Yeah, so thank you for the chance to come here. I've never been here before and to talk about this stuff. Let me mention that the main results I'll be discussing are joint with Brian Williams. Although sort of the framework is developed in work with Kevin Costello, sort of broader framework. So this talk will be about, maybe I should just write over here the summary, sort of the goal of the talk. And the talk will be aimed at explaining what the terms mean. So study symmetries of holomorphic field theories in a uniform way, meaning sort of working over different dimensions, not just in, say, complex dimension one, allowing systematic generalizations of results from chiral CFT on Riemann services. So the main goal of the talk is more or less to see how there's a generalization of the affine Lee algebras, which show up in chiral CFTs on Riemann services, to higher dimensions. So I'm going to do sort of foundational background stuff right now, give some context and some techniques. And then Brian will explain some work he's currently pursuing that puts this stuff to some, has some very non-trivial applications. So I need to tell you what I mean by holomorphic field theories. We've had two talks today that sort of focused on topological field theories. So I want to talk about holomorphic field theories. I'm going to do that by example. I'm not going to give an axiomatic definition. So I'm going to study relatively simple examples. But hopefully it'll be clear how to generalize. Suppose I'll use x for a complex d-dimensional manifold. So one example, to bear in mind, is known as the beta-gamma system. There's two fields, gamma and beta. So gamma is going to be a smooth complex-valued function on x, beta is a dolbo form. So this was, if you'd like, a 0, 0 form on x. And then the action is this. So if you apply del bar to this, you get a 0, 1 form. And a 0, 1 form pairs with a d, d minus 1 form to get a top form, so you can integrate. So the equations of motion here, the Lagrange equations are the del bar of gamma equals 0 and del bar of beta equals 0. So these two mathematicians, that's a very beautiful theory.  There's an obvious fermionic variant. So that's all bosonic. There's a fermionic variant, which is the BC system. And all I do is switch the parodies here. So C. But you can do other examples. You can do the curved beta-gamma system or holomorphic field theories. So you could do curved beta-gamma system. So here gamma would be a smooth map from x to some other complex manifold y. And beta would be a d, d minus 1 section of the pulled-back cotangent bundle. You could do holomorphic gauge theories like holomorphic transignments. So these are field theories to bear in mind. And then we'd like to understand how symmetries interact on them. So let me introduce what I mean by symmetries. I'm going to focus on the beta-gamma system today because it's a very easy system. And hopefully you can track what's going on there pretty quickly. So the solutions to the equations of motion are holomorphic, say in particular, holomorphic functions. So what I'm going to do now is modify the fields by having them take values in a representation of a Li algebra. And then if the Li algebra acts, of course, it'll preserve the space of solutions. So in particular, let's imagine we have a holomorphic principle bundle, which is some complex Li group, think like SLN. And V is some finite-dimensional representation of G. Then we get some associated bundle. And now I'm going to have my fields be sections of this bundle. So gamma now will be a section of coefficients in V. And beta will be a d, d minus 1 form in the dual bundle. And then I have the same action functional. But now I use the evaluation pairing between V and V dual to get a top form. And I get the same equations of motion. So now solutions are, again, holomorphic sections of V. So solutions, holomorphic sections, so on and so forth. But now I have an extra symmetry to take advantage of. There's the automorphisms of the principle bundle, which will act on these solutions as well. So let me say that there's going to be an action of the Li algebra. So this is a kind of charged beta gamma system. So I like to point out that if you have a holomorphic section alpha of the adjoint bundle, preserves solutions to the equations of motion. If del bar of gamma equals 0 and del bar of alpha equals 0, then del bar of alpha times gamma equals 0. And this is just a point-wise action. At each point in x, you're getting an element to the Li algebra, and you're acting on the fiber V. So this is an example. This is a holomorphic, what I mean by a holomorphic symmetry, charged beta gamma system. So I'm trying to give a gloss of what the talk is going to deal with. So here's holomorphic field theories, here's symmetries. And now with this on the board, I can give you the flavor of the kind of result we're aiming at. And I'll spend the rest of the talk trying to make that precise. So we will study this system, this situation, using the Battalion-Vilkovsky formalism. As articulated by Kevin Costello, we're going to use some of his renormalization techniques and the language of factorization algebras and things. And so the flavor of our results looks like this. Well, we have sections of the adjoint bundle as a sheaf of Li algebras, holomorphic sections, and it's acting on space of solutions to equations of motion. And this ends up being encoded in the following kind of information. So these are factorization algebras, or chiral algebras. And this one is supposed to be the observables of the classical field theory. So it's the commutative algebra functions on the fields with some extra structure. Now there's also another chiral algebra. This is CUR for currents, these classical currents, which are sort of determined by the symmetries. The idea is that there's a map that takes every symmetry to an observable. So this map sends a symmetry, e.g. alpha here, to an observable, depending on alpha. So this is sort of the Nerder theorem in action. Symmetries determine observables. Now in the Patel and Volkovsky formalism, when you quantize, you end up producing a deformation of the classical observables in a way that depends on h-bar. So there's a de-quantization map. This is much like deformation quantization where you have an associative algebra in powers of h-bar, such that modulo h-bar, you get back a commutative algebra. This is also a chiral algebra, a factorization algebra. And the kind of question we're going to ask is whether we can lift these symmetries or these observables in the classical, sorry, these observables that come from classical symmetries, to quantum observables. And so the answer is typically you can't lift. So typically you cannot lift j classical to a map into the quantum observables. And the obstruction is a holomorphic version of the ABJ anomaly. So one goal is to actually write this specific anomaly down explicitly. But once you find this anomaly, then you can introduce a deformation of the classical currents to the quantum currents. Let me give this anomaly a name. Let's call it theta of v, because it's going to depend on v and the way the Lie algebra acts on it. This is also de-quantization. And there'll be a map of chiral algebras from some sort of factorization algebra of quantum currents to the quantum observables. Things like ward identities can be read off from this map. OK. Do you literally mean that there's a map on the left-hand side of that vertical map? Yes, there is a vertical map. This is also mod H by H. Twist the domain of that by the chiral class line theta. How about you ask this question again in like 40 minutes and see if my answer, yeah. We're going to modify the Lie algebra of symmetries using that co-cycle, some sort of L infinity extension. And then there's some interesting factorization algebra you get out of that. It's like the enveloping factorization algebra. So one upshot of one thing you can read off of this map, in particular, by compactifying along the spheres. So there's a natural map from the punctured d-dimensional space down to the positive reels, which is taking the radial projection. So this goes to the length of that vector. And the compactification of this map along R recovers sort of results of Fanta, Hennion, and Kapronov on higher cat's moody algebra. So these three authors introduced some L infinity algebras or higher Lie algebras that include in the dimension one case the usual affine Lie algebras but generalized in the higher dimensions and showed they had a nice systematic relationship with higher versions of the affine Grasmonian and of the modulite G bundles on higher dimensional spaces. And what we'll see is that we're giving sort of the complementary physics story about how sort of Lie algebras they write down, these higher cat's moodies actually act as symmetries on observables of holomorphic field theories. So that's sort of how we're going to see the systematic generalization of results from chiral CFT. Any questions so far? So this is the target of the talk is to understand these statements. So now I said I was going to use the BV formalism, so I just want to revisit the description of the theories and the symmetries in the BV style. So let's do the classical BV theories. And in practice, this is just going to sort of mean doing everything in a differential graded way. So gamma is no longer just going to be a smooth function. It's going to be an element of the dolbo complex, dyes and v. And beta is going to be in the dolbo complex of holomorphic d-forms with coefficients in the dual bundle, but with a shift. So I should say here d is going to be the dimension of x. And typically, just for simplicity, let's always think of as just the d-dimensional space. Well, so this means we have a graded space of fields. Degree 0, we have omega 0, 0, coefficients in v. And then the beta field is d, d minus 1, because of the shift I gave. So the stuff in co-homological degree 0 is exactly the sort of naive theory I wrote down before. But I've introduced these other things. So this is all 0s in the gamma part. But down here I have omega d, 0. What I want to point out if you're familiar with BV is that, of course, these fields have their anti-fields being here. The anti-fields of this field is here. These are partnered up as anti-fields. So there's this pairing, if you'd like, on the fields, the evaluation pairing on v. You just wedge and use the evaluation pairing between v and v dual to get a form. It's a pairing of degree minus 1. We think about it as kind of providing the space of fields, this dg space of fields with the shifted symplectic structure. So let f denote this sheaf of fields. So far I haven't talked about everything being on the whole space x. But of course, I could keep track of use different opens in x and think about sections over a given open subset. So f will be a functor from opens on x. So in this case, we could say chain complexes. And it's going to send the open set u to the dobo forms on u. That's where gamma lives, plus the d forms on u shifted by d minus 1. And this is just sort of the obvious, so there's an op here. If I have fields on a bigger open set, it restricts to fields on a smaller open set. Now, if I take functions on fields, maybe I should say what I'm trying to do. I'm trying to tell you what this thing is very briefly. The classical observables are functions on the fields. I'm going to be thinking about sort of polynomial or power series style functions, because these are actually sort of dg vector spaces. And I'm totally going to suppress the function analytic issues you have to bear in mind. So they define a functor the other way to commutative algebras in chain complexes, which I'll loosely speaking say is functions on f of u. So something like the symmetric algebra on the linear dual of f of u. Polynomial functions on the fields. So I'm not using the board space very