I love golf. It's just an expensive hobby. It is. I used to play a lot of golf back in high school because we lived on a golf course, but after 18 holes of golf and it took four and a half to five hours, I always look back at that and go, I could have been so much more productive with my life in those five hours. Then hitting a white ball into a hole. Why's it got to be white? Wow.   I'm Corbin. Yeah.  You are. It's the girls. Put up. Put up. Put up. It's so cute. It's the official Twitter account. Don't show. And today I got something that Rick's probably going to really enjoy. Is it because we're really going to enjoy. So I don't know what it is from the Oscars. It is called the inactive faith saving the appoo trilogy. Was this the lifetime honorary thing that they gave to Satyajit Ray? This might have played during it, but I think this is about them saving those films. Oh, about the Academy. So Scorsese talking about this? I don't know. But saving the appoo trilogy. Wait a minute, wait a minute, wait a minute. No, no, no. So here's here's. Somebody told me there's no spoilers. So. Okay. That was my fear. Like this isn't going to give us anything away. I'm trying out really hard to believe right now. I'd say they should. Because I think it's about actually saving the film. Well, we're going to have to show footage from the film and talk about the film. Wasn't it silent? So it's like it's not going to give anything away, right? Isn't the film silent? No, I don't think it's silent. I just think there isn't a lot said. Well, if it does, we'll stop it. Okay. Here we go. I didn't know they did all this kind of stuff. Satyajit Ray preservation project really started with Ray receiving an honorary Oscar at the 64th Academy Awards. What? The producers and Ray together that telecast had a lot of difficulty in assembling the clip package. The prints they found were beat up, scratched, mangled, missing sections. So a coalition of the Academy and non-profit foundations started an effort to preserve Ray's films. Satyajit Ray? Have we been saying it wrong? Either we have or he is. It's probably us. Ray is one of the essential figures. He is one of the major international artists in the world. It's Ray. Ray, we filmed you as in a sort of special place, not only in his career because it was the start of his career and it's what launched him on the internet. That was the start of his career? But also because the films themselves were in such flammable condition. Just as people were starting to really commit themselves to preserving his masterpieces, as part of that work, there was a tragic fire at a lab in London called Henderson Film Lab. The result was that several vaults worth of main train or safety film were either completely destroyed or severely damaged, including the negatives to technology. Edges were melted, perforations were torn out of them, distorted, and sometimes whole sections refused together. And so those original pieces that came back from the fire seemed to be a total loss. But luckily the director of the Academy Film Archive asked for all of the film and even any film camps related to Rhys Films to be shipped from London to Los Angeles. Calling to have it sent to the Academy to be preserved and then not throwing it out despite the fact that it had been completely unusable is a kind of act of faith that says what this sometime will have the technology pass through the camera that those actors stood in front of, that that director caused to roll in the first place and caused to cut. And there was something sacred about that and it has to be preserved. They stayed there. They sat there on our shelves for 20 years and when we had this opportunity to do the digital restorations with criteria and that started us thinking is there anything left? Could we go back to them? This is a film that's been sitting at the archive for 20 years. The first thing we did is take them out of those smoking cans and find out what was left. Sometimes the results were pretty horrific. The first can that we opened should have made us close the cans and just say okay we can't use these because they were, the film literally looked like it was on fire. This is an example that an extremely charred film completely melted together. This was probably closest to a direct flame. It was brittle. It was dry. It was like, I don't know. Ends were peaking off. I have no idea. But you really couldn't pick it up without pulling apart your hand. I don't know what this is kind of a with a very high degree of confidence said yes we believe that we can non-destructively get it into a condition where we can scan it and do some tests was the imaginary trabata at the Chinatecabologna in Bologna. I kind of saw it as if you have really one shot at this and if you don't get it right you may damage it. You have and it may lose the ability to scan it ever again. We had to take out what was entirely burned. There were literally charred pieces, fused pieces and it was really sad but we had to know what we could save and what we were just leaving behind. When we had those pieces that could be saved we moved it right away to Italy. Their first step was to physically get the materials in shape.  