connecting. Trust all of you are doing well. You've been good. All right. So we're going to pick up from where we paused yesterday. I'll just go ahead and share the PDF. Oh, wait. Before that I shared the PDF. So, Roshan, yesterday you had asked a little question on... You had asked a question on home podcast equipment. That was a good question and I never thought of that because actually I never done it. Because all of our recordings are done with the media team. So I never thought of it but because you asked a question I thought it's a useful thing to add to the course content. So I went back and I just searched online and so I just put a little PDF together. There's a lot of useful information and so let me just share that first. I put that PDF. So I just put a one page thing together. And then I found this website that's kind of giving us all the information that we need. So basic podcast equipment. If you're going to start doing a podcast. Now I have to confess I have not done this myself because we have a team of people who do it. And basically they take out the audio part of the sermons and all of that. And then they push it to various podcast channels. So actually all of that is automated by script. So it's not manually done and just automated the whole thing. So the audio files are automatically pushed into these other podcast channels. So that's why we don't spend time on it. This is but it was a very useful question. I thought it's useful to have something that we could, you know, if somebody wants to do it, they can get started off. So basically you need a microphone. And so, you know, what are the good microphones that you can use? We can get that information here. You need a good headphone, a standard headphone headset so that you can hear is good enough. Then the software that you use to edit that audio. We've got several options, GarageBand, Audacity and Adobe Audition. I used to have Audacity on my computer, but I don't have it anymore. But these are, you know, software that you can work with the audio part. And then there are also web-based paid solutions where you can help you do the whole audio thing end to end. So in case somebody wants to do that. If you're having multiple inputs, mics and so on, then you could have a small mixer, a hardware. So they give you options for that. And in case you're doing a camera recording, they give you options for that. So I thought, you know, I just put all the links to this website. So it's very useful. So you can have a look and see if that's useful. So, yeah, so I appreciate you asking the question because I never thought of it before. And it may be something somebody may want to do. And it's a nice thing to do to be able to try it out. And now when I've done, we've, you know, again, we've produced radio programs and all of that. Again, the media team handle said they extract the audio, they put in the fillers, they throw the outro. And then they compose the entire audio into, let's say, a 15 minute broadcast audio file. And then they send it out and then they put it on the radio and stuff like that. So those kinds of things you've done, podcasts and radio. But definitely, you can give it a try. I know one pastor here in Bangalore, he does his podcast. Now, his, his, his, and he came and he, and he, I was on one of his podcast is very, very, very simple, very basic thing. He had two microphones, simple microphones connected to a small portable kind of like a two channel input. And then that's a recorder. That's it. So a recorder that has two channels coming in. That's it. So he held one, I held one. He would ask the questions and I would answer. And it was just a simple recorder and he recorded it. And then he puts it out of, of course, he'll edit it and he put it out on his website and his podcast channel. So that was a very, very simple one and portable. So he came to my office and he recorded it there and it does.  Put some intro music, outro and any announcements you want. So it was a very simple setup, but it worked.  So that's a, you know, that's, that's a ministry. That's something you can think of doing and serve people. Okay. So let's pick up from where we paused yesterday. We are still in this chapter 14 on digital equipment. We basically went through the audio part yesterday. And I think, yeah, the public address system, we went through this.  And I think the question Elisha asked yesterday about, you know, what would a typical, you know, set up for a 500. Now people congregation, what would it be, what would cost. And that was an interesting question. I never thought of putting that information together. So I probably will work on it. But the fact is the such a wide range, you know, depending on what kind of mics you want, you can use basic mics, you can use high end mics. So when we started out, we just used to go with, you know, just the basic equipment, just the basic mics and speakers and all of that. And we started out. And then slowly over time, we started buying a little better equipment. You know, for better equipment, it's a little bit more costly, more expensive. But then you do have the advantage of getting better quality in your sound and people have a better experience. So, but that question from Elisha kind of broke some parts. Maybe I should put a little list together of what we actually using in the cost. But the ballpark that I gave was, you know, for kind of a slightly better, maybe not the high end, slightly better equipment. So it's a little bit more expensive. We don't have to start off with $5,000. You can also start off with something simpler, not very heavy and not very expensive equipment. But simple mics and speakers and mixers. So then the cost would of course come down. All right, let's get into video production. We just started this towards the end of the class yesterday. Now video production is very important because today people are expecting that kind of content. Audio is good. If you can have a very engaging podcast, that is really great. There's one very, very famous podcast called the Karen, Karen, you have leadership podcast CNLP Karen, you have leadership podcast. So he just, you know, just simple. It's conversation between him and he interviews one other Christian leader or one of the leader from sometimes he also interviews not necessarily Christians, but others. But he himself was a pastor and then he, you know, kind of stepped out and started doing other things. So the Karen, you have leadership podcast is quite famous. It's taken off very, you know, widely and he covers a wide range of topics, but then that's an example where a podcast has really made it big. It's really impacting in the Christian space, Christian leadership space. So I listened to it from time to time and he deals with their current issues, current topics. So audio has its place, but video is again something that people look for because it's very engaging, right? You're seeing, hearing a lot of things happening. So having a good video production team is very useful. And also this then leads us into live streaming, which we will talk right after this. You know, when you want to live stream your Sunday service or your event, it's basically your, a lot of the same people are going to be helping you do that. But in doing a video production, that's a small thing like what I said yesterday, just doing a five minute delete emotional.  Regardless, it follows these three general stages. There's a pre production stage where you are planning everything you need to have an idea of what you're going to do. And you share that with the your video production team. So then they can do their homework and get everything ready. So you tell them, that's what you're going to do. So I shared a simple example of how we do our daily devotional recordings. Things are planned ahead of time. We let our person know, you know, these are the topics. And he tells us, okay, you're recording recording for these three or four weeks, they will be released during this calendar weeks. So you can prepare accordingly. You know, in case example, if it's before Easter or if it's before Christmas, you typically want your messages around that. And they will also plan the set and the, you know, the things around it, around that theme or topic. Then comes the production where your actual shoot happens. And they record it, you know, they let multiple cameras, lights and all that. We'll talk about that. And then the post production is when they go back and they edit whatever they've captured during the production. They put it together into those five minute devotionals or whatever they're producing and they release it. So typically for all of this, there's just a general list of equipments that you will need. Of course, you will need cameras. Now I just put a simple picture of camera. It's a video camera or a cinema, cinema camera. So basically, you know, what we do is we hire, we rent these cameras. The reasons are we purchased two cameras quite some time back. But the thing is, you know, it's very difficult to keep up to date with the latest, you know, things that come out. You can't keep buying cameras every year or every two years, they're expensive. So we decided to rent the cameras. So when you're renting, you can ask for something that is more current. What you can afford, of course, you know, to pay for renting. So that's why I'm not, you know, I didn't put on a big list of cameras. But generally, we have an old Panasonic high definition video camera. And then we rent three Sony cameras, Sony FX6. That's what we rent. We rent them. So the vendor brings it for the event and they take it back. So you just pay for the others that you use. So that way we don't have to worry about, you know, if you want to have a better camera, you can ask and rent a better camera. So I would share that idea. And if you're interested, you could probably do that instead of trying to buy cameras because they're expensive and keeping them safe and all of that. So that's what we do. We normally rent our cameras. We do have two old ones that we also use. We also, we also have a, we rent GoPro camera. So this one is a smaller camera, which is very useful for action related things. So this is a camera that for our Sunday services, we position it close to the drama. So, you know, the drummer is sitting on the stage. He's sitting behind a plexiglass case covering and be positioned a GoPro camera some of the years. So it can pick up his actions, fast movements. And it also kind of gives a very close up shot of what the drummer is doing.  It's picked up by this GoPro camera. And I will show you how we feed it. So this is also something, I mean, you can buy it if you want, or you can rent it. And we've been renting it for quite some time because we just use it only on Sundays for that particular use. Other things that you will need, of course, if you buy cameras, you will buy tripods also, but you just rent the whole thing. Microphones you may need. We use simple wireless mics for our video production, you know, so it's kind of hidden. So people, you don't see them walking around with mics or they're not there, but they are hidden in their clothing. You can have external mics picking up the sound as well. Now, in the early days, we used to use what is commonly referred to as a green screen. So of course, you need light and you need your set, the background. Now, so here's a simple technique. If you don't want to spend money on, or if you don't have a place where you can do up your set, the background, the decor and all that, a very simple solution is to shoot with a green screen. And we used to do this a lot in the early days when we started our recording that's way back in 2001, I think, or surely 2002 we started. We used to do a lot of our recordings with green screen. Basically what happens is you don't need to have a nice background. You're just standing on the green screen and you're recording. This is literally a green cloth, kind of a green cloth that's there. So what happens is when they're editing the video, they can just replace everything that's green with the background, what you want. They can put a background of mountains and everything or rivers or lakes or a church building or whatever background you want.  