efficiently. One of the things I want to point out is that it has a certain, there's a picture to bear in mind to relate to the thinking about things like OPEs. If you have some big open set and two smaller disjoint open sets inside of it, there's this sense of field on the big open set v restricts to a field on u1 and 1 on u2. Functions go the other way. You can pull back functions from these smaller open sets, from fields on these smaller open sets to fields on the big one. That's this map from this Habs classical. But we know that the fields on two disjoint open sets is equivalent to the fields on one open set directs from the fields on the other open set, which means that this thing is actually the tensor product. So if I have an observable on u1 and an observable on u2, there's some way of putting them together. You can take the measurement you make in u1 and the measurement u2, and you multiply their outputs. And that's this composite map that defines an observable on the big open set. When we quantize, this structure gets deformed, and you can read off of it things like the OPE in vertex algebras or in chiral algebras. OK. What's something else I need to comment about? So these fields are actually a DG algebra. We had this differential, I should have drawn it, sort of del bar here, imposing the equations of motion. So Habs classical has a differential arising from del bar as well, because it functions on a co-chain complex, symmetric algebra. But it also has a one-shifted Poisson bracket, often called the BB bracket or anti-bracket, which just comes from this pairing here. So there's this kind of these vector spaces, like the fields are like a shifted symplectic thing. So functions on it should be a shifted Poisson thing arising from this pairing on F. And actually, one of the things you can check is that the differential on the classical fields is the bracket with the classical action functional. So we'll use that later when we quantize. So now I want to describe the sheaf of symmetries, which is going to be the dolbo version of the holomorphic things we said before. So let's supine script G here to be the sheaf of dolbo forms with coefficients in the adjoint bundle of P. It's sort of run flat space. Then G just looks like the dolbo forms. Tends for our Li-algebra G. So it's a nice DG Li-algebra. And G acts on the fields in a point-wise way. Because the Li-algebra acts on V, I guess way up there, any section of this, I mean, this is like smooth sections of something, dolbo forms is a commutative DG Li-algebra. And that's with values in some representation V. Of course, G acts on V, so you can extend it over this commutative DG algebra to get an action. But if you have an action on a space, then you also have an action on functions on the space, which, if you'd like, can be, this is a Li-algebra map from G into derivations. This is, of course, I've been calling the classical observables into the classical observables. So these are vector fields if you want. OK, so far so good. So we have this Li-algebra map. But I just told you we're thinking about things from the point of view of Poisson geometry. Like, we have this Poisson structure we can bear in mind. So one question we could ask is sort of mimicking what you do in Poisson geometry, there's a map from functions on F to vector fields on F, taking the Hamiltonian vector field. And you can ask if we can lift this map. Now I get to use this. So we have this map to derivations of functions on fields. We also have a map from functions on fields with a funny shift, because it's a one shifted Poisson bracket. So this sends a function F to its Hamiltonian vector field. It's the Hamiltonian vector field. And you can ask if you can lift this map, which would exactly be realizing a symmetry as an observable. And the answer is you can. And the map is very simple. So the observable for some element here on beta gamma is going to be the integral of beta.  And that's an observable. So a symmetry determines an observable. Note that it has the same form as the kind of flavor as the action functional. It's local on x. It's an integral over x. I want to raise a simple but important point here, which is that this formula is very simple. But you could ask, when is it actually integrable? We want it to be an observable on all fields. So there's no reason to suppose beta or gamma are compactly supported. So if alpha were non-compactly supported, this whole thing might not be something you can integrate. So we're going to have to restrict alpha to be compactly supported to guarantee that you always get something you can really measure, so an actual observable. So simple but important point, which I haven't seen sort of emphasized in the physics literature, though maybe it is somewhere I haven't seen, is that you need alpha compactly supported. So really, I'm not going to work with a sheaf, but a certain co-sheaf, or pre-co-sheaf, I should say, to the algebras, it's going to send you to the compactly supported double forms on you in this adjoint bundle. So this means compactly supported. And this is good because I want G to map to the classical observables, right? And the classical observables is a functor this way. So it's a pre-co-sheaf rather than a sheaf. You see there's an op here. So this is a good thing. So actually, instead of having G go to functions here, we have a map of pre-co-sheaves of the algebras, which I'll call J classical, and this is a map of DG-ly algebras, of pre-co-sheaves of D-ly algebras. So we're doing this sort of stuff we did before just taking into account the variance in terms of space-time support. So this map, J classical, there's two different ways to rephrase it that I think are suggestive and that will be useful when we quantize. So two variants. The first one is to rephrase in a way that looks like a moment map. So this is sort of a moment map style. So let's just recall how the usual moment map picture works with the unshifted Poisson stuff and then we'll just do the shifted version. So if M is a symplectic manifold, then in symplectic geometry, we're typically interested in G acting by Hamiltonian vector fields. So we have some map of L-algebras. Of course, you can compose with derivations on O of M and this is taking the Hamiltonian vector field. But this map of L-algebras, this thing on the right is not just a L-algebra, it's a Poisson algebra. And you could ask, well, can I extend this map to a map of Poisson algebras? And there's a very simple way to do that. You can just take the symmetric algebra on G. So it's commutative structure, just the usual multiplication of polynomials. But then you extend the Lie bracket to a Poisson bracket in the canonical way. Now there's a map of Poisson algebras into functions on M. So this is the, if you'd like the enveloping Poisson algebra, it's the left adjoint to the forgetful map from Poisson algebras to Lie algebras. But you could think about this if you'd like as functions on G-dual. So this induced map of Poisson algebras is pullback along the moment map. So this is pullback of functions along the moment map from M to G-dual. Okay? So this is just, you can go back and forth between this data and give a map out of this enveloping Poisson algebras. The same thing is just to give a map of Lie algebras. So this kind of data, they're equivalent, but this might have a more geometric resonance with you. Now I'm just going to do the same thing, but in the one-shifted context. So I'm going to tell you what this thing is now. And this map will be the one-shifted version of the map of Poisson algebras there. So to find the functor of currents, which will just be taking the symmetric algebra on this preco-sheaf. So it's going to go from opens in X to one-shifted Poisson algebras, category of one-shifted Poisson algebras, DG, of course. And J-classical determines a map which I'll also call J-classical abusively from the currents. So this shift here cancels out this shift here. So this is a map of preco-sheaves of shifted Poisson algebras. And all it's doing is turning every observable, sorry, every symmetry into an observable, and polynomials and symmetries if you want. And you can think about this as a co-moment map. So this is a one-shifted co-moment map. I find that helpful for porting intuition from symplectic and Poisson geometry into this one-shifted setting. OK. So that was one way of rephrasing or re-encoding this map that's sort of attractive. And it's told us one part of our problem. The second way is going to be more in the style of field theory, which is that map there, J-classical on alpha. That looks like a local functional. It looks like part of an action functional. So why don't we view alpha itself as some sort of background field? So view alpha G as a background field. So we have a bigger space of aqua-variant fields, which will be the direct sum of F plus G. And the aqua-variant action will define on alpha, beta, and gamma. And it will be the original action, which if you'd like, you could write. So are they only on the last line there should there also be a shift on the left? Where? Here. On the right, too. Off-seal? No, this shift. Sorry, they're supposed to be right there. Yeah, sorry. I did it here, but I didn't put it there. Yeah. They cancel out. OK. So now one way to understand what I'm doing here is as a baby version of causal duality. So this is a baby. OK. So then the aqua-variant observables will be functions on this thing. And I claim that it looks like the Lie algebra co-chains of G with coefficients in the original classical observables. OK. And the differential here, the aqua-variant version of the differential is just bracketing with this aqua-variant action. Let me just explain. Let me just seem really arbitrary unless you're familiar with this kind of construction. So let me elaborate that it's basically a version of, a baby version of causal duality. This is a baby version. To give a map from a Lie algebra G into, say, A. So let's say this is a Poisson algebra. And this is some Lie algebra map, rho. Well, this means that rho of a commutator should be the commutator of rho applied to the inputs. OK. But to give such a map is equivalent to giving a more carton element in the Lie algebra co-chains of G tensor A. And why is that? Well, if you use the Chevrolet-Eilenberg differential, write to some element rho and evaluate it on x wedge y. That is rho of the bracket. And if you, sorry, this should be a Poisson bracket. And this thing corresponds to one half of rho wedge rho evaluated on x wedge y. So up to a sine, the more carton equation is equivalent to this condition. OK. So encoding, so under this correspondence, giving this map J is the same thing as picking out a more carton element in here, which is exactly picking out this sort of this interaction term if you want to. But I want to say there's this fancy way of saying a baby version of causal duality. But basically as a physicist, you would just be thinking about having a background field determined by that. So now we want to quantize this.  