They spent thousands of hours first rehydrating the reels so that they were less brittle and could be unrolled. How are people so smart? Without further damaging the image area. They decided to scan it, sprocket list which meant that it would be very unstable and they'd gain on the scanner. Then they would do a test where they would take out the bad perforations and the bad splices and put new ones in. So then it could go through a pin register which would make it much more stable. All of this work had to be done by hand frame by frame perforations by perforations. Every single splice had to be rebuilt. All of the tape had melted at a different rate from the underlying celluloid which caused other kinds of things to seize up. And in the end, about half of the film from the first two films, I would say 40% of the surviving original negative from all the control room and about 60% of the surviving original negative from our rehydrating film were usable. Once we had a full assembly then we started with six or seven months of straight on digital restoration work. We're very fortunate the criterion had a workflow to handle 4k restoration because it's an extremely expensive process. The 4k restoration of Indian features like this is almost unheard of to do it in an archival perspective. It was really a partnership with Criterion that allowed us to do that. There were color grading issues. There were stability issues. Yeah, that's the kind of thing you do for a feature that's going to get released, not archive. Different pieces of film to each other. Stealing information. Importantly. Parts of adjacent frames. By far the biggest job we've ever done. The most important thing we had to fix was that warping. Plastic doesn't warp in one way. Plastic kind of warps all over the place which means if you lay it flat after you've warped you end up with sort of a geometry issue. This was sort of a logistical nightmare for the computers to try to figure this out because there's no checkbox for fixing the geometry of the warp film here. But that doesn't exist. So you have to come up with the idea yourself. The most important piece of restoration equipment is never the computer, is never the sound frame we're using. It's the person who's running the software and it's that person's experience. Our principle when we undertake a restoration is we would rather see original damage than see evidence no fix. What you want to be shown on screen is something that feels like the best imaginable from that original negative. Yeah, show me a hair going up in the thing or a tear in the film. Wow. The way we look at movies, the way we watch movies has changed substantially over the course of cinema history. Modern audiences that are used to high-definition video and super clear, crisp, clean images. Dusts and dirt and scratches would be something potentially so distracting that it would actually take viewers out. A lot of failure aware. I was known for his narratives and he's a very famous filmmaker. But I think he's underappreciated as a visual storyteller. We've preserved these films at their full visual quality, the full impact of the images, not just the stories. I do believe that right now if you watch these films you probably will have a better viewing experience than you would have if you went to see the print in the 50s. The satisfaction of then seeing these films open six years after they first played in New York. A film reviewed and discovered by a whole new generation of film writers and cinephiles. That's what we all did it for in the first place. Over the past 20 years the Academy and its partners have been able to preserve 20 of our ice films. I'm very excited to move forward beyond the aputrilogy and see what other films we can get done this way and bring them back to our new audiences as well. So beautiful. Wow. Yeah I had the same thought of only 40% of the first film unless it's just the original. The original. So they have old copies of... Right. How did they used to play? 35 millimeters, 35 mils. Yeah so they had other one? Yeah my suspicion is they had copies which wouldn't be as clean as the originals especially when you're going from film. That was my question is if a bunch was lost how do we have a trilogy of set of all of it? And it must be they were talking about the originals. Okay. The original film. That's my supposition. Yeah. But it does it gets me emotional to think of two things. To think of them doing this for this film and for this legend and this master of film to and you know granted we know this by word of mouth we know this by the academy giving him an honorary Oscar and we know this from the brilliance of just that one short film too. We're going to watch this soon. Yeah we're going to watch the trilogy and I want to see everything of his in the middle of... I paused and I'm going to start up again on my trip. I'm going to be