They replace the green screen. Anything that's green color is replaced with the background. And then you are superimposed on it. So it looks nice and it doesn't cost anything. It's just done during the video editing part. So, and this is a technique even, you know, large studios would use even the news studios where the person is actually standing on a green screen. But they superimpose the green screen with whatever, maybe some city skyscraper or something. So it looks like as of this person is reporting from some tall building somewhere. But actually it's just standing on a green screen. So you can even do that for other purposes. But anyway, so this is a very simple thing. And then of course you need some lighting. Again, we, most of our lighting, we just a friend, we tell the vendors to come and bring the lighting. And we have purchased some LED lighting because this one is you can keep it and use it as often as you want. So basically LED lighting. And then behind it, you can control, you know, the brightness, the dimness, the warm, the yellow light that comes in. So you can control all of that behind it. And it's very useful. And it's easy to carry around as well. So we purchased two of these, but then the other lighting, which is friend. So typically you'll need quite a few of these about at least three of these, you know, so you cover, make sure that no shadows coming in anywhere. So based on that, you adjust the lighting on your subject that goes into the video production. And then a reflector kit to reflect light onto the subject to eliminate any shadows and so on. So those are kind of things. There is something else called known as the gimbal, which is if you're holding a camera but not necessarily on a tripod and some other place, then it kind of shows you, is it aligned correctly, right? So it helps you align, make sure your camera is parallel to the ground in the right line of sight. You'll need editing software, production software, which we mentioned earlier and the software that you could use, high quality memory cards because all of this takes up a lot of space. It goes into your memory cards and battery as well. So battery can just charge and replace those batteries. So these are the kind of things that you would need in your video recording, doing your video production. And, you know, we've gone through a lot of learning process in doing these things. There have been all kinds of things happening. I remember those days when we were doing green screen recording and I had a Bible that had a green cover on it. And we actually recorded, you know, some of our, we did some of our recordings that day and nobody noticed that my Bible had a green cover.  But the Bible cover, because it was green, it was also being replaced with the background. This is like, oh, what do we do with this? And then they had to, and my hand was on the Bible. So part of my hand was also, you know, gone. So we've had all those mistakes happen during these things, you know, kind of learning as we worked through these things. I remember once, while we were recording, we had recorded several, this was with our daily devotionals. We recorded several of our devotions that day. And this memory card, you know, so all is recorded and they have to replace it. So, I don't know what happened, but one of our people, he erased the memory card. Oh, I was like, okay, it's no way you're going to retrieve that because it's gone. So all those hours of recording is gone. We had to redo the whole thing now. Okay. No choice. Just sit down and redo it. So we've, you know, had to work through those kinds of problems and then, okay, develop a system. Make sure you don't delete your memory cards. You copy it off to your computer.  So all those things are to be careful when you are working on this. And of course he has a little specification of a computer that you would typically need. Something that's high end because you're dealing with a lot of video. So you need a good memory, good speed, a lot of storage. And of course you can work with Windows or Mac. Mac is usually people prefer Mac, but whatever you can afford, you'd need a good large screen for people to see things and work on it and so on. So all of these things just put together for your, you know, for your reference, but definitely you can consult with people, your vendors and they'll be able to help you. Okay. Any questions? Okay, I'm seeing Christopher's question. You know, why do we put that lexical surrounding it? Yeah, so usually to just block the sound. So, you know, the drummer's playing on all of the instruments, his cymbals and all of that, playing there. So that physical, that sound actually is being picked up by the mics. So the sound that's picked up by the mics that is then actually used for the auditorium or for the live streaming, all of that. But the fact is, while he's playing, there's also the sound that goes over into the people, the worship people, the worship team. So you want to block a lot of that from going in or spilling over towards the worship team because they are hearing through their, either the stage monitors or the in-ear monitors. That's the sound that they want to pay attention to. Otherwise, the sound coming from the drums right next to them can be overpowering and so on. So that plexiglass around it, him kind of just blocks as much of the sound as possible. And we get to hear only what comes through the PA system. And the same sound is controlled for the people on stage, the worship team. So just to keep everything in a controlled environment. Okay, yeah. So how's the graphics for the background? Yeah, so we'll get into that. That's our next step, the graphics and how that's set up. I'll share that with you. Okay, any questions on just the video production part? Any thoughts, any questions on that? Okay. So now what we're going to do is, so we understand video recording, that is your recording in a controlled environment. Now we take that into our live Sunday service and then we want to do live streaming.  And then as part of that, so imagine your Sunday service. You have things being projected inside the auditorium, which is maybe while the worship team is singing, the lyrics come on the screens or while the preacher is preaching, their presentation comes on the screens. And now in our region we use, let's say typically there would be LED screens. So you'll have multiple LED screens. So that's happening inside the auditorium. And sometimes even the cameras inside the auditorium, all their video capture is also shown on the screens. So that's one thing, that's in-house. But all of that is also being sent out live online for an online audience. So we want to give the online audience an experience that is as good as somebody sitting inside the auditorium, which means they need to have good quality sound. They need to be able to see either the worship team or the preacher preaching. It's nice if you can show them shots about the congregation inside. And also to show them what's coming on the screens, meaning the lyrics of the songs or the sermon points, etc. So we want to give that similar experience to those who are online, as we do for those inside the auditorium. So what does that configuration look like? I'll just walk us through this. And again, here, okay, so live streaming platforms. I'm sure all of us are familiar.  And you could go live on other platforms as well. But I suppose most of us would be going live on YouTube. And when you're doing your live streams on YouTube, there's also the option for live chats. People interacting with your audience on live chat. That's a useful thing to do.  The advantage, of course, is your recording can stay online and people who have missed it while it's live can come and watch the video at any later point in time. If you are working with content delivery networks, they will push it across various other channels as well. So it gives you a wider reach. And also some of them will provide you analytics. So Google, YouTube, for instance, can tell you how many people are watching live, how many people watch later, what duration of your video did they actually watch, which countries were they watching from, et cetera. So that's useful to know. Now, what does a typical configuration look like and how is it set up? So basically, this is a schematic for a live stream. So you've got your audio and your video inputs. And this is a high level, so it comes into a mixer. We can use a physical mixer, which we use one called Blackmagic. That's the product that we use. So audio-video mixer switcher. Or you can also use something that's software-driven, a software audio-video switcher called, for example, Viacast. That's a product that you could use. But we use a physical one. And then that is encoded. That means it is put into a format that is ready to be broadcast. For the encoder, again, you've got two options. You can use a software encoder. So you've got a software, one that's open source. It's called Open Broadcaster Software. Some people can even, some people use a commercial one, or present a pro. And there's also another option, Resi.io. So you can do a software encoding that is, let the software do the encoding for you. Or you can use a hardware encoder. So the hardware encoder, of course, is much faster if you use this. But then it requires a lot of configuration. This is easier to use a software encoder. But a hardware encoder requires configuration for this. And then that, what is encoded, the encoded output, then goes on out to your platform. So it goes through your router and switch, goes out into the internet.  Or you can set up your own server. And from there, you can multicast to n number of channels. So example, if we want to simultaneously this output, I want to simultaneously multicast on multiple platforms. I want it to go on YouTube, Facebook, my church website, any other channels. Then I can do that. We can do that by setting up our own server. And then from here, we go out. Now, you can set up your own server or there are also service providers who do multicast for you. So you can use an online service to multicast for you.  You're done. But in case you're multicasting, then there's an intermediate step here in order to do that. And then, of course, on the other side, you have your audience. They will connect to wherever you are live on. So this is a high level of how the whole thing happens. Your audio video comes in. You've got your mixer here that decides what we'll explain, which screen to show, et cetera. Then there's an encoder. And then you can go straight to your broadcast channel or you can go through another server that will help you multicast and set it out through multiple channels. Audio network, we've seen. It's a similar thing. There's a console that controls what's happening in-house. There's another console that mixes for telecast. So this person will mix the sound that is going to be sent out. So sometimes we get feedback on some of our YouTube channels, hey, or our live stream channels, or the audio is not loud enough, this and that. So this person will work on it and adjust it, make it better. For those who are listening, this in-house person is doing it for controlling the sound for people inside the auditorium. Now, what would this configuration look like? This is part of it. Actually, I'll just shift the PDF. I'll share another PDF video. It's just kind of a little expanded version of this. Let me see. Now, yeah, this is our current configuration. So let me share this with you. Are you all with me so far? Okay. Let me share the current configuration with you. So this is our live stream configuration. All right. So let's try and follow me on this diagram. So we have our camera inputs, right? So we have one old Panasonic camera. We've got most of these are rented. So this is a camera one, camera two, camera three. This is our GoPro that's sitting next to the drummer. And these cameras will be in various places in the auditorium. So we have one camera. That is a wireless one, which one of these is wireless? Okay. It doesn't show it yet. But anyway, we'll have one camera that's on the stage. The person is moving it on stage. He's getting different shots of people on the stage. There are other cameras that are set up inside the auditorium, strategic positions. So we've got multiple cameras. Now, all of these inputs from the camera are coming into the video switcher. So the video switcher is basically the person handling the video switcher is going to decide. So you've got, you know, you've got video coming in from five different sources in this particular case. Now, some people will have more than that, more sources and all that. But I'm just giving you what we are doing. So you've got video coming in from five different sources. This video switcher person is going to decide which one of these is actually going to be shown, right? Which input is going to be shown. So he's going to be switching. So one camera can give you a shot of the worship team. Another camera is giving you a shot of maybe the preacher in the close up in a straight view. Another camera is giving a shot of the stage from a side view. And other camera may be panning out on the congregation. So this person on the switcher is manually deciding which one of these shots is going to be the one that goes out. You know, so he's switching between these cameras. That's basically his work. So the output of that, the switcher is this HyperDex Studio is recording everything. So we are saving. We are recording the whole video audio that's