There is only a finite number of currents for concept charges. Now you have this full d-dimensional integral that allows you to play with the original structure but the content is the same. Yeah, the content is the same. I totally agree. Dad, maybe one thing is that this is all like that. I'm not saying that this part is particularly interesting. I just think it's a nice language for talking about symmetries. I think the quantization is sort of the interesting bit. Brian, do you have anything you would add? No. Maybe later. Yeah, it's basically just the nerder formalism articulated in this DG setting. But now let's get to the interesting part. So the loose idea of BV quantization is we want to deform the differential on the classical observables to a differential called PQ on new power series in each bar polynomials depending on the situation such that two things hold. One, this is just the classical differential but plus things are order of H bar. And the crucial condition is that on the product of observables the quantum differential fails to be a derivation for the algebra in a way that depends precisely on the bracket. So the Poisson bracket is telling us how to deform the differential much like how in deformation quantization the Poisson bracket is telling us how to deform the product. We just shift the setting of the problem here and let me remark that's the quantum observables if you can find them which is exactly the classical observables with dependence on H bar in this differential here. Still has, so this is still a functor but now it's a functor from opens to DG modules over H bar but this differential is still a derivation for the bracket. So it's not a derivation for multiplication but it is for the Liebracket. So the kind of question you can ask is can we lift this map here? This mod H bar map is a map of DG Lie algebras and you can ask whether you can lift. It's about quantizing the symmetries. So the most tractable way to approach this problem is actually by this background field method because what it does is it expresses the whole problem as what looks like a BV field theory and then we can try to use perturbative methods to actually quantize. So it's probably in some ways the least attractive one for thinking but it's the most convenient one for actually doing constructions. So now I'm just going to sketch what happens very briefly. So if you look at that, this reminds you of this equivariant action and if you're used to doing perturbative stuff you can tell that this thing tells you what your propagator is. Just if you start doing the Feynman diagrams this is telling you what the propagator is and then you have this trivalent vertex and you can ask if I try to quantize this just in the usual way what kind of graphs show up? Only very simple graphs show up. There's things that look like this. The tree level stuff gives you this kind of thing which is sort of encoding sort of an L infinity description of the same dg of the algebra and you also get wheels but these wheels only have alpha as outer legs so the diagrammatic quantization, so the Feynman diagrams, produce sort of a quantized, let's say this is the naive thing, we'll have to check the master equation in a second which looks like the original equivariant guy, the tree level stuff which depends on alpha, beta and gamma plus an interaction term that only depends on alpha so this is the wheels, the one loop terms and there's no higher terms. So the question becomes, trying to give a lift to this map is the same question as asking, sorry, just as a remark, the statement that this thing is a differential is called the classical master equation and so being a more carton element is a solution to the classical master equation and this is going to be the quantum master equation which is the same thing but replacing this Poisson algebra by the thing, the quantum observables so solving whether it's a more carton equation and the answer is no. So let me explain what the answer does look like. I'm not going to elaborate on this because I didn't give myself time but one of the nice things Brian's done is to sort of do once and for all computations that work in every complex dimension that lets you know that the one loop terms that show up in theories of this flavor don't require counter terms. So we're going to use these analytic results to say that we don't need to stick in, nothing singular, we don't have to stick in counter terms here and so the problem just boils down to checking this thing about the quantum master equation and the quantum master equation you're asking me not given the amount of time I've given myself the failure to satisfy the quantum master equation is a particular co-cycle so let me just state our main theorem the co-cycle obstructing solution to the quantum master equation meaning if I stick it in if I do dqsqequivariant Chevrolet-Eilenberg sqequivariant plus 1 half I'd like to know whether this thing is zero or not being zero would mean it's a more carton element but if it's not zero that's my co-cycle so this co-cycle on x equals c to the d is given by the following it takes in d plus 1 inputs of alpha so only the wheels that have d plus 1 legs survive as anomalies it's the trace over v so here rho denotes the map from the Lie algebra to endomorphisms of our original vector space v so I'm taking some form with coefficients in g and I'm using it to make a form with coefficients in endomorphisms and then I wedge them together I do the dels on d of the inputs and no del on the first one so the del adds a 1 makes it sort of a 1-0 form so I get d1-0 forms and then if you pick the alphas appropriately you can get a top form so this is the co-cycle this if you're familiar with the ABJ anomaly this looks like a version of that so this this is ABJ like there's no d bar just del alpha d bar forms and the alphas are elements of 0 star forms and there's no del on the 0 term? no otherwise you couldn't yeah you can only have at most d so this co-cycle determines an extension of gc as a pre-co-sheaf of L infinity algebras so let's call that g theta of v and the underlying space looks like this here h bar is degree plus 1 has the same L2 is the bracket on g but Ld plus 1 takes as inputs is exactly this co-cycle so it's theta so this co-cycle determines an L infinity extension and now this new L infinity algebras is quantum symmetries it does lift to a map I'm going to modify that in just a second quantum observables so there's this de-quantization map there's j classical the ob's classical shifted by minus 1 and there's a commuting diagram these vertical maps are modulo h bar so this classical symmetry doesn't lift but you can modify the Lie algebra to an L infinity algebras and that does act as symmetries so every element of this L infinity algebras gives you an observable in the quantum system down here we had a one shifted Poisson algebras over here we have a bv algebras and just as you can there's an enveloping just like the symmetric algebras the enveloping Poisson algebras the Lie algebra chains actually there's a factorization algebras by taking Lie algebra chains of this thing here and then a sort of quantized version using this left adjoint between the factorization algebras okay so that was the sort of main goal I was going to explain how it relates to the work of Fanta Hanyan Karpanov but I've run out of time so at least I accomplished the main goal okay thank you for listening good questions we'll get text to one dimension and we'll get this H bar for good chains we'll get some sort of following power series in the H bar the effects in flat space can you still calculate for example Brian's nodding yes Brian's the great computer out of the two of us if you want a wrong answer you can ask me to do a computation so I didn't listen to your question but can you consider X as any manifold? yeah it's just that the you can sort of take any complex manifold and you can try to do the computation it's just that there's no reason that you should have such a simple form for the obstruction it just might be hard to compute


Hello everybody, welcome back to another Adobe After Effects tutorial on this one. We're gonna talk about ball action. That's right guys. You probably weren't expecting that were you? No, CC ball action is a great great effect inside After Effects and all I'm going to say is don't neglect the balls. Okay, here we go.  A light bright type grid here that I then explode in an explosion there in a shatter or scatter explosion. All of these types of things and more I'm going to show you. They can be used for things like particle emissions. You can have grids. You can have like these can be used as LED bulbs for example. You can use this in transitions for an exploding transition or a shatter transition or just very cool effects.  There's a million things you can do with ball action. Let's start from scratch and let's see what we've got here. So here's the original video. I chose this for scientific purposes. So this video is purely science-based. That's why I selected it. All right, good. You want to apply ball action to this lady? Of course you do. Let's go ahead and do it. The first thing you want to do is you want to go to effects and presets. Select ball action. When you type in ball action here into the bar so just type it in. Ball action. You want to apply CC ball action. I'm just going to apply it right on top of her. Oh boy. When you do that you'll see here that you get a slight kind of glitchy type you know pixelated look to it and it's a really cool effect if that's what you're going for. When you zoom way in you'll see here that it's kind of square or rectangular but that's not what we want and let me just show you what because you're like hey why would that be the case but when you reduce the ball size down to something like 60 you'll see here that they're actually balls not squares. So just something to keep in mind and then let's zoom back out to something like this and you'll see here by adjusting the grid spacing and adjusting the ball size you can come up with some pretty cool looks including a mosaic type look. So if you're looking for like a mine crafty or mosaic look another thing you can do there you go. You've got this weird looking minecraft type style almost going on there. Increase the ball size a little further or whatever. Again things you can do with this I'm just going to show you a few uses. You guys can experiment with this on your own. So there's a mosaic type look. Let's go back to a grid spacing of around five. The other things you can do here is you can go ahead and make this into a shatter or a scatter type transition or explosion. How would I do that? Well let's just say at this point we've got this pretty lady here and we're going to increase we're going to decrease the ball size increase the grid size something like that. Let's go with something like that. We want to do a shatter explosion at this point. How would I do it? I'm just going to click on the stopwatch here under ball action click there you'll see scatter set to zero and then I'll just move forward a few frames whatever and then presto I'm just going to go ahead and increase it and let's go to something big like that. Let's go yeah let's go over the top whatever and then bang you know boom an explosion there's a shatter that can be a transition for example. The other things you can do with this awesome effect is you can go ahead and start twisting it so if you want to rotate it and make her like a rotating light for example you can animate the rotation I space uh hit the caps lock by accident another option also you can twist it so look at this this is like a DNA helix for example so there you go I've got this sort of DNA helix and if I go back to the beginning and I want to maybe you know I don't know maybe I want to animate the rotation I'll set it at zero here and then I'll go forward a few frames and then watch what I'm doing here I'm just animating through so maybe something like that again these are all things you can do there you go we've got a very cool effect that we're applying again there's so many different things you can do here lastly you can do twists so you can do a twist like that but you can twist on multiple axes so if you don't want to twist on the x but you want to twist on a y you kind of can folder in half into like a carpet that sounded weird and again guys you can do rotations on different axes here so many things amazing effect definitely worth taking a look at out cc ball action in after effect