reading more of his book because partly because I know a frame of reference it would help if you've seen his films in reading the book I'm reading. Uh-huh. But is he in here at all? Or is it because he's in a Hollywood? No I can't imagine that he is not in that book. Well because I didn't know because he's he's a... He's Bengali. Bengali. Yeah. So I don't know if it doesn't count because it's not Bollywood specific? I can't imagine it's not in there you can look through the contents but my two things are the thought of them restoring his work and what that would mean to him. Yeah. But I'm also aware of how many cinematographers and directors specifically directors who don't have the kind of status whose work is lost that we'll never see again. You know? Yeah. And a really beautiful... One of my favorite films if you haven't seen this film is the film Hugo by Martin Scorsese and that film is really for me a picture of what film and cinema means to Scorsese's heart because at the center of this the story is about a movie maker and it's just I'm ready to revisit that film as we approach the holidays right now. Hugo for me is just a beautiful movie about love for film and watching this gets me emotional to think about the lengths that people go to and it was it was an act of faith. Someone... Why would you otherwise look at that and not think to yourself this is this damage, toss it. Yeah. Burn in a fire but somebody said at the very least let's save this and hang on to it because these are the originals even though they're damaged they're the originals but little did they know or maybe they did it by faith thinking maybe one day we will have the technology to save this which is amazing. It's amazing that there's people that's smart out there that can do this kind of stuff. Yeah. They're not watching this channel that's for sure. But but also this was until 15. Yeah and the amount of money they pointed out the kind of money that needs to be done just in the digital retouching not just the restoration of the original 35 millimeter but the digital retouching for for just archival footage not something that you're 4k digital retouching that you're not going to do as a major release necessarily and that's if you don't know that about Martin Scorsese he has been an instrumental part in this movement to preserve film not even film that was originally damaged but just the recognition that anything shot on film as a physical medium is going to decay in the same way that they've tried to preserve literature and and put it like you know the Dead Sea Scrolls those things are under certain ultraviolet kind of protections because just the laws of physics make it atrophy and go away and there's a lot of film that didn't get damaged but it's being damaged by just the elements and Scorsese's big on getting all of that information that was on physical film put into digital format so that we don't ever lose it I love film preservations a beautiful thing yeah beautiful thing also please let us know is it rye or is it rye it's gotta be Satjajit rye and you know why I say that because that's how Indrani pronounces it oh okay and she's been golly so it's gotta be Satjajit rye Satjajit rye yes it was right they said rye and then they're like rye yeah well he's the only guy I've ever heard calling it rye yeah so maybe he's had a lot of rye bread recently but it was a really actually good video great video and no spoilers no spoilers


Garret just broke our brand new X-Tool P2 conveyor system. And I'll show you how I did it for right now. What is up? Welcome back. Do you like to do it, Builder or make it? So do we. And we have a new video each week. This week, we're going to take our X-Tool P2 desktop laser to its length limits. We're really excited. We got the new riser base and conveyor system for the automatic pass-through in. And so we have to test out a new porch leaner, something that's really going to showcase that 48 inch length. At least that's what our leaners are. But this thing will go infinite in its length. So I'm really excited to try it out. Yeah, it's like 20 inches wide by whatever. In infinity and beyond. Whoa, and beyond. Oh, for God's sake. Step one. We're going to add the risers and conveyor belt. My understanding is the only way to use this conveyor belt is with the risers. So we're going to install both right now. Lickety split. I hope. Yeah, we're good. We literally just set it right in the spot. I got tall real quick on this guy. Right, look at the feet. Make sure we're going to be in tune. Yeah, that's where my feet are.  