being sent out. We're recording it. So that's being recorded. And it is also here. He can see what's, you know, which one he's switching between over here on the smart view. So he's decided he's going to look at this, et cetera. It's also being recorded. And then this output is then sent. So here are two. So here's a hardware encoder. And here is a software encoder. So we have both. The reason we have is there was a time when we wanted to use the hardware video encoder and then we decided to use it. It's less complicated in its setup. So we decided to use the live stream software. So let me back up. When we first started, we started with just using OBS Studio live stream software. Then we did try out the video hardware encoder. We just found out that, you know, it's a little bit more complicated. We need the IT team involved in setting it up every each time for each time we do. So it's okay. We'll keep it as a backup. It's easier to train people here on the OBS Studio. So this is what we use. Now, in addition to the inputs coming in from the video, we also have somebody who's doing the presentation, meaning they're controlling the lyrics. They're controlling the graphics, the sermon graphics, et cetera. So what this person is also doing should also come into the whole picture. So what they're showing is usually comes as an overlay. We call it on the lower third. So what this person decides to show, meaning the lyrics, power, sermon points, et cetera, is overlaid on the video, and it goes through the mixer as well. And it appears on the lower third, the lower part of the video. So that's what this presenter does, so that whatever this person selects is overlaid. And all of this is then shown. We have two displays. We have an LED wall that's in the center of the stage, sorry, this one is in the center of the stage, and then we have two LED walls on the side. So all of that is also shown on the main LED wall as well as on the LED walls on the side. So that's how everything kind of, the data flows, the video flows, and everything comes together. So basically we have three laptops. You've got a presenter laptop, you've got a live streaming laptop, and you've got another laptop here for the Blackmagic controller software is running. You've got your Blackmagic video switcher here. You've got a device that records the video, and then you've got your mixer of the output of the presenter and what's going out to... So we have some monitors so that people can see what's happening. So this one is on the stage. So the person preaching or worship team can also see that. They can see what's happening. So we have that as well. And these are the LED screens, which is for the audience. And what comes out from here, the Obvious Studio goes on the live stream. If there is some problem with this one, we do have a backup to switch to a hardware encoder, which is not normally used, but it's there. It's there as a backup, but we usually use this software live stream. So I'll share the schematic with you as well. It's in the document, but this is kind of an updated one because we've added this additional LED panels as well. Any questions so far? You don't have to memorize this. It's just for you to get an idea. This is what's happening when we are doing an in-house production plus a live stream production. This is what's going on. Okay. Let me see now. What else do we have here? Sorry. Okay. So that's the software we're using. I've mentioned all of these things here. You can look these up if you in case you're using. All right. So the last piece, last thought that I want to share is that when you're doing a live stream, you like your stage to look nice. Ours is a very simple stage, meaning there's nothing. We don't keep anything fancy there. We just like the stage to be clean so there's not too many wires on the ground, et cetera. There's a pulpit, and then there's an LED background so that we can show the scriptures and the key points of the sermon that comes on it. So very simple. And the LED background, you can change the colors and the graphics. It makes it look nice. But some people like to have more elaborate stage, decor, stage setup. And I just point you to these links here where you can get ideas on different third stage designs. And also a very important thing is to control the lighting on the stage because if you're showing it on video, you've got to have sufficient light on the stage so that what needs to be visible is visible and clear. And then of course, there's also the software that controls what comes on the LED graphics. So we use, there are different software packages that are available so that you decide what's going to come on the LED screen. BAB use Resolume to say, okay, we want this graphic on the LED screens. And so that's what controls that. Okay. So with this, it's a quick overview of digital equipment. You know, we've looked at different software pieces, hardware pieces, audio, video and live stream. So it kind of gives you an idea of what goes into this part of the ministry, this side of the ministry. Now, you know, the reason I'm talking about this and not having our, you know, video people and audio people talk about it because they may talk to technical. And then it's of no value because we're not going to necessarily going to use that information. I think what's enough is to have a high level understanding of what happens, leave all the technical details to the people who need to know it. But no enough so that you can have a meaningful conversation. And sometimes, you know, when you're talking to them, because you're an outsider, you're thinking from outside the box, it actually helps them. You know, because they are technical people, they're always thinking within their technical space. But when you from outside say hey, how about this and how about that, you know, it kind of adds value to the whole thought process. So I hope this was useful just to give you enough idea on, you know, what goes into the digital side of things. Next week, we will spend time, we have two more lessons left. One is on software platforms. So I just basically want to share with the with the class all the various software platforms that we use in church. What we have tried to do intentionally is to use open source products as far as possible so that we don't pay licensing fees and all of that. So I'll just share with you what we use and you may want to use it for your church and ministry. And then the last lesson is on data protection, just talk a little bit on keeping people's data secure. Because in your church or in your ministry, you are going, people are going to trust you with their personal information. And in some cases, you know, if they're coming for counseling, your counselors, people are engaged in counseling will have a lot more information about their personal lives and so on. Everything must be kept confidential are not, you know, disclosed publicly in any way. So we'll close out with that. So we have, we just have two more lessons and we'll be done with what we want to cover in this course. Any questions? Go ahead, Christopher. Yeah, how long does it take to set up all this in preparation for the Sunday service? And where is the bulk of the time spent?  So, you know, that may happen quickly, but you know, where is the bulk of the time spent? I used to set it up. And second thing is you mentioned about the rental. So you have talked about some other costs that you are going to provide some details. So on the rental side, what kind of costs are involved? Like, for example, daily screenings and cameras and everything that we think. So if you could provide some details on that. Yeah, so the way we work is we, all the big things we let vendors provide for us. So like we said, you know, the LED walls, there's this one big thing that's on the middle of the stage and there are two LED walls on the side. We don't do anything with that. We just tell the vendors, it's your responsibility. You need to come and set it up, you know, so the vendors come and do it. So that setup may take about four hours, generally speaking. So they come the previous evening, like for the Sunday morning service, they would come on a Saturday evening and set it up. Or they would come early Sunday morning. So four hours is like, but now because they know what it is and we are storing a lot of our stuff in the premises itself. So I think they're able to actually put it all up together within two and a half hours. But if they're going to ship, bring everything in, load it into the premises and then set it up, it will take four hours. But because we store everything right there on premise, they can actually do it within two and a half hours. But it's all done by the vendors. So our people are not, you know, not involved in setting it up. The vendors will come and set it up. The whole stage decor, like decor means, you know, the carpet, the elevation for the worship teams. Again, that's all outsourced. When it comes in and he sets that up. The thing that our people do is and also the movement of all our equipment from where it's stored into the auditorium. We have vendors who come and move it for us. So our people don't have to do that. No. Then once they move it into the premise, then our people, which means mostly volunteers and a few church staff actually do the setup. Meaning the connecting of the cables and everything. Now, because that is, you know, everything of all of that is already, what to say, laid out very clearly. Okay, in the green room, we know, you know, these are the equipment that's got to be there in the green room. The cabling is all there. What's on stage is there. What's at the bottom of the stage is there. And what's in the back of the auditorium all done. So since all of this is well known. That setup basically takes place within two hours. So people would come in. So we have the eight o'clock service. So people would generally come in by six or sometimes six 30. Everything is ready. Typically, you know, even by seven 30, they're able to get ready. Sometimes the setup happens on Saturday. Some of it actually, that's how we try to work. We usually try to do a lot of the setup on Saturday evening. So there's no rush on Sunday morning. So they would come, they set up everything. And by seven 30, the worship team runs through a quick practice, eight o'clock one service. Then they have a gap between 10 to 10 30. So they would do a, you know, finer practice during that half an hour and 10 30 next service. Cameras also same thing. Cameras, windows bring, they will bring it. They will set it up. They hook it in finished. So on most, for most weekends, the setup is done on Saturday evening. So only if the auditorium is not available for some reason, you know, they get delayed. But generally every Saturday evening, late in the evening, it's all done. So it's Sunday morning, six 30, six, six 30, they come. Final touches are done. Seven 30 worship team can practice rental costs. So again, see, we have negotiated rates down with all our vendors. They may not be the market rates because market rates would be much higher. So with all our vendors, what, you know, we're saying, look, this is four to five Sundays a month. That you're getting work. So they have given us, you know, because it's a growth year. It's an ongoing thing. So they've given us very reasonable rates.  But maybe what I should do is just to be a bit more accurate. Maybe I'll put it together and I can share it in class next week. So that'll be a better, you know, better. I mean, I can remember what we initially had conversations and negotiated, but it's better. I go back and get those numbers and give you the real numbers as of today. I'll do that for next class. So it gives you an idea of, okay, this is the cost that goes into renting all this equipment and per Sunday. Yeah. So if you give me some time, I'll give it to you next Sunday. All right. Any other questions? Fine. So let's wrap up today. We'll close in prayer and we'll see if we can finish the course next weekend and next Thursday, Thursday and Friday. Cover the rest of the content next week and we may be done by then. Let's see how things go. Could somebody please pray and then we will dismiss. Thank you. Anyone could pray and we'll dismiss. Please go ahead, Maggie. Thank you, Heavenly Father. Thank you for wisdom, Lord. The provision you are providing us, Lord, with knowledge here. So we are prepared, Lord, for your ministry and for the world ahead, Lord. And we pray, Father, whatever we learn, Lord, we will understand it in a way that we make this knowledge useful, Lord. And we make it practical, Lord, for your kingdom, Father. We pray, Father, that you be fast, Lord, this weekend and until you meet again on Monday, Lord. And you might learn, Father, we pray in the name of Jesus. Amen. Amen. Thank you, everyone. Have a good weekend. See you all next week. God bless. Bye now.