Good evening everyone welcome. This is Melissa arm of stocks wishing reviewing the market You know, I really I I'm gonna show down for the night here in a minute after I'm done with this video and You know, then I'm gonna watch the election coverage. We'll see what happens with the market tomorrow morning Someone asked me in the room today. What would I think if we would be up? You know on this support level to go long tomorrow. I said, I gotta be honest with you I really would have I really not sure I have to wait to get again I think the important thing about times like this is that You go back to the basics you go back to the nuts and bolts you go back to the nitty gritty And you and you just rate the market. I mean just rated and everyone's so my class is how to do this The rating system tells you what to do. Don't go with your emotions. Don't go with what you think Don't go with with what you feel you feel bullish because so-and-so is up and you're for that person or whatever the case may be You know or bearish if so-and-so is losing in whatever the case would be the reality is that The the the great thing about my rating system is that That is what you follow That is what it is if it rates 20 points or more You take it in the direction of the gap if it rates 1819 it's 50 50 chance of working or failing if it rates under 17 And really the rule is under 20. You don't do it at all, but occasionally I have done gaps that rated 19 under substantial circumstances Okay The market's a different bird You know because we have a lot of news volatility that occur in the market more so than stocks specifically Which stocks got for many reasons could be earnings could be news Could be the sector could be with the market a lot of things were up today with this market. We really We did close close today a green and we aren't getting bought tonight at least right now 722 eastern time so the post market is gonna close here soon, and then we'll see where we open tomorrow But I gotta be honest with you. I can't say Number one what I'm gonna do tomorrow until I see the gap because again I'm gonna go back to the nuts and bolts and rated and number two. I gotta be honest with you I'm not sure if I'm gonna want to go long even if we gap up tomorrow Even though we rally today even if we gap up at 4 340 even though we gather the support I'm gonna rate the gap and I will know how that rating is How that rating comes up to determine what to do or to do nothing Whether to go long whether to go short or whether do nothing, you know, and again just because we're up right now I mean this could completely flip around remember remember for 2016. We were down there were up I mean, it's just you know anything could happen here. So I'm gonna shut it down Relax see where we are tomorrow. That's my take Good luck everyone. Hope everybody voted Have a great day tomorrow. Oh, if you're interested in the Golden Gap course the class is this weekend November 7th and 8th. Have a great night


Hi everybody it's Sam at Mixed Up Craft, thank you for watching my tutorial today. I'm really really excited to share this lantern with you. Now those of you that were with me last year would have made last year's lanterns or seen last year's lanterns and lots of you are making them again this year but I've had the idea to do this taller version for a while. My mum actually has a glass version of this hers is wooden with like gold but I've seen a few of my friends have these ones where they're metal on the sides here and then all glass and they've got candles and all kinds of things inside them and I thought it'd be really nice to do but I just never really got round to doing it and then Trimcraft sent me the most amazing brand new double-sided glitter cardstock. It's just absolutely phenomenal stuff and when something new comes onto the market it then kind of opens up your mind and you start to think of new things to create and I thought it's going to work perfectly for this lantern so I was able to make it and it is very easy and very quick to make so I know we're getting close to Christmas now. This wasn't something I was going to add into this year's series. I've just slipped this one in with all the others that are already done so it is something that you can quickly do. This didn't take me very long to do at all so as soon as I received the paper the cardstock a few days ago I've made this one. I'll show you all the cardstock in a moment but the idea for this is that it's not all necessarily just for Christmas. This piece here I have stuck on this because I will put this away with my Christmas decorations and bring it out each year for Christmas however if you find a way that you can just maybe attach this you can then take it off and you could keep this as a nice home decor piece throughout the year. You know it looks nice on your windowsill it's lovely in the hall. The idea is that there's no base on this so that you can put anything underneath it so you can change it up you know so I've got some really nice big pillar candles that I'm going to put in this with the lights wrapped around and then the battery pack here can kind of just hang out behind you know be hidden away so all you see is that but this is very tall this is 12 plus then it's got another six inches with the roof and you'll recognize the roof here it's kind of my go-to roof now really that I do. I used it on the Christmas cottage I've used it on the Santa's workshop and I've also used it on the bird box it's just really easy to do so you can also go in the top there but what I'm going to do is I'm going to tack my rice light up on the side here probably on both sides just so that the lights stay up the top and then kind of fall down it's just so so pretty it's five and a half by five and a half by then 12 plus some more and I've also added in this lovely piece there I wouldn't hold it with that but it just looks nice and kind of it's how those others look but I love that you can just put anything you want underneath this and I just think it looks really really pretty so okay so here are the glitter cards that I've got so I have a five premium adhesive glitter card okay so I've got some nice ideas for that one and I'll be sharing those and you get 12 sheets 130 gsm and it's all non-shed so you're not going to be covered in glitter which is always good and it's also acid and lingon free so if you are doing any kind of scrapbooking or albums and you're using photos then it's going to be friendly towards those things so that's that one and then here I've got the three 12 by 12s so this is double-sided 350 gsm and here you have red yellow green blue purple and pink and it also does say that it cuts on all major electronic cutting machines okay so those of you that do use your digital machines this is going to be perfect and then I have sorry two 12 by 12 this is the a4 so this is the Christmas I guess your colors you've got your red your green and white the white's lovely you can see there really really is very nice and then again 350 12 sheets non-shed and then this is the one I'm using I've just quickly taken it out the packaging so this one here you get gold silver I'm going to say rose gold and then a darker silver so maybe this is the dark one this is the one I'm using it's beautiful it's so nice you get you must get three sheets of each and there you can see lovely then there's your rose gold yeah three sheets of each isn't that stunning it's just like the dovecraft rose gold that I used a lot earlier in the year but obviously now this is double-sided but it's just beautiful cardstock so there is your yes it's more of a whiter silver that's more I guess like a black silver and then you can see that and then there's that gorgeous gold oh my gosh it's lovely so yeah I'm glad I've been able to get something Christmassy in using this cardstock it's going to be used a lot throughout the year now so you're going to see it feature but um it's nice to make something like this so let me just get that to one side so first of all I'm going to show you how to make the actual case okay so I've got I've done three already and two of them are actually already stuck together so we start to get the shape there and then there's the second one which we're going to stick this one too in a moment so what you need is a what you want four pieces that are six by 12 but don't worry if you don't have 12 okay so whatever it is that you're using whether you've you choose to get this card the glitter card or not you can have it shorter okay so the the the 12 inches is the height of this so you can reduce that down by whatever you want but the width I'm going for is six now along the six inch side you do want to score at five and a half and I'm using my metal stylus now because it's a 350 gsm and it's double sided you do want to you know add some pressure to that just to really kind of squash the fibers with the glitter and then just burnish and it's really nice you don't get any cracking and this is a real textured cardstock but there's there's no cracking at all with that which is wonderful and then you'll also want four pieces of acetate so I'm using the let me grab it this one here so it's the paper mania it's my go to acetate and it's um it's just a heavyweight one 10 pack and it's by do cross paper mania so I used two sheets and from that I got four pieces so these are five and a quarter and then I've kept that whole length of 12 so whatever you do decide to reduce if you do make sure you do the same for your acetate we're just going to do that for the minute now I want to show you how to cut the inside because I don't need any dies for this one so I'm just going to grab my cutting knife and my ruler and really simple cutting so I'm using my grid I'm just going to line it up with one of the squares it doesn't matter which one but because these are all one inch squares it's obviously works well for me because I work in inches so what I'm going to do is first of all grab I don't want a pen I'm just going to use a pencil so I'm going to pop my ruler so it lines up with the half inch you want to come down half an inch basically so I can see mine is there and then you want to come in half an inch so I can see just by eyeballing there's half an inch here so if I come down to there there is come down half an inch and come in half an inch you just want to mark so I'm just leaving like an an indents it does show up on this and then again this side here so you want to come in half an inch actually you want to come in from you've got your school line you want to come in half an inch from the school line so ignore the half inch scored piece here because this is your tab so you want to come in from that school line you want to come in half an inch so I'm just going to follow this line here okay if I just bring in one here in case you're kind of unsure what I mean come down half an inch come in half an inch and marked there and then I've done just done the same there so I've ignored that fold you want to come in from the score line come down half an inch come in and we're going to then cut to meet all of these points so should have now yeah I can just see as long as you can see them I'm using a pencil because it's gray so you know I'm going to cut most of this away but I can also feel it it is it is strange getting used to working with a I'm just going to actually pierce through there and a double-sided glitter it's wonderful it's really really nice okay so I can see mine there and then I'm going to come down again just line this up so everything's nice and straight and so I'm just going to come in I can use my ruler for this just keep everything straight so I'm going to come in half an inch and again from that score line come in half an inch so again I'm just going to pierce it through there because that's all going to get cut away there we go next with your cutting knife you want to join your holes or your markers so try and keep it in one kind of cut you'll see now we've cut this away so there is you know you get this great big panel that you don't need but then you know obviously I'm definitely