All right, now we're going to do the conveyor belt part. Yeah, it comes up to your nose. So after we added the risers and the conveyor belt, this thing is now eight foot three inches by 16 inches tall and sitting on our counter here. This thing is like chin height. Right. I mean, you wouldn't keep it on a table this tall. Yeah, you might need a lower, longer table. But you are going to need at least eight feet of space. And this is for a four foot board. If you have a longer board, you're going to need more space than that. And this is 40 inches wide. So you're going to need 40 inches by eight foot by 16. And I don't even know how tall it is when I open the lid. It's over six foot tall. Well, no, that's because you have it on this really high table. Yeah, on this countertop height table. She's a biggie. A little guy turned into the big guy. All right, let's make our first cut. We're going to gather all of our supplies. We needed a piece of quarter inch MBF. This one is 21 inches wide by 48 inches long. It will cut up to a half an inch with the automated pass room. We also needed a one by 12 by 48. And then we're going to need some paint, stain and glue. We're going to make all of our cuts. We're going to load our board in and set the pressure feet. We're going to use the grid on the conveyor belt to make sure we're aligned and we're even.  Then we're going to set our pressure feet. There is a guide inside your user manual here that does show you material, its thicknesses, and then what type of pressure. We're using MDF. So we're going to set this like it's fiberboard, six millimeter, which is saying heavy pressure, high pressure. We're going to make sure all of the feet touch the board. There's five feet or feet on the top and we're going to make sure each one is on the board so that we don't get a skew. And there's a grid in here like a cricket mat. And you're just going to line it up to that. Okay, so this one wanted high pressure. So we're going to red. Yes. Oh, where do you see that? The center foot has a little pressure gauge on it. Oh, great. All right, we're red. We're red, all right. I'm going to use this bottom knob to actually see if it's feeding the material through. Oh, look at that. It is. Oh, beautiful. All right, great. I think it's a little bit crooked. It looks like out there it's not aligned. Okay. Give it a little loosen it a little bit and tap it over. Man, those feet really got a grip. Now come back. Yes, perfect. Right there? Yes. Back to the pressure. Then there's the pressure board. It pops it up a little bit. Boom. Looking good. All right, yeah. All right, well, we will meet you in creative space. Inside the X-Tool creative space. First things first, let's go to the top left and hit settings. Now we're going to go to imported image too large for canvas and we're going to select keep its size. That way when we import something large, it won't automatically shrink it. Back over to the top left, we're going to select image and then I'm going to double click my SVG and now it should come in the size that it was meant to be. Now back over to the right. I'm going to select conveyor feed for my cut type. And it's really small now. But you'll see that my SVG is normal size. It should be 46 inches. Let's zoom in a little bit. And I'm going to align the top of this image with the top of that board that you see in my bed right now. I'm going to give it a little bit of space at the top. While everything's selected, I'm going to select processing type cut.  This is some thick MDF. I'm going to put my tabs on. I'm going to keep the tab size 0.5 millimeter and video showed four tabs. So let's go four tabs and 50, 25% power, 25% power, 50% power. All right, let's go. Let's do a let's refresh real quick. Just want to see it make sure. Okay. All right, let's do a double check. Everything's looking good. Let's double check my image. Just tweak it. All right, everything's looking good. Let's hit start and let it process. Oh, I got to do my distance. Let's click on the crosshairs over here on the right and now select a piece of the board so that it will measure and tell me how far away it is and how thick the board is, the focus. All right, 2.834 looks good. Let's hit start and let's hit start. Now let's go hit the button on the machine. That's my favorite part. Attempt number one, our Z-Axis was too close and when the head hit the board, it gave me an error assist error. So I'm just going to use the 6 millimeter MDF presets inside creative space. That way I don't have to manually measure the board. Attempt number two, our board was too short because when we start to use the conveyor belt system, the Y-Axis moves, but the head really just moves on the X-Axis back and forth. It kind of works like a big cricket at that point. So the wheel... But it stays right here. Yeah, the head just stays like right here. It doesn't move back and forth and all over like it normally does. It literally just stays right here.  