My name is Sarah Johnson. I'm from Weagumau Lake First Nation, also known as North Caribou Lake First Nation. I'm a Native language perspectives lead for Kiwetna Kokumahkana Board of Education. This is my second year working for them. I met her Native language teachers in the five communities. Most of my work involves projects. This past year's project is the language app. We started it last October and it became available this November. It has been a long, took time, took a lot of time, patients, a lot of discussion and building this project. This involved the work of my Native language teachers from each of the five communities Kiwetwan, North Spirit Lake, Deer Lake, Poplar Hill. Kiwetwan, Deer Lake, North Spirit are Ojibwe communities. Poplar Hill is Ojibwe community and Fort Severn is the Cree community. The language app is all three different apps and all those three language apps. We had 500 words to work with, so the initial part of the project was bringing the teachers together, elders, parents, to discuss the project. Then they went back to their communities and worked on it, translating it mostly, interpreting from English to their language. That took some time because some of the challenges we faced was finding words for some terms. They would finish a couple of pages. Each time they did a couple of pages, they would send it to me. Then I typed all the terms in the syllabics and then I sent them back. Those are always sending translations like translated words back and forth, so that we, up until I think the last week of the launch, we know actually two weeks before the launch, I mean before we made it public, it took like the last two weeks to still edit the syllabics, so it's correct. We did a photo shoot of the app here in Sulakaut. It took one week to take photos of the app. We included some children, my native language teachers, daughter and granddaughter, and recording. That was another challenge as recording because you get intimidated when it's time to record. So we worked as a group and so we did like one day just Ojibwe people and another day Ojibwe people and another day the Kree people. So it was, you know, we had to get it right. So once we were done with recording, we review it, we listen. We listen to it, we look at the words, we display the words on the screen and we listen to the sound of what was recorded and we are making changes as we're going. So that's one of the, you know, work that was involved. So the target is for students. We want to use it for student use in the classroom, classrooms. But as it is going now, it's for anyone. Anyone from, you know, preschooler can use it to adults. Because we have done, it's in public now. We, that was our goal was to make it public to, because we are sharing people, we want to reach to, you know, everyone that can take something from the language up and if they can learn one word, that's a bonus. One word a day. The purpose of this app is to, you know, bringing back the language and maintaining to maintain what we have and also to awaken the inner spirit. Because most of us, the younger generation are not speaking the language and it's in there, it's in there, it's in them, it's in their being and we want, I would like them to, you know, wake up the inner spirit. The focus we had and, you know, what this program was, the project was to focus on the 21st century learner, because we are in the 21st century. And most people are using technology now. They are using it constantly. They cannot go without it, right? So this is one way to bring the language. It's in their hands, right? It's in their hands. So it's there, it's in their, you know, pockets. So they can easily, if they have that app in their, you know, on their phone, for example, or, you know, on their iPads, you know, it's there. They can look it up, they can scroll it, you know. So I've been scrolled and learned. Indigenous education is knowing who you are.  If you are working there, going to school, you know, it's good to acknowledge the place where you are and recognizing the people that have lived there before us. That's Indigenous education for me. And being able to say your name in the language where you come from. You can say, when you see someone, when you see someone in passing, or when you're introducing yourself, you can say, So hearing that voice sound of the language, it gives, you know, it's a gift, you know, it's a gift of language. I spent many years at the university. I love going into a Patterson building. I would like to see more Indigenous scholars at the university. I would like to see that, you know, especially when you're teaching about Indigenous education, I think it's important that we have, not only an Indigenous education, this applies to other fields and nursing programs as well. Forestry, we know a lot of plants, trees, so not everything is learned by textbook. So, you know, if you look around, you know, outside, there's lots of teachings there. There's lots of teachings there. Just there waiting to be, you know, waiting to be learned.


What is going on everybody? Welcome to another video. First things first, I watched Lojo's video about a month ago, he did this with his son and I thought it was just hilarious. This video's actually passed overdue. I got my mom with me today and she's gonna be learning how to do some bass fishing, okay, cause this is kicking the best TV baby. I mean, my mom's gotta know how to bass fish too, right, there's a little trick to this. I gotta teach her how to cast a bait caster because that's the first thing to this whole step, you know, everybody was asking, I was actually supposed to do this video a long time ago, but I haven't had a chance to, so now that I'm home a little bit for the summer, we're gonna film it today. Tell them that you haven't. I've never casted a bait caster. I haven't ever fished it, except for when I was younger. I'm not gonna say little, cause I know I'm little. But I would say, yes, but I was, yeah, whenever I was young, like, young, young. So about 100 years ago was the last time she threw a fishing rod. So it's gonna be interesting today, guys. I have a few baits rigged up on a few rods, which I'm gonna explain. So let's go ahead and go check that out. So mom, show me the poles that I brought out. I know you know nothing about it. I don't know if that's helping the situation, but yeah, grab that one first. I'm gonna get this bait caster. Yeah, I know that. So guys, this is the old Zebiko 33. I know most of you guys know what this is. This is just the start out. Listen, this is the cast of bait. This isn't a bait caster, mom. This is just a push button. That's a bait caster, okay? This is the main purpose of the video, but I did bring this guy out with a little rig on it today just because I want you to get like the casting down before I hand you that, you know what I'm saying? So we can get the casting out with this. I have just a little net rig with a crawl on it. So we're hoping to catch a fish today as well.  So like I said, starting off with the old Zebiko just to get your casting down, okay? Like just a swinging motion, because the last thing I want is you to hook me in the face. Okay. And then. Now I'm nervous. We're gonna move on to the bait caster. So first things first, let's go ahead and get the Zebiko out, mom. All right, all right, hold that thing. Do you know how to hold a fishing rod? Like a bat. Honestly, I don't even know how to hold this thing. Give me a second. Let me test my. All right, see how my hand is? Your hands are smaller, but. My hands are really small. Yeah, yeah, so boom, just like that.  With the bait caster, that's what you'll be doing. But like try to do a little cast in motion. Come back a little bit more. Yeah, like say you're gonna put some booty into it. Go. Yeah. Like that. Yeah, but if you want to, you can also, you know, from the side. Just is mainly your wrists. See what I'm saying? Look at the flick of that wrist.  So there's two different motions, you know, from the side, and then over your head. That's the easiest. Probably right now from the side. And it'd be easier for you not to hook me cause I'll probably stand about a hundred foot away from you on that side with the camera zoomed in. All right, let's get it started. Let's see what we gotta do.  