not wasting that I'll be keeping every single piece of this I have so many amazing ideas it's funny when something new comes onto the market it just my mind goes and I just start thinking right what can I do with this because it's been quite a few times when I've made things and I've thought I wished it was double sided or you know it's and now it's here so thank you so let's just do this one here okay so you see now and then I've just got this last piece to do so there we go and because there's so much glitter on it if you've cut over slightly don't worry you're really not going to see it so it's another good project for kind of it's a forgiving project that's what I like to use especially so you want to make sure you've got your tab on the left hand side now I'm using red tape for this I just find it works very well with any kind of textured card stocks and you want to run it along so it's hogging the inner side you know the frame and this is it's three no it's not well yeah it's just under it must come out it must be like three eighths of an inch and then it's it's just under one centimetre so you don't want it to cover the whole area because this is only five and a quarter I didn't want to do five and a half because this will come up and I just didn't want it to cause any kind of pressure like buckling or anything but when I stick this down I can see that the acetate just covers that red and again the same side so just yeah you just don't want any stickiness kind of hanging out the sides because um well nothing's going to stick to it so it won't harm it but yeah just try and a quarter each one will be fine like a thinner one just show you one of those ones that'll be fine you can use that if you want but make sure you you stick it so it's hugging the inner frame not the outer edges so I'm just going to run it along here so I'm just taking all of the backing off and then you just want to because it's the full length it's 12 inches so you can go right to the very top then you just want to make sure you've got it kind of sitting equally within that piece so I think about there and then just let that kind of roll down and it is just like there is no adhesive it is fantastic because the red glue or tape sorry when you push it down hard enough and you get all the air bubbles out it should just disappear and you it's you know it's not too visible even when you use a normal card stop but you look on that now and you can't see it so it is just looking so nice when you now look through this so this one here you know look you can see the glitter on the inside it just makes it look like a really lovely finished piece you know people will look at it and be like well where did you join it where's because you just can't see it so what you want to do now is stick so turn it back over so the tab is on the right hand side we've got a bit of a tinsel there and you want to run some double sided tape again along that but you want to hug the fold not right up to it but just be more over to that side so I'm just going to run that all the way down I'm going to take the backing off and you want to stick one over the top so just again make sure the top and bottom line up so then let's see in there just how nice it all looks and now so you'll do that so you have two pieces like this so I just need to run another bit of my tape along this side here and grab the other ones and just stick that just as you did before flip that over just make sure that's really stuck down and then just as you were making any kind of gift box fold those both over and pop the one that you've just taken the sticky tape off of and then this one should just fold down but what I don't want is you to be able to see so I'm just going to pull that out just a little bit okay because the tabs half an inch and this is half an inch so that you want them to just line up perfectly can you see now so look at that how awesome does that look absolutely love it so it's it's almost ready we just need to do the the roof and then it's all about the decoration so let's pop that to one side and start doing the roof it's very similar to the roof that I've used for the Christmas cottage for the Santa's workshop for the bird box so it's just a really handy one and it's really easy to do because it's deconstructed now so because I've used the full width of the cardstock 12 inches I have to add a hinge in if you're coming down shorter or um yeah if you're using a shorter length you could incorporate this hinge into the top of this because if you'll see what I'm doing there I'm just going to stick that in behind this piece so that we have this here to stick you know the roof onto so if you are what you would do is just on one of your sides as you would score at the top here so you have this half inch piece so there are ways around it but I mean if you're a little bit unsure then just do it like this it's not the end of the world but again because it's all that same double sided you're not going to see you know from the inside it's still going to look really really nice so these pieces here are one inch by five and a half okay so it's the full width of each piece that we've made and then I've just got a half piece overhang so on one half of it I've just added double sided tape so this is when you want to decide on the front so if you've got somewhere you know one that you particularly like more than others so I'm going to go for this one here okay so I'm going to just pop it in make sure the score line lines up with the top of the box like that okay and then just look inside there and it should all be nice and neat obviously you don't want it coming down into this section here just a little bit let's just stick that out a little bit yeah that's better and then the opposite side take your other one and again take my backing off and that one I'm just going to stick okay so now we've got these hinges also probably I should have said actually add some tape to the both sides because you need to add tape to them now so it's not otherwise it's not going to be able to stick so yeah I mean it's easy to do this still but whilst you're doing the tape when before you stuck it on you want to stick your double sided tape again again just flip this one around okay so you should have your tape on the top there all right no you can light it down flat actually and do that as well so it's not that hard to do okay next you've got your roof pieces here don't give the measurements no I don't think I did so these are six by six and a half along the six inch side you want to score it five and a half and then you want to pop double sided tape onto one of them don't need to do it on both but you want two pieces and you're going to take the backing off lay that one down and then this same hinge piece we're going to stick on top so just line up the bottom first because you want to make sure that it's all nice and even like so and then you can just lie that down so now you have that piece I just thought actually if I do want to have a little handle then maybe oh it's fine I don't know what I'm going to do yeah actually then what we're going to do is stick it onto those hinges like so and it's up to you now how much overhang you want because you can have it quite low down and it just gives it a different look see I'm going to have mine quite high up once we stick this in it will this will become obviously you know square shape so it won't kind of move around like that but you want to make sure that you have an even overhang so I would do one side first so I'm going to take the backing off of this one here so and I'm going to do probably about an inch I tend to always do that but you want to make sure that you've got even overhang you should have half an inch overhanging on each side so I'm just going to kind of hover it down maybe lie it flat do you want to lie it flat yeah you can lie it flat I guess so I'm going to make sure that I line up if you line up if you lie it flat you might help you a bit better if you line up this side with the half inch on the next piece then you know you've got it overhanging by half an inch and then like I said whatever you come down by you just want to make sure you do it the same on both of them so and that it stays nice and straight so I think I'm just looking in my monitor there yeah so I've got a nice even overhang there and then this one here it's quite easy to line up because you just want to make sure that you've got it this piece runs in the center so let if you're not if it comes up there because it's off so just bring it down until it kind of sits there then you know it's in the right place so I'm just going to take the backing off of this one here again just going to look at it sideways I think that's okay and just make sure you've got a nice even overhang like so and because it's going to be facing this way it doesn't really matter if one's lower than the other but if I do go onto the side can you see it's fine it's you know I'm happy with that so there it is there's your lantern it's cool now we need to decorate it okay so I've just got some green sprigs that I had lying around I've got this lovely red bow that I put together and I've just got my hot glue gun on glue gun on so I'm going to keep my decoration I think quite simple this time which is not like me but I am and as I mentioned at the beginning the idea is that maybe depending on how you end up connecting this I am going to stick mine down because it's something I'll just put away with my Christmas decorations and then I'll bring it out but if it is something that you want to keep out because this is very fashionable kind of decor at the moment lots of grey lots of my friends have got grey decor everywhere and you'll see a lot of these metal lantern kind of things so it might be something that you want to keep out so just bear that in mind but like I said I am going to stick mine down so I've got my hot glue on here and I'm just going to build up these behind this bow just so they're all sticking out and I can curl them because this is like a metal so you know I'm not too worried how it looks initially but I'm just going to start kind of making a bit of a spray really of all this green around now I've got I have a glittery green glue sticking I've had them for ages and it's one of those things I'm always forgetting to use but I started getting them out a bit more purely because I ran out of the clear ones so it prompted me to start using these ones and then I thought you know what they are such a good idea but you know match them more to your crafts because you often see glue sometimes sticking out whereas if this does it doesn't matter because you won't see it it just blends in so it's a glittery green it's really nice so let's pop some on this side so I'm just going to start building this up behind the bow okay that's that stuck it's still drawing a bit there's quite a lot of layers to that but once I start curling it up it's going to look nice but I've also just thought I'm going to put some bells so I've just got my tray of them there I've just got some of this twine pop that back over in its little stand and just start kind of threading them through let's see how this is going to work first of all just tied it around there because I'm not sure how I'm going to have this I just bring it up so it's going to cover a lot of that roof I need to just see I want them dangling down separately what do you think I'm just going to stick them straight on because I'm not worried that if they don't rattle or not it's more purely for decorative reasons so this is all set nicely now so I just want to start kind of just playing around with them really just uh just so they're not so straight I'll show you there how that looks pretty love it so then I'm just going to pop quite a bit of hot glue now on the back of this because obviously this has got a stick onto that glitter glue and over time if it does come off you can just glue it back on again I've done that with many Christmas presents you know and decorations you get them out of the box and you know depending on whether they've been in a too colder environment or too hot sometimes things fall off so it doesn't bother me but now I'm just going to hold that there for a second until that grips okay and now I'm just going to add some hot glue onto these and just kind of sit them on some of those green sprigs okay so that's what I've gotten out the top I just is looking beautiful and it just sparkles so much but I've been thinking I do want to have a handle so I'm going to do a circular one so with one of this the kind of pieces that we cut out from inside one of the panels I've got loads of hot glue there that I need to take off but I've got a large one and then I've got this smaller one from another project and I'm just going to sit them inside if you flip them over you'll see the cut lines you've got to see how big so I'm looking at a ring that's going to be three eighths of an inch just over a quarter really in diameter so I'm going to sit those two they should go inside I don't think they're the same oh no I've got two separate ones right let's get the right ones from the this is the circle stitch dies from the works bought these a while ago so you want to sit one inside I'm just going to say this seems quite tight but now if you bring them out you can see yeah it's still about the same because the cut lines on them are right in the inner ring on the other one so it's still the same so about quarter of an inch to three eighths of an inch sit one inside I'm just going to cut because I like I said I'm going to be saving every single bit of this card stock so I'm just going to grab some washi tape and you want to create a ring now the good thing again with this being double-sided is usually I would have to cut two and stick them back to back but because it's obviously already got that beautiful glitter on both sides we only need to run this through once so I'm just going to sit the inner ring so you've got a nice even border and just kind of make sure it's all there stuck nice and neat okay so you can just see that frame I got so I'm going to run that through my die machine okay so I've run it through and it does cut so it doesn't look like it has but you can see it does all come apart and now I've got that lovely ring I'm just going to pop all that to one side and then now this is when I said oh you might not want to stick this bit together if you want to do a handle it looks beautiful without you can see there okay so don't you know think that you have to but because I've done that the idea is now that that is going to go like that yeah I do like it because although don't want it even see I like it when it's actually quite high up so it almost looks like one of those you know like a big metal hoop or ring so what I'm actually going to do is I'm just going to put some hot glue and I want hot glue no I'm going to use the red tape for the minute because I can always change it if I feel it's not going to hold it in place I'm just going to put some right along the bottom because it's 350 gsm it does it doesn't you know like bend over so it does stay up nice and straight but I'll just take the backing off of that I'm going to keep this in short I can't even see where the tape is now although we go I want to get it in the middle I just need to look myself just so I can check that this is centered yeah just bring it down there you see and then it looks like it's one of those you know handles and when I look at my granddad's lantern that I've got I think I'm sure I've shared that in the lantern tutorials that I made last year but um he has well we've got two we've got a gold one and a silver one but they have these on there I don't know I just think that's a nice little touch so it's completely optional the actual diameter of that circle if you're doing something similar is three and a half for the outer ring and three for the inner yeah so it's a quarter of an inch ring so yeah there you have it how cool does that look now I've just got my rice lights I'm just popping them all inside once they're around something like I said I've got like my Christmas trees that I'm going to pop in here and because it's open on the sides here you can always pin like the top light you could pin it on the side there with something but how pretty does that look and then the battery pack will be hidden with whatever's going to be in here or if not I will take it out because it's got a long piece before the actual start of the rice lights which is like there so I could hook that out and that piece can be hidden somewhere else so all you see inside are all those gorgeous rice lights I love this oh my gosh I really really do this glitter card is amazing because it's got that strength it allows you to make these things and because it's double sided just look at the lovely detail inside it there it just it looks really finished it's just a lovely lovely project and it's really easy to do it would look really nice in craft card do a really nice vintage one and distress it and all that kind of lovely stuff so there's lots of ways to recreate this but I'm going to keep it on its side like that just so you can see it so I hope you've enjoyed today's tutorial as always all the links to everything I've used will be shared below and along with all the measurements and everything will always be over on my blog so yeah thank you for watching please give me a thumbs up if you've enjoyed today and consider subscribing so you get to see more thanks for watching bye


Your Highness, good morning. What should I serve you today? I have green tea, I have wine, I have cherry plant, I have champagne, I have Hennessy. You know, talking about water. I can serve you water to your Highness. Come on, it's early morning. Water is essential. Can you give me a glass of water? Alright. One minute. Thank you. This is your water, Your Highness. Thank you. And please, do you need anything else? Has the queen arrived? Not yet, Your Highness. What do you mean by not yet? I think there was a delay in her flight, so she's still in Kenya.  Yes. You're supposed to book the flight early. I think there was a problem at the airport, not from us. How can I live in a huge palace without a plane? Concubines for the king? I was trying to arrange that to your Highness. But the last time, the queen instructed me not to bring any lady into this house. You will be fired, bro! The queen already fired me if... Good morning. How are you all doing? I'm still here in Zimbabwe, but currently at Vic Falls. I think a lot of people have been telling me that I don't go to Zimbabwe without going to Vic Falls because this is the touristic city of Zimbabwe. I've been here and I'm loving it. The place that I'm staying alone makes me want to stay more in Zimbabwe. Oh my goodness. You don't even believe if there's a house or maybe there's a hotel in here. It's just a typical forest that I'm staying in here.  And this is the first ever hotel that is built by a black woman. Can you believe it? It is what it is. I mean, anyone can come and invest in the continent, but I'm just hoping to see more Africans investing in Africa. Like I've always been saying, Africa for Africans. If you don't invest in your own continent, other people will come and invest in your own continent. I think so many of us feel so comfortable when we leave abroad knowing that when we're living abroad, we help and build other people's economy. So I would encourage more Africans wherever you find yourself, east to west, wherever, if you come and let's develop Africa together. This is so beautiful. This is so gorgeous. I woke up this morning. I just want to be a YouTuber today. We woke up 30 minutes earlier. And since the camera is on, we have to wake up for the second time. So stick and stay. Let me wake up for the second time. Wow. What a peaceful night. My best nights ever right here in Zimbabwe. You know why? Because it was so peaceful when I was sleeping. To the extent that it's seven o'clock and I didn't want to wake up. You know why? Because when I woke up, I checked around and it was still dark in my room. Not knowing that it's a trick of the windows. They don't want any light to come in the room unless you open the glass doors and stuff like that. So it looks so dark in my room. Six o'clock it was dark. Seven o'clock it was dark.  Let me just step out and see. Oh my goodness. This place is so beautiful. So quiet. So calm. Give me words. Give me words. So I'm in the woods. Literally, they never cut down any trees in here. I think she said she cut down only two trees. The buildings are not in a straight line by any chance. Because it was like the buildings must accommodate. You said the trees belong here. You building. Come and fit yourself around. So that's how we built it. Everything is about leave my tree alone. You come around and build whatever you need to do. So literally everything you see here, this is the natural vegetation that we found here. So she built everything around the trees. I mean, she could have decided to cut down the trees and build more units. But she said no. I just want 19 rooms. And I just want to build around the forest. It's just absolutely beautiful. This is magnificent. Woo.  But I just want to encourage each and everyone of you. Ever come to the Vic Falls, this is the best place for you to stay. Do you guys want to see my room? I would love to take you guys to my room, man. My room alone. One thing that I love about this place is the fact that it's so quiet, so peaceful. I mean, the tranquility of the whole environment is mind-blowing. Listen, if you are that guy who loves quiet places, this is the best place for you. And they have a swimming pool right here. And this swimming pool is more like a general swimming pool. But if you want to use the private one, which means you need to book the villa. I mean, I would love to take you guys to my room. I mean, it's more like a whole palace on its own. You know what? Let me take you guys to my room, man. Let me do a room review, even though I hardly do this. But let me do this for you guys, man. Good morning and welcome to the palace with no queens and a linguist, because I fired him. This is Mbana Hotel, and this is exclusive. I mean, if I say exclusive, I've never slept anywhere like this before. So a big shout out to the owner of this beautiful place for supporting the movement of Africa to the world. To be honest, I really had a good time here, but only one thing is missing. A palace like this need a king and a queen. Let me know in the comment section if you agree with me. This is my king-size bed, because I'm a king, I deserve what? A king-size bed. But one of the things that I really love about this place is that the fact that it's extremely huge. Like, everything is so spacious. There is space everywhere in the house. So when you get into your bedroom, there's space, because this is Africa. We celebrate space. We celebrate the blue sky, but your bed must be the most comfortable bed. I don't even know.  Everything you see here, we just went and sourced on our own, but obviously using some of the experts who had helped me. So a beautiful bedroom, overlooking the forest, overlooking just, you know. So every one of these rooms, you can actually see outside. But just really, you know, TV if you need to watch. This is now about that little extra... Wow.  Just take a look at this. Everything in here is so African. The artifact that you see around the wooden environment, it makes you feel like, okay, it's time to enjoy Africa in Africa. So as you can see, quite a formal executive lounge. Because this is presidential. Yeah. This is presidential. So quite a formal lounge. Nice leather furniture. Nice sofas. You know, very much attention to detail. That side is the more informal one. So you got yourself a living area. More like two living areas. So if you want to sit there without a TV, you can sit there. If you want to enjoy yourself with a TV, you can sit right here. If you want to do self-study or anything, you can still do it right over here. So I actually call this a penthouse on the ground.  