What are you doing? No, it just, I had it hooked in the thing. When going bass fishing, mom's first step, you gotta check your drag. So hold the rod, make sure you don't. See what I'm saying? See how it comes out a little bit? That's honestly a little good. We might tighten it down just a little. Yeah, that's fine. That's fine. You always gotta check your drag cause you don't want to break, or you don't want the fish to come off and you not get the hook pushed in them. So, all right, let's start over here. So test number one, Zebiko 33, baby. I think that's probably almost everyone's first rod and reel setup that they started using. We're just testing this out, mom. This ain't the main part. This is gonna be easy. You gotta tell me how to use it. You gotta ace this test right here. So all right, I am gonna show you how to use it. Let me grab the tripod so this would be a little easier. All right, we're gonna get this started. All right, I gotta at least teach you how to cast it. So this is the button, okay? Already set the drag and everything. You don't really need to worry about that. So this is the button that's gonna release the line. Watch when I press it, watch the bait. See how it comes out? That releases everything. So the thing is, when you press this button to cast, if you just press it and let go, it's gonna come out. Two hours later, just don't hook my camera now. I'm watching. Holy, you did it, literally first try. Since you actually got it out there, I'm actually pretty impressed by that. Reel off the slack a little bit. All right, now kind of hop it. I should like catch like a five pounder first cast. All right, so try it again. I want you to try it just a few times before we hop to the bait caster so you know the motion. Oh. That's not bad though, because I've done the same thing because that rod's a little short. So really back in. I mean, I'm just saying that's pretty good. You might catch a fish out there. I think you have one. You don't have one? I'm just saying that one. Oh, you got one. Hook it, hook it. Wait, you don't have one. You don't have one. I lied, that was my fault.  That was Noah's fault. I got too excited. Oh gosh. Oh gosh. Oh gosh. Okay, I'm freaking out. Oh God, that's why I stepped back right there. Whoa, mom, I guess we can say step one is officially complete, baby. We got the- It's up for the side. She said it herself. Okay, mommy, you said that's easy, but the baitcaster now, I gotta set this up for you now.  So I definitely gotta set this up so she will not backlash it and ruin my reel. All right, so now it's time for the old baitcaster, mom. What do you think about this? You think it's gonna be easy? No, the push button was easy, but this is more comfortable. The push button was easy. This is gonna be a little difficult, guys. So anyways, like I said, my stuff's very loose. So the internal brakes, I'm definitely gonna be tying down. Let's go ahead and do that. So this is the internal braking system. You got zero through six right here. So zero is gonna be the loosest. Six is gonna be the tightest. So- You need to go and sit. I don't know about going, I've never like brought one of the reels all the way over that way, but maybe maybe. Mom, watch my thumb, okay? Which I'll teach you in a second, but. See, it kind of, a little bit came out. Oh yeah, this is gonna be, this is a done deal, guys. You're gonna have to give it a little more oomph, though. Than what I was doing. Than what you were doing with the other one, yeah. So when throwing a baitcaster, this is the button, obviously. Click it, bait comes out. When throwing it, you're gonna click the bell. You're not gonna let go right away. Obviously, I'll show you on the other one. Two hours later. Whoo! Okay, boys, let's see how this one runs. I'm watching out for you. Okay, all right, another thing. You see how the baits, you wanna keep it like a decent distance from your rod tip? So like, I'd say about right there. Instead of like down here. Because see how much room you have? You could hook yourself in the back. See what I'm saying? See that? You don't want that to happen. You don't have to do it to the side. Listen, that's all up to you. I don't know what you're gonna be better at, so. No!  Holy cow, first cast. Yeah. See how I say, that one's gonna get you. Go ahead and give it a little more oomph. Hold on, not reel it up.  Calm down, now, calm down. All right, you're, like I said, you're gonna have to give it a little bit of oomph. Little bit more oomph. And you gotta give it some power. See what I'm saying? Oh gosh. Oh! Okay!  Did you get a backlash at all? Uh-uh. Did I get anything? Is it on the bottom? It's on the same thing you got the last time. You got two. All right. Oh, well, I'm about to win the water there. Let me get this for you. All right, I got it. All right, ma.  I'm being extra safe. I'm not getting caught in the tree, no. Oh. Ha ha. Oh. Oh my gosh. Okay. Oh, I get it. Did it do it? Uh-oh. Well, that's not bad, though. That's not like a bird's nest. Yeah, that's not bad. It couldn't, no. Heck, no. Dad does it way worse than this, so. Listen, if you got it, you got it. Oh, gosh. Here's the problem. What's the problem, mom? What's the problem? I can't do it. Do you think that one? What do you mean? I have to remember to... Let go with your thumb? Yes. That's what I'm saying. Just keep ca... No, no, no, no, no. Now you're going overhead with it. You said you couldn't do overhead. Action, give us a cast that we will always remember you for, right here. Oh my gosh. That's going to make or break you right here. You're not going to hook me. You're good. I hope. See, that's what I'm worried about. I'm just worried about the bait just going, zeeew! You're hooking no end of the leg. Yeah, see? That's not bad. Like I said, that's actually pretty good. Feel that little like thing down here. Yeah, that's better. That looks more comfortable, right? I got something.  Oh, you got him. Oh my gosh, no way. No freaking way.  Oh my God. All right, that... I'm not touching it, but I got a fish.  There's no way. You literally caught a fish when I was explaining to you on how to hold your reel. It's tiny. I cannot believe that. Poor thing. Yeah, see that? That's her first, it's probably not your first fish, but, all right. Maybe?  All right, all right. I'm going to give her credit. I caught a big fish when I was younger. She did that one on her own, 100%. You guys saw that. I was showing her how to hold the reel. If you want to, this paralyzes them so they can't move.  Not their stomach, their gills. A lot of people don't know that or you just slip them by the lip.  All right, mom. You want to try to hold it? Um, no. This is probably the best one for you to hold though if you catch anything else, because he's small. I don't want to drop them. You don't have to. So you're just going to grip them on right there. He's really lethargic. He's not hyper. See what I'm saying? Hold them up to the camera. Here, hop in the frame. There you go. You got the job. You got the job. You got the job. Don't put that in there. Poor fish. Don't put that in there. Always going in the video. All right. There's my mom's first fish. Good job. You got it. You got to hold it. You got to catch it on your own. And you caught yourself a fish. Let's get it back in the water. And it flushed me in the face.  Mom, what did you just do? Put them in the drawer. It's really close. Really close. And this is way too close for comfort zone, mom. It was barely in right here. But that is just too much. I was sitting here moving the tripods. We're about to move down and fish over there. And she comes back and just sticks me. Straight up sticks me. I'm just glad I didn't go into the skin. Yeah. I would have pushed you in the water. Viewers would have loved that one, mom. Viewers would have loved that one. All right, mom. Give it a shot. Casting that corner. Catching all bass. Oh boy.  Oh my gosh. I was just resetting the GoPro. You got him.  That's insane. You had one. You had a good one on right before him, too. You know, one of this time? Well, that's your second fish, mom. Holy cow.  I'm pretty impressed, honestly. Let's get this buddy back in the water. Oh yeah. Let's go. Get him, get him. Oh my gosh. You got a school of just small ones.  This is unbelievable. On a bait caster, too. I can't believe it. Look at that. My third fish. I know they're small. That's okay. I can't believe it. You know what's so funny? Is they're all three? Or both of those were in the same cast. You know what I'm saying? I want to see you hook like a big one, though. Like just a mandu of a fish. Let me get it in that corner. It's hard to cast because of how tight it is. It might even be, I think you might have one. He's running with it, Annie. Yep. You see? He was so small. That's how I didn't feel it. Yeah, when I cast it in there, I kind of fell and grabbed it. But the reason I knew is because, you know, I threw by that tree and your bait was going to the right. Little tiny that one is. Mom, this is your interview after what? So what happened? I got four fish. I probably had 10 back lashes. I caught a fish, but I caught three. You didn't birds nest at all, though. Right. I caught three with all my own. Like all my own cast. And with this. You caught all of them were on your own cast, weren't they? No, yeah. I was three. I was three. He cast one for me and because it was tangled up or something, I don't remember, but I think it was good. I had fun. Now I know how to throw this. All right, guys. That is going to do it for today's video. I hope you guys enjoyed it. Be sure to hit that like button. If you guys want, if you guys hit this video to 3000 likes, me and my mom already agreed on it right here. We'll go out on the lake and I'll get her on some Lake Lanier bass. And once my boat arrives and that whole lot shouldn't even have said that, whatever, if you guys are watching this far in the video, then you get to know the surprise. So anyways, thank you guys so much for the support. Hit that subscribe button if you haven't already. I love you guys so much. I'll catch you guys in the next video.