I think after coming here, I will tell you guys, you should stop going to Dubai. Because in Dubai, everything is artificial. And this one is a natural home. So this is a penthouse on the ground. One of the things that I love about this place is my bathroom. Yes. This is what you say. You won't believe it. This bathroom is bigger than my room. Very spacious. Exquisite. Do you guys want me to take a shower in the bathtub for you guys to see? It's just unbelievable.  You know, because this is what we're talking about. The type of pricing people that we have, the type of people who want to have this sort of thing, they don't want to share it. So they want their price. You're literally giving your private space within a bigger space, where you can actually do whatever you want. And obviously here is then the dressing room, which can also be almost another bedroom in its own right. I've never seen a spacious bathroom like this. I feel good. That's what this is all about. This is now about opulence. This is all about... I hope it's open. Yeah. Oh, good. You've got your private space outside as with the other units, but this is much bigger. And guess what? You've got outdoor shower. So maybe right from the pool, if you want to have a good time out here, you can actually be having your outdoor shower and turns still goes on right over here. And I love the fact that everything that they do in here, they do it in pairs. So which means that this is not a place to come alone. If you want to have a new baby, I think this is the best place for you to come. To be honest, yeah. I mean, right there you can have a new baby. I'm so sorry, mommy. I think I had to say that wrong. Come on, man. What? I've never seen anything like this before. I think slept in so many resort across the continent. But this feels different, man. No one will even hear you. One of the things that they have just one here is just a bathtub. And you know, a bathtub can be used by one person, but when you use it in pairs, it's the best one. Yeah. So come along with me. This is the villa. Oh, my goodness. That's why I said, here we're going a little beyond simple. Oh, my goodness. So you know, this can be your private dining. I've had important people. Let's just call it that. Come through, then they have all them. The minute they arrive, they say, I'm not having any meetings in town. People are coming to me.  You still want to work. You still want to have meetings. You still want to have conferences. This is definitely one of the best plays for you. And I love the privacy in here, because if, let's say, you're having a meeting and the queen is busy lying on the bed. So you can actually keep the living side that side. And you can actually, this is your office. And you can have all your meetings here. People will never know what's behind there. But if you want to spy on the queen, if someone is in there, you just put your eye just to see. This is our service area, which you find in the other rooms.  Ice machine, you name it. But obviously, because the price for here is also full-inclusive. So when we've got a guest who's paying full-inclusive, we bring the wines, we bring everything else to make it comfortable. It's so spacious. You got all this place for yourself.  You have your swimming pool. Like, there's so many places to sit. That's why I'm going to tell you that don't come here alone. Just come here with just your loved one. Even if you have kids, let them stay at home because this is not a place to come with kids.  Because this is the time for you to spend so much time with a loved one. We call this our love nest. Sit on the love nest and just have a couple's hour. But for you, I'll stand up. Mother, son, love nest. You guys don't think this is so unfair that I had a linguist in the house. I told him that if the queen does not make it, at least give me some concubines to enjoy myself. At the end of the day, he said no. He's fired. He's fired. See, even the hotel management knew that you cannot come here alone. Why are they doing everything by pairs? Hi, baby. How are you doing? Is everything all right? I just want to tell you guys something.


The tree extraction project evaluated the quality, accuracy, and feasibility of automatic tree extraction methods. Several methods in this experiment were superior to manual processing in the dominant, co-dominant and suppressed tree stories. In general, as expected, the taller the tree, the better the location accuracy. This article was authored by Bernd Michael Wolfe, Ji Chen Wu, Xiao Wei Yu, and others.


In this presentation, we will take a look at multiple choice questions related to bonds, notes payable, and long-term liabilities. First question. Support accounting instruction by clicking the link below, giving you a free month membership to all of the content on our website, broken out by category, further broken out by course. Each course then organized in a logical, reasonable fashion, making it much more easy to find what you need then can be done on a YouTube page. We also include added resources such as Excel practice problems, PDF files, and more, like QuickBooks backup files when applicable. So once again, click the link below for a free month membership to our website and all the content on it. Bonds with options to retire them before maturity at a set dollar amount are A, convertible bonds, B, notes payable, C, stock, D, serial bonds, or E, callable, callable bonds. So let's go through this again and see if we can use the process of elimination. We have bonds with options to retire them before maturity at a set dollar amount are either A, convertible bonds. I'll keep that for now. It sounds kind of reasonable, possibly B says notes payable and it's probably not the case that a bond is like a note payable to those are, you know, they're both liabilities, but not exactly the same. So I don't think it's going to be that C says stock. And again, stocks and bonds, you can kind of think of them as they go together when we talk about investments, but they're not the same thing. So stock doesn't seem reasonable. B says serial bonds. And again, if we don't really know all the different types of bonds, well, that could be one type of bond. So I'll keep that for now. And then E says callable, callable bonds. And again, if we don't really know all the different types of bonds, it could be that. So we're left with A, D, and E convertible bonds, serial bonds and callable bonds. If we read through it again, we have bonds with options to retire them before maturity at a set dollar amount, either convertible bonds, serial bonds, or callable bonds. Between those three, I would think serial bonds sounds the least likely because callable or convertible sound like something will happen before the maturity date. So I'm going to cross out D. And between convertible and callable, it's actually going to be the callable bond. So if we read through this again, we're going to say the bonds with options to retire them before maturity at a set dollar amount are, E, callable bonds. Next question, amortizing a bond discount, A, allocates part of the discount to interest expense each time interest is paid on the bond, B, is how we calculate interest payments, C, decreases the bond payable account, D, decreases interest expense each period, and E increases cash flow from the bond. So if we go through this, then we're going to say, we'll use the process of elimination. Amortizing a bond discount, A, allocates part of the discount to interest expense each time interest is paid on the bond. That sounds kind of reasonable. I'm going to keep A for now. B says, is how we calculate interest payments. And that's actually not the case because the bond discount is not how we figure out the payments we're going to make because the payments we're going to make are on the bond. So the actual money that we're going to be giving in terms of interest payments is not going to be influenced by the bond, although it will influence the interest expense that we'll be recording. So it's not B. C says, decreases the bond payable account. And the discount doesn't actually do anything to the actual bonds payable account. It's going to be, they're kind of linked together because the two are tied together to get the carrying amount. You would subtract the two to get the carrying amount of the bond, but it's not part of the payable account. So it's not C. D says, decreases interest expense each period. Now if we think about that, that could get a little confusing. So we'll have to, it's possible, it's doing something to interest expense. If A is true and D is true, then something's happening to interest expense. The question is, is it decreasing or increasing? And then E says, increases cash flow. So I'll keep that one for now. So E says, increases cash flows from the bond. And the amortization of the bond doesn't do anything to cash flow because it's just, it's just, we're trying to amortize that difference between the premium price or the price of the bond, the face amount of the bond, and the amount that it was issued for at a discount. And that's what the discount is there for. So we're just amortizing the discount if not doing anything to cash. So it's not E. So we're left with A and D. If we read through this again, amortizing a bond discount, either A, allocates part of the discount to interest expense each time interest is paid on the bond, or D, decreases interest expense each period. Now note that these two are kind of related because the first one says allocates part of the discount to interest expense. Well that means it's doing something to interest expense and it doesn't really say what, but and then D says decreases interest expense each period. So it can't be the case, if we're narrowing down to these two, it can't be the case that they're both true. And if D is true, A must be true because A is allocating the discount, which would result in D. So in other words, it can't, either D, if D is true, A has to be true. And if A is true, D doesn't necessarily have to be true. And therefore, if you go down to these two, it kind of has to be A here. But if we think through it another way, we're going to say, yeah, this is what we're doing. A is what's happening. We're allocating the bond discount to the interest expense to kind of get rid of it over the time period. And when we do that, remember the discount is a contraliability account. So it has a debit balance. So the debit balance has to go down. So we credit, when we do the journal entry, we credit the discount. So the bond discount would be a credit. And then we would debit interest expense. And interest expense is a debit balance account. So if we debit it again, it would be increasing interest expense. And of course, this would be saying decreasing. So it's going the wrong way. So the answer is going to be A. Amortizing a bond discount, A allocates part of the discount to interest expense each time interest is paid on the bond. Also note, if you see like one answer that's longer and more detailed, then it may be that that's the answer because it's trying to be more lawyerly. It's trying to cover all the places where it wouldn't be correct and therefore it takes more words to do so sometimes. So if you see one answer that's longer and it's kind of hedging everything, doesn't use any absolute terms like always or never. But it says in this case, in that case and whatnot, that it might be that the answer is trying to be more legalese in order to be correct. So it might be another indication that that would be the correct answer.