So, let us consider for the TE case ok. So, here the electric field is along the x direction, in this case the electric field is along the x direction. So, incident wave the incident wave the electric field component of the incident wave I denotes the incident wave can be written as x is the unit vector this denotes that the electric field for this incident wave is in the x direction ok. It is given by this expression this we have already seen and for the reflected wave again the reflected wave also it is along the x direction now the amplitude is simply E0 prime ok and here this is minus k y cross theta ok. So, now by principle of superposition the net electric field component in the region between the conducting planes will simply be the addition of the incident wave and the reflected wave. So, we simply add the two field components. So, the net wave is now simply the superposition of the incident wave and reflected wave. Now according to the boundary condition what does the boundary condition say the boundary condition says that E tangential is equal to 0. So, according to the boundary conditions the tangential component of electric field must be 0 at the surface of the conducting plane. Now electric field is in this direction ok and this. So, that means at this boundary it is which component it is the tangential component ok. So, it has to be 0 at y is equal to 0 ok. Similarly at the surface of this conductor the electric field is again tangential component. So, it has to be 0. So, what is the boundary condition? The boundary condition will be that the electric field is 0 at y is equal to 0 and y is equal to a. So, to this resultant electric field let us now apply the first boundary condition that E is equal to 0 at y is equal to 0. So, we put E is equal to 0 at y if equal to 0 ok. So, we get this is what we get. Now this equation is satisfied for all z and all t if E 0 plus E 0 prime is equal to 0 or in other words E 0 is equal to minus E 0 prime ok. So, this simply implies that at when the incident wave goes and it gets reflected it just suffers a phase change of pi there is no change in the amplitude ok. So, this is just telling you that. So, we can substitute instead of E 0 prime we can substitute E 0 and write the expression for the electric field again. So, this is what we get. Now we can simplify this. So, this we can you know that E to the power of j x is simply sin x plus j cos x. So, expanding by using this expression expanding both for this and this and simplifying we get the unit vector x because the electric field is in the x direction 2 times j E 0 and then sin k y cos theta E j k z sin theta minus omega t. So, this this remains and this is now simplified to sin k y cos theta ok. So, again you can write it in this form k can be written as omega by c as well where omega is the frequency in free space. So, now here we can put this k into cos theta as k c and k into sin theta as k g and we can write this expression here. So, we have the expression for the electric field as. So, this is the amplitude and this is the propagation part ok. So, what does this represent now? This represents a wave now which is travelling in the z direction. So, this wave is now travelling only in the z direction with a propagation constant k c sorry k g ok. The propagation constant has also changed and having a sinusoidal variation in the y direction ok. So, the amplitude is now earlier when it was in free space the amplitude was just E 0. Now the amplitude has a sinusoidal variation in y and remember y is the direction in which the boundary was applied. So, standing wave is now formed in the y direction ok. So, so for this expression this represents a wave propagating in the z direction with a propagation constant k g ok. So, k g is now 2 pi by lambda g. So, lambda g is the new wavelength of the propagating wave ok. The when it was propagating in free space the wavelength was lambda. Now the wavelength has also changed to lambda g and this is equal to omega by c sin theta as we have seen from the previous slide. So, lambda g can be written as lambda 0 by sin theta. So, lambda 0 is the free space wavelength and lambda g is called the guided wavelength. That means, the wavelength which is inside the conducting in the region bounded by the conducting boundaries. And similarly this wave is now it does not have a constant amplitude. It is the amplitude is varying sinusoidally along the y axis with an effective wavelength lambda c which is given by k c is equal to 2 pi by lambda c. So, earlier the amplitude in the amplitude in the free space it was constant and now the amplitude has a sinusoidal variation which is given by 2 pi by lambda c. This is to satisfy the boundary condition. So, lambda c can be written as lambda 0 by cos theta and lambda c is the cut-off wavelength. Now from these two expressions if we eliminate theta. So, sin square theta plus cos square theta is equal to 1 we get an expression between lambda 0 lambda c and lambda g. So, lambda 0 is the wavelength of the wave in free space lambda g is the wavelength in the region between the conducting boundary. So, once it is entering the region bounded by the conducting boundaries it is moving with a different wavelength or a different propagation constant. So, that is lambda g and lambda c is the wavelength of the standing wave that is formed in the direction in which the boundary has been applied. Now let us apply the second boundary condition. The second boundary condition is the electric field is 0 at y is equal to a. So, let us apply the condition this is 0 and y is equal to a. So, this equation is satisfied for all z and t if sin of k a cos theta is equal to 0 or in other words k a cos theta is equal to n pi where n is an integer. So, k can be written as omega by c a cos theta can be written as lambda 0 by lambda c from the previous slide. So, this is equal to n pi. So, here lambda 0 gets cancelled with omega by c and we are left with lambda c is equal to 2 a by n. So, you see that lambda c is the wavelength of the standing wave formed in the y direction that is the direction in which the boundaries have been applied and it depends upon the dimension of the system. So, this is analogous to the case of these string. So, there we saw that the frequency or the wavelength of the fundamental mode depends only on the dimensions of the system and the disturbance of the dependence of the disturbance on y it cannot have any arbitrary wavelength, but only an infinite set of discrete wavelengths. Why? Because n is an integer. So, it cannot have now any arbitrary wavelength, but only an infinite set of discrete wavelengths. So, in between the two infinite parallel conductors in order to satisfy the boundary conditions the field arranges themselves to form certain patterns of the standing wave. So, here if n is equal to 1 this is the Te1 mode. So, this is the y direction in which the boundary has been applied and this is the z direction in which there is no boundary and the wave is propagating in this direction. So, we see that a standing wave is formed in the y direction, the direction in which boundaries applied. So, this is the first mode and if you put n is equal to 1 here we have lambda c is equal to 2a. So, this is the length from 0 to a. So, we get here a is equal to lambda c by 2. So, this wave which is propagating in this direction if we calculate or if we see its wavelength in this direction this corresponds to lambda g which is the wavelength of the guided wave. Similarly, for n is equal to 2 we have two half-period variations in the field in the y direction, the direction in which the fields have been applied. So, you can see from here that there is this field is 0 here again it is 0 here and in between it goes to 0. So, if I plot in y the variation of the field from 0 to a I have 0 here maximum going to maximum and then in the opposite direction. So, at a again it is equal to 0 to satisfy the boundary condition. This wave is again propagating in the z direction and this is the guided wavelength which corresponds to the wavelength of the guided wave. So, you can see this here. So, this is the y direction in the y direction it is a standing wave. So, if you can see at any point here. So, here the electric field amplitude is always 0 and at this point here just like the case of the string. So, this is the first mode. So, the amplitude at these points is 0 and at this point it is oscillating from minus a to a whereas in the z direction. So, this is the y direction whereas in the z direction it is a propagating wave and this wavelength corresponds to lambda g. This is the second mode. So, in the second mode the wavelength. So, we have two half period variations of the wavelength. So, here it is 0 here it is 0 and again in between it is 0. So, analogous to the case of the string. So, now let us see the difference between the electromagnetic wave in free space and the electromagnetic wave in between two parallel conducting planes. In free space this was the form of the electromagnetic wave. The electric field component of the electromagnetic wave the amplitude was constant and it was in this case it was propagating in both the y direction and the z direction. So, the amplitude was constant and it was propagating in both the y direction and z direction. So, it was in the y z plane. Now, when we applied boundaries what happened was that the resultant wave has a form like this. So, now it is propagating with a new propagation constant here the propagation constant was k. Now, it is propagating with a new propagation constant kg and it is propagating only in the z direction. It is no longer propagating in the y direction and y is the direction in which the boundaries were applied. So, in the y direction it has formed a standing wave. So, there so you can see that in the amplitude there is a sinusoidal variation in the y direction. So, wave is no longer propagating in the y direction because it is a direction in which the boundaries have now been applied. Coming back to this expression for lambda 0 which is the wavelength in free space, lambda c which is the wavelength of the standing wave. So, c here denotes the cutoff wavelength and lambda g this is the wavelength of the wave that is now propagating inside the system of infinite parallel conductors. Now, for a given system lambda c is constant because lambda c depends only on the dimensions of the system. So, lambda c is constant. Now, as lambda 0 is increased lambda g also increases and the phase velocity that means the velocity with which the wave is propagating in the region between the parallel conductors this is also going to increase until lambda 0 becomes equal to lambda c. So, as lambda 0 is increased lambda g also increases. Now, when lambda 0 becomes equal to lambda c what happens is that lambda g and v g both become imaginary. So, the wave now gets attenuated. So, any wavelength any lambda 0 greater than lambda c will not be able to be propagated inside the system it will get attenuated it will not enter inside this system. So, the free space wavelength at which the disturbance changes from being propagated to attenuated this is known as the cutoff wavelength. In terms of frequency since frequency and wavelength are inversely related in terms of frequency if you do it. So, you will find that waves below the cutoff frequency are attenuated and above the cutoff frequency are propagated. So, the corresponding frequency here is called the cutoff frequency the subscript c denotes the cutoff. So, here let me just summarize the field patterns in the Te mode. So, this is the Te1 mode this is the Te2 mode. So, here in the y direction standing wave is formed. So, if we see the Te1 mode there is one half period variation in the y direction from 0 to a and if we see the Te2 mode there are two half period variations or one full period variation of the standing wave in the y direction. So, this is from 0 to a and the wave is a propagating wave in the z direction and this corresponds to lambda c this is wavelength here corresponds to lambda c and here n will take value 1 here n will take value 2 and this corresponds to the guided wavelength. So, in the direction in which the wave is propagated. Similarly, we can do the entire calculation for the TM mode and we will get similar results. So, here for the TM mode the magnetic field is in the x direction. So, here at the boundaries this magnetic field is the tangential component in both cases the magnetic field is the tangential component and tangential component of magnetic field is it need not be equal to 0. So, the boundary condition is that the normal component of magnetic field is 0. So, in this case for the first mode we will have. So, we will not have magnetic field equal to 0 here and here. So, we will have but still we need to have one half period variation. So, we can have one half period variation from here to here. So, you will see the field is maximum here the field is maximum here and then it goes to 0 it goes to 0 here and then again it is maximum in the opposite direction here. Okay. So, this is the magnetic field along y this again is the z direction this corresponds to lambda G. This is a TM2 mode here you have one we have two half period variations along y. So, the field is varying from here to here. So, we have the field here as so let us say at this point the field here is maximum then it goes to 0 at this point then it is maximum in the opposite direction here and then again it goes to 0 and then again it goes in the positive direction okay and then similarly we can have TM3, TM4 modes and so on. So, this was like a wave guide in one direction. So, a wave guide is generally a hollow pipe of infinite x 10. So, that means now here we had in this case we had applied the boundary only in one direction. So, if we applied boundaries in both the directions now let us say x and y and the wave is free to propagate in the z direction. So, then we will have a standing wave in both the x and y direction. So, such a system is known as a wave guide. So, wave guide is a hollow pipe of infinite x 10. So, let us consider the propagation of electromagnetic waves along a hollow pipe of arbitrary cross section in the x y plane. So, it has some arbitrary cross section in the x y plane okay and uniform along the length. So, this is a wave guide of arbitrary cross section. Now, each component of E and B the electric field and magnetic field must satisfy the wave equation in vacuum which is given by this. So, the wave equation is del square E minus mu 0 epsilon 0 del 2 E by del t square is equal to 0 or del 2 del 2 E. So, this mu 0 epsilon 0 can be written as 1 by c square. So, you can write it at this as this and similarly for the magnetic field you can write it as this. Now, in addition to satisfying the wave equation inside this it should also satisfy the boundary conditions okay, what are the boundary conditions? The tangential component of electric field is 0 at the boundary and the normal component of magnetic field is 0 at the boundary okay and intuitively from what we have done in the one dimension we can write that now since boundaries are applied in the x and y direction. So, now the amplitude will have a sinusoidal variation in both x and y okay it will have some variation in both x and y direction okay. So, in the one dimension case since the boundary was applied only in the y direction the amplitude had a sinusoidal variation in the y direction. Now, since the boundaries are applied in both x and y direction and free to propagate in the z direction. So, the amplitude will have some variation in x and y. So, it will form a standing wave in the x direction and y direction and it will propagate in the z direction with a propagation constant kg. So, putting the second equation in the first equation in the wave equation we get for electric field del 2 E by del x square plus del 2 E by del y square minus kg square E plus omega square by c square E is equal to 0 we take this quantity in bracket okay and this we know that is equal to kc square okay where kc is what it is the wavelength or the wave number of the standing wave pattern okay formed in the direction in which the boundaries have been applied. So, and this is derivative double derivative with respect to the transverse components. So, we can represent it as del perpendicular square. Similarly for the magnetic field also by putting the form of magnetic field in that expression wave equation we get a similar expression and the two expressions can be combined and written like this. Now Maxwell's equation in free space R curl of E is equal to minus del B by del t okay. So, this can be evaluated we can so we can write this as del by del x del by del y del by del z okay E x E y E z is equal to minus del B by del t and B also you can expand in terms of components B x B y and B z okay. So, if you okay so if you now just equate the terms on the left hand side and right hand side the x component y component and z component you will get 3 sets of equations here okay. So, the x component is del E z by del y minus del E y by del z is equal to minus del B x by del t and similarly for the y and z components okay and also using this expression for curl of B is equal to 1 by c square del E y del t we will get again 3 sets of equations here okay. Now the both electric field and magnetic field have a form like this. So, if we take the partial derivative of this with respect to z we will get i into kj and if we take partial derivative of the electric field or magnetic field with respect to t we will get minus i omega. So, everywhere substituting del by del z with ikg okay so we substitute del by del z with ikg and del by del t with minus i omega also here. So, we arrive at these sets of equations. So, these sets of equations so we can now rearrange and simplify. So, we get E x E y we get expressions for E x E y B x and B y. So, now we notice that all the four transverse components okay. So, E x E y B x B y all the four transverse components they can be written in terms of the z components E z and B z okay. So, notice that in all the four cases E x E y B x B y they can all be written in terms of just E z and B z. So, that means that inside a waveguide we need to know just E z and B z okay. If we know E z and B z then we know all the then we know all the six components of the field because E x E y B x B y can be derived from E z and B z. So, from here we can conclude that it is sufficient to determine E z and B z as the solutions of the two dimensional wave equation other transverse components can then be calculated from the other equations okay. So, now notice from here that TEM waves cannot propagate in a waveguide as if you have E z is equal to zero and B z is equal to zero. So, if you have E z is equal to zero and B z is equal to zero okay. So, what does it mean? So, you have E z equal to zero B z equal to zero. So, since all the other fields depend upon E z and B z we will have E x equal to zero E y equal to zero B x equal to zero and B y equal to zero. So, that means all field components will go to zero and we will not have any field at all okay. So, this implies all fields are zero and no more. So, that means TEM boards cannot propagate in a waveguide. So, electromagnetic waves in free space are TEM waves when they enter inside the waveguide they propagate either as TEM mode or TEM they cannot propagate as TEM mode okay because they have to satisfy the boundary conditions. In TEM mode the magnetic field is transverse to the direction of propagation. So, B z is equal to zero okay and TEM mode electric field is transverse to the direction of propagation. So, E z is equal to zero. So, you can have two modes of propagation the TEM mode and the TEM mode. So, let me summarize whatever we have done in this lecture. So, we have seen that electromagnetic waves in free space are TEM waves propagating with a propagation constant k and velocity c but they cannot be used for acceleration. So, they have a time varying component of electric field but this electric field is always perpendicular to the direction of the velocity of the beam. So, it cannot be used for acceleration. Now when electromagnetic waves propagate in region bounded by conducting boundaries they form a standing wave which is known as modes okay in the direction in which the boundaries are applied. The amplitude has a sinusoidal variation in the direction the boundaries are applied in order to satisfy the boundary conditions. So, the standing wave is formed in order to satisfy the boundary conditions at the boundary. The wavelength of the standing wave depends upon the dimensions of the system. So, in the direction in which there is no boundary the electromagnetic wave is a propagating wave with a new propagation constant k g okay. So, with this we have learned today about the propagation of electromagnetic waves in between conducting boundaries. So, how they rearrange themselves? They change from a TEM wave to a TEM or TE wave in order to satisfy the boundary condition and how they form modes or standing wave field patterns in the direction in which the boundary has been applied. In the next lecture we will see electromagnetic waves in waveguides and cavities. So, in waveguides we will apply the boundaries in two directions and in cavities now finally we will apply the boundaries in all the three directions and then we will see that how modes are formed and how these modes can be used for acceleration of charged particles as proposed by Andres.


This 2014 Ram 3500 Megacab short box dual rear wheel is stock number 12194 Z. We are here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used heavy-duty truck and Ram headquarters. This 2014 Ram 3500 has the 6.7 liter Cummins diesel. This truck has been fully-safetyed and inspected by our service shop for the state of Wisconsin inspection process. It has a fresh oil and filter change. All the fluids have been checked and topped off. And it has six brand new tires. Bright white over bright silver metallic is the paint scheme. And we shoot all of our videos in 1080p, 60 frames per second. So if you have HD capabilities on your computer, tablet, smartphone or television, I highly recommend turning them on right now because it is your best way to check out the quality condition and options of the truck before seeing it in person. And if you like the video and want to subscribe to our YouTube channel where we do videos of our new and used inventory each and every day here at Summit, on the bottom right hand part of the screen is a subscribe button. Click that and then click the bell notifications and you'll get updates on the videos we do each and every day here at Summit Automotive. This one comes with the Alcoa polished aluminum rims and they're in really nice shape. And like I said before, it has brand new Lofen LT 235 80R 17 tires. They still have all the tread. We put those on in our safety inspection. You can see that this truck does have a leveling lift kit on it and that's probably about a two and a half inch lift on there. Front fender is in excellent shape. Didn't see any dents or dings on it. It does have a projector lamp, headlamps, LED running lights. And it comes with a heavy duty grill guard. Doesn't really have a brand name on there, but it does have the fog lights in there. Those are the factory fog lights. The hood is in really nice shape. I didn't see any major dents or dings on that and it does come with the clearance lights up top. Passengers side front fender, very nice and clean as well. And the passengers side rim, no major scuffs or scrapes. Going down this side of the truck, take note of how clean the body is, how reflective and mirror-like that paint is. We take these HD videos so if you are far away or even if you're close by and just cannot make the trip down, but you're still interested in purchasing the vehicle, you can see the truck, hear the truck, and have confidence in the vehicle that you're looking at. Before you even get here, so when you do get here, there's absolutely no surprises and you can make a smart and informed buying decision from wherever you're at. And if this video helps you make a smart buying decision and you end up buying this truck, let your salesmen know that you saw the video and that Brett sent you. This back rim, excellent condition, look how nice that is. It's like new. Back tires are brand new. And the frame and underbody is in excellent shape as well. I'm pretty sure this truck came out of Texas. So very little to no corrosion on it. It has all the remaining factory exhaust, so it hasn't been altered in any way. Cab corners and lower rockers all look really good. Really the only thing I saw in this truck, there's one tiny little ding right there. Somebody must have hit it with their boot or something. Come around to the back. Dualy tub looks pretty good. Rear bumper is in excellent shape. No dents or dings on there. It does have the backup parking sensors. The tailgate is in pretty nice condition as well. It does have a backup camera, locking tailgate. And it comes with a spring and bed liner. Fifth wheel and gooseneck prep package, and it does have a gooseneck. And then you get the seven pin wiring back here as well. If you look up top, you'll notice that it does have the cargo cam, which we'll check out in a little bit here. Coming down the driver side, just as clean as that passenger side, this dualy tub is in excellent condition. You can see any major dents or dings on there. And for full disclosure, this back rim is in excellent condition too, and the back tires are brand new on this side as well. Down the rest of this side of the truck, looks really good. You can see any dents or dings on the doors. It does have the heated fold-out tail mirrors. They have directional signals in them as well. They also fold in like so.  