You're looking forward to getting matched up against Jalen Ramsey, perhaps? This is another huge opportunity for us, not just for me. This is a big game, a lot of people count us out. So not just my match up, just a game in general, like, it's a big one. And we got to come out and we got to play, so. People counting you guys out, just because of the injury of Derek Henry? For sure, for sure. They want to see how we're going to respond and how we're going to play moving forward, you know? It's all on us and we got to do what we do. How do you think you guys will respond? I think we'll respond fine, you know? We added some guys, but most importantly, our mindset hasn't changed, you know? So we got to play our style of football. I can't answer that, I don't know, but whenever my number is called, I'm going to continue to try to make plays, and, you know, if I had to be patient, I'd be patient. From a defensive perspective? I'm not going to say, I'm not going to turn it down. Of course, I'm going to compare every Sunday and play my best, and I'm not too much worried about those type of questions or stuff like that, so. Have you experienced or just seen anything like that? I met him twice prior to him signing with us. He's a great dude. You can tell the leadership he brings. We definitely need that, so I'm excited to see him. I'm excited to block for him. I'm excited to do his thing. You mentioned the presence of Julio Jones and how that kind of inspired you to elevate your game. Is there a similar situation with Peterson?  Like I said, the same thing with Julio, I'm definitely going to try to do my part, you know, and I'm still going to try to do my part with AP doing my job, blocking, getting guys out of the way from him, and let him do his thing. So like I said, I'm excited. I'm excited to watch him play, you know, and to be a part of it. Which is his brother blocker? It is emphasized more than catching the ball. Put it like that. You just kind of pound it into you guys basically. I'm sorry? You just kind of pound it into you guys basically? Oh, for sure, for sure. It's definitely emphasized. We got to do our job. It takes 11 men to run the football and, you know, yeah. No block, no rock. No block, no rock. What is that? I got an end to the league. It's a blocker? Yeah, it's a blocker. I mean, sometimes it's easier. Sometimes, you know, it's tougher, but it's a one-two thing. You have the one-two. What was the week like for you? You mentioned excitement about Adrian coming here, obviously, but he's here because of Derek's injury. How do you kind of deal with that? And how long did it take you to kind of turn the page knowing he's not going to be out there with you for a while? Those are big shoes to fill. At the end of the day, I don't think anyone can replace Derek, but we got to move on. We got to keep going. I wish him the best on speed of recovery, but we got to keep going. This game waits for no one. Describe the mood of the team, the locker room this week coming off of the news of the injury and going into the game. Motivated. I definitely say motivated. This team is very motivated to go out and improve our worth. Like I said, nobody, no one's really counting us in. We got to go out and play. Like I said, this team is motivated and we ready to play. At least I am. I'm good on the fast food. Do you think this team is so good on the road in this couple of games? I think just going into a people environment and just playing our style of football over and over again. That tough, rugged football and pound for pound. If we can do that, no matter what we play home or away, it gives us a chance to win the game.


Ancestry is a concept that we're familiar with, and so I'm going to risk a pretty huge misconception. Evolution does not happen in a generation between a parent and a child. Evolution happens at the population level of organization, and we're totally going to talk about that in way more detail. I'm going to use, we're going to make evolutionary trees, and the trees are illustrations of ancestry and relatedness. And to get comfortable with the concept of the evolutionary tree, I am going to make a family tree, knowing that you guys are paying close enough attention to not make the huge misconception that our family tree that I'm about to draw you is actually the same thing as an evolutionary tree. I'm making an analogy right now. What? Me? Analogies? I'm making an analogy right now, and you know what else I'm going to do? I'm going to do something epic. I'm going to start my picture on the left side, and I want you to know that I do not want to. It's a little challenging for me. I'm going to start the picture with the most recent people in my world, which are my kids. So we're going to have a little box for Kenan and a little box for Kai. These are my small humans. And I'm putting them in boxes. I'm putting them up at the top of my tree. And what I'm going to show you is that they actually are related to each other. Now, am I drawing a pedigree right now? Heck, no. I'm not drawing a pedigree, so do not be confused. This is an evolutionary tree. But on my tree, Kenan and Kai are my most like the babies out there, and they share a common ancestor. And guess who that is? Oh, you know I got to have me on the tree. I, ancestors of groups, if we're talking about like building a visual, a tree like this, ancestors are represented by dots, by little nodes, and critters or people who are living and in existence are all up at the top. My analogy breaks down because ancestors usually are not alive if you give rise to two different groups of critters, but we can talk about that in the next one. Do I have an ancestor? Like where did I come from? Aw, don't you want to know? No, never mind. I changed my mind. Don't ask that question. But I'm going to tell you this. I came from my mom, and she's right there and her name is Honey Kiss. Honey Kiss gets to be her own node because she's an ancestor, and guess what? Am I the only person that she gave rise to? No, no, no, no. This is my brother, and we call him Wiggy. And so Wiggy has to be on the tree as well. Now, Wiggy has given rise to multiple small humans. He's given rise to Otis. Aw, this makes me want to go hang out with these clowns. He gave rise to Quiny Pie, and he gave rise to the bird dog, Birdie. It makes me want to go visit them. Did Honey Kiss have an ancestor? Oh, you know she had an ancestor. She had an ancestor. This is my grandma. My grandma's name was Honey. Just plain old Honey, not Honey Kiss. And she actually gave rise to my auntie. Are you following this? And my auntie is, we'll call her Auntie. And auntie actually gave rise to two people, Molly and Katie. And Katie actually gave rise just to Stella, and Molly gave rise to Grace and Emma. You now have all the cute humans in my family tree. Aw, just from my mother's side. We just drew a tree. Now, the ancestors, like I said, they usually aren't alive anymore. And in fact, if you looked at this tree, who's the oldest person on the tree? My honey, and my honey isn't alive anymore. So the farther down you go, like if we mapped her mom and her siblings, then we would have even farther back in the tree longer ago ancestors, and they're not around anymore.  And so this is an example of how we can map relatedness. Now, do you agree that Keenan and Kai probably share characteristics with me that make them really related to each other? Or characteristics that maybe they don't have with Uncle Wiggy? And in fact, do you agree that probably Uncle Wiggy has some characteristics that are shared by Otis, Quinn, and Birdie that maybe we do not have? But do you agree that a honey kiss probably hooked us up with some characteristics that all of us have? And my honey probably hooked us up with characteristics that everybody has. Do you see this? So you can look at your most recent common ancestor. I have to write that down. So you can look for a most recent common ancestor that can determine relatedness. And do you agree that Keenan and Kai, their most recent common ancestor is me? But what if we were to say, you know what, we're going to go, we're not messing around with Keenan and Kai, they're cute and everything, but let's? Who is Otis and Kai's most recent common ancestor? Do you agree that it's not me? I'm not even an ancestor of Otis. I'm related to him, but I'm not an ancestor. The most recent common ancestor shared? Not me, honey kiss. And look, Otis, Uncle Wiggy, is not shared by Keenan and me, Kai and Otis.  So Kai and Otis share a most recent common ancestor in my mom. Now think about, okay, ready, take a deep breath. Think about Kai. Okay, I'm going to have to go like, you know I got to get pink, I don't even know how I get over there. I'm having issues with my, seriously? Okay, pink is not an option. We'll have to go with orange. We'll deal with orange. What about Stella and Keenan? Let's throw Stella and Keenan into this mix and see who is their most recent common ancestor? Is it me? I'm not Stella's recent common, I'm not Stella's ancestor at all. It's not Katie, it's not my auntie. It's my honey, look. As I record videos late at night and think about my family tree, I get all warm and fuzzy and it makes it better that it's late at night. Okay, you ready for something else on these trees? Because we're not going to build family trees, although it probably would be helpful for you to sit down and like build one and like bring a couple of things to reality. But look, I want to show you, usually in an evolutionary tree, the people in boxes at the top, I don't know why I'm putting stars everywhere because now we have stars everywhere, but the people across the top, so I'll put a box around all the people that have boxes around them, across the top. Usually the top of the tree indicates critters that are alive, like these are critters that you could go out and find. Usually the critters toward the bottom, like ancestors actually aren't alive anymore and only living things like are up at the top. You can also learn about time from an evolutionary tree. Usually we have the vertical axis on an evolutionary tree is actually representing time, like the passage of time. So you can imagine that Honey Kiss giving rise to me and Wiggy is an event that happened longer ago than me giving rise to Keenan and Kai. Do you follow that? Perhaps this analogy is a little too outside of what we're actually going to be talking about because what we're actually going to be talking about is species of critters. So let's do one with some species and really get in those tree thinking concepts.