No rips or tears on the seats. It does have the Laramie embossed backrest. Memory driver seat. Power driver seat, lumbar, factory all-weather formats. Auto headlamps. Power windows, power locks, power mirrors. Get the wood grain trim and leather bolster on the door there. We'll hop inside, turn the ignition on, check out the miles, instrument cluster, radio, and everything that this truck has to offer on the interior. You can see that you get the RAM animation there. You get digital spinometer, range to empty, time, compass, brake controller gain, and you can change those corners to read pretty much whatever you want. Instrument cluster is very nice and clean. Comes with the heated leather-wrapped steering wheel, cruise controls on the right, Bluetooth and information center controls on the left, audio controls on the back of the steering wheel. This one does have the Alpine premium sound system, and it does have the 8.4 3C radio. This one does have AM, FM, and Sirius XM radio capabilities. You have your heated seats and heated steering wheel controls and cooled seats as well. You can check out that cargo cam pretty much whenever you want. There we go. And then there you go. You got to click that one. So you can check out the cargo cam whenever you want. And then I believe the backup camera shows up in the rearview mirror. So that's where that shows up. And then you have your climate controls here as well. You can turn those off and on. You can do the climate controls up there, or you can do the climate controls down here with the more tactile buttons and knobs, as well as the volume and tune control. It has the turned-out four-wheel drive factory brake controller, heated and cooled seat buttons down here as well. And then stability control, tow haul, that's your factory exhaust braking. You can turn those reverse parking sensors on and off. It does have a 115-volt, 150-watt plug-in. Passenger side format and seat are in really nice condition. Smells very clean inside this truck. It almost smells like a leather store. So I don't know if they had a bunch of those air fresheners in here or what, but you got map lights up there. You also have your power side and rear window button, home link buttons for your garage door security systems and lighting systems. And then you get 911 and assist buttons in the review mirror. We'll take a quick look at the back seats and then we'll start it up and take a look under the hood. Now, the back seats in the Megacab are huge. Lots of room back here. Seats are in nice condition. No rips or tears on them. You do get that power sliding rear window. This comes with all-weather floor mats back here, as well as a factory one. And these seats go down a couple different ways. So the first way when you have your front seat all the way up is that one second, I'm going to move the seat up here in just a second.   It comes with that fifth wheel and a goose neck package right there. That's for that goose neck to store it. And then you get storage bin underneath here. Now, the other way that you can put this seat up is you can just put the backrest down. So when the backrest is down, you get a higher low floor and you also get a storage area back here that's more enclosed and stuff's not going to roll around as much. So really cool stuff on these mega cabs. These back seats are heated. They're your heated seat buttons on the outboard side. And then the child safety locks are on the back doors here as well. And the bottoms of the doors all look really good. I didn't see any corrosion or anything, of course. This truck being from down south. We'll start it up. Take a look under the hood. Starts right up. No check engine lights or anything like that. I would personally like to thank you for checking out the video today and hopefully from this HD video. You'll have been able to tell just how clean this truck is all the way around inside and out. Under the hood, we have a 6.7 liter Cummins diesel. Engine based, very clean, runs very smooth. Once again, this truck has been fully safety and inspected by our service shop as a fresh oil and filter change. All the fluids have been checked and topped off. And this truck is 100% ready to go. There's your emissions sticker. It has six brand new tires. And to see more pictures of this truck or one of our other 450 new and used cars, trucks, SUVs, minivans, Wranglers, half tons, three quarter tons, one tons. You name it, we got it. Go to that website right there, www.summitauto.com. Full pictures and descriptions of every single vehicle from two locations, all at www.summitauto.com. And if you'd like to check out more HD videos, you can go to www.youtube.com. Remember to like, subscribe, and share on this video and all the videos that you see there. Click those bell notifications, you'll get updates on the videos we do each and every day here at Summit Auto. In fact, in a second, you will see a link to subscribe to our YouTube channel in the upper left, a link to more Ram 3500 truck videos like this one in the upper right, a link to this vehicle on our website in the lower left and a link to one of our latest D2 videos in the lower right. Click those, check us out and we'll try to help you with this Ultra Clean 2014 Ram 3500 Mega Cab Short Box Dually Lair Meat in bright white over bright silver metallic. Thanks again for checking out the video. Remember to like, subscribe, and share.


Hey there, Foundation staff!  One of the largest looming questions in the SCP universe, what is Procedure 110 Montauk? The short version? It's whatever the worst thing you can imagine is, and then worse than that. Dr. Clef, the writer, told us that the mechanical reason for doing this was a certainty that he couldn't come up with the worst thing everyone could think of, but if they had to imagine it, they'd plug in their worst case scenario themselves. The real point of 231 is, yes, the Foundation will sacrifice their conscience and do monstrous, unthinkable things to stave off the end of the universe, and the depths they'll go to should horrify you. Want to know more? Let's take a deeper look at 231 and its history. Before we dive in, I want to give a shout out to user Modulum83 over at ARD-SCP declassified for his laconic take on this skip, as well as Escobar for his writing guide, Zen and the Art of Data Expunged that's available on the wiki. I also pored over the discussion page for 231, yes, even that stuff I shudder thinking about. For starters, let's get a short plot summary of the skip. SCP-231 is super, super secretive. Personnel are given full deniability of ever having worked at the site, because what happens there is sooo bad. Declass are accepted despite certain personality disorders, because we need people to perform 110 Montauk on the daily, dammit.  Dash 1 gave birth soon after they were recovered by police, and something bad happened and killed a bunch of people. The foundation took over containing the girls, and over the course of accidents, testing mistakes, and botched rescues, all but little Dash 7 died. Each one gave birth to a bigger and bigger cataclysm, and it's assumed that Dash 7s will be the biggest womb of all, the end of everything. So we have to do this Montauk thing, no matter what. Cool, so with the summary out of the way, let's talk about redactions. A lot of details are redacted in this skip. It's considered by many to be a great example of doing them properly. You've got extraneous detail redactions such as dates and places, and then you've got the redactions that horrify you by leaving the exact details to the audience's imagination. What happens when these things are born, and how do they kill more and more people each time? What the ever loving heck are the exact details of Procedure 110 Montauk? Something so horrible that people get amnesticized so they forget ever working on the project. Fear of the Unknown is a powerful tool in horror. The monster is often scariest in the beginning of the movie, and the more mystery that is taken away, the less scary it becomes. Part of the reason this skip sticks with people is because the mystery has never resolved, so the audience is left with that gnawing, unfinished feeling in the back of their head forever. There are also hints and clues to what's going on that make things worse, but to talk about them, we're going to have to talk about authorial intent, especially as the article has gone through edits over time. In the initial article, there were heavy hints that sexual assault was at least part of the procedure. The cult was the satanic sex cult, and the procedure was extrapolated from their notes. D-Class specifically had to be nonviolent sex offenders. This was made worse when a commenter mentioned that making the age single digit to double digit made this that much more awful, and it was agreed with and added to the article to ratchet up the disgust. Sidebar, I feel the need to point out that I am not judging this as a bad thing. Art can be made to make people feel negative emotions, and disgust is certainly an emotion that can be explored artistically. It's also pertinent that, in a lot of people's minds, rape is one of the worst things you can do to another person. Murder is up there on the list, but we know we can't kill Dash 7, so what else is high up on the list that we've referenced a couple times? However, since then, Dr. Clef has taken out the D-Class requirement. The main reason given by Dr. Clef is because the people in the comments were being gross and writing up their concept for the procedure in details that many didn't feel like sifting through. I feel like I need some class be amnestic after all that dumpster diving. I like to infer another big reason for the change couldn't be distraction. With the rape idea as far into the forefront as it was, so many people were fired up with disgust and arguing over what Montauk could be, that it was distracting from Dr. Clef's original stated intent. To paraphrase, the horror of what the foundation was willing to do to secure, contain, and protect. As a final note, do you really need closure on 231? Specifically something to wash the horror out and let you live your day-to-day life again? There are two tales, Fear Alone and New Job, the take place in separate but complementary canons regarding 231. Long story short, if you need a happy ending to this story to sleep at night, go read them. Phew, we covered a lot. If you'd like this explanation and want to see more, do that like, share, and subscribe Mambo Jumbo, pay our Patreon a visit, and finally, let us know what skips you'd like declassified and continue the discussion in the comments. See you next time!