Yes, that's how this is operating now. So the wheels being further from the head, we ran out of board. So I'm going to try to duct tape this board onto this board to give it a little more room so those feet have something to grab onto. I only have eight inches between this board and the wall though. So I just made an eight inch board. We'll see if it works. Had a little fire. So I didn't have enough tabs on all of the things. So a welcome fell through and got stuck against the side of the risers and the board stopped moving and the head stopped moving. Had a little bit of fire. We had a laser-kept fire. So it didn't know that welcome was jammed. So this time I'm going to add a lot more tabs to the word welcome and then I'm pretty sure the home will fall out too. So I'm going to add a lot more tabs to home and we'll try it again. Let's give welcome some tabs for didn't cut it. So let's bump these up to 20. And then for the home piece, let's give that 30. It's got a lot more corners, a lot more things hanging out. I think 30 will hold it. Alright, everything looks good. You know what? Let's bump the speed up to a nine millimeters per second. I was getting some flame on the back. Hopefully I'll just get through. Alright, let's kick this sucker off. Attempt number four, the duct tape that we used was too thick. Those pressure wheels couldn't get over the duct tape and it just kind of stopped again. Well, it kept going but the board stopped. So I'm going to try to use some packing tape between the two boards to keep the two boards together. So it doesn't have to try to get up over that home. Step number five, our board is still too short. You can see that the board actually shot out from the wheels and I actually moved like a good six to eight inches and then kind of sat there. Well, luckily I had my eye on it this time. Alright, so that tells me we are at a room in this space here. Right, there's a wall here and there's a wall there. I don't have enough room to put a longer board in here. I mean, the little eight inch extension that I tried, that was as long as we could fit in this room before we hit both walls. So we tested it. We're going to have to move somewhere with some more space and use a much longer board. Right, so this time we're not going to add an extension. We're going to add, so we've done a little measuring from the point where the laser moves to the outside of these wheels is about 12 inches. So we're going to add at least 12 inches to the end of the board where our design stops to the end of the board. It's going to be an additional 12 inches of space so that the wheels can hold onto the board through the whole design. Yeah, through the whole design. So we're not going to try to tape an extension. We're just going to rip a nice long board and we'll meet you out front. Attempt number six was also a fail and that's because I think I broke it on attempt number five. It could have been number four. I don't know, there was a few fires and six fails. But this is user error. This is totally user error. We do have another one ordered and on the way. So we're going to have to make this part one, part two video. We will complete this project and really show you what the tool can do now that we've figured it out. Some of the lessons that we learned are material length. Your material needs to be at least 12 inches longer than your design that you're trying to cut out. And again, that's because the laser stationery just moves along the x-axis and you need enough space so that the material feeds all the way to the bottom and where you're going to cut but yet still have enough length to hold on to the wheels to bring it back the other way. Yeah. We also learned what tabs are used for. I kind of knew what they were used for and now I found out just how important those tabs are. Yeah, but you know what, we can see here we did have a cut that was almost complete. So close to being complete here. So close. You can just pop them out. Yeah. Those tabs work great. I was a little hesitant to use the tabs because I didn't want to mess up the project but it really does just very easily pop right out of there. Yeah. But yeah, at the same time it holds on while you're feeding it back and forth. It's a good way not to mess up your laser. Use tabs. Space. This thing was eight foot long or wide. I guess it's long. And you're going to need more than that if we're trying to feed an eight foot board through. So you're probably going to need like... Well, here's what we noticed in the X-Tool video and you're probably going to have to do something similar unless you've got a really big room. I noticed that X-Tool was doing their demo video on the floor and I think that's because you might have more room to stretch your board and your risers especially for us we were using an eight foot board and then the length of the risers was close to eight feet. So we didn't need a full 16 feet but at least... It's probably like 12. Probably 12 foot of space. And in this room we have about 10 from wall to wall. So it's a pretty shallow room and we just didn't have room to add an eight foot board with the length of our room. So now going into this when you do purchase the conveyor system and the extended rails to do a really long cut if you think you're going to do that then you're going to need that space to do that. Too much pressure I think attempt number five I really cranked that dial down to make sure it was grabbing that wood and when I ran out of material I think that's when the actual break happened. Yeah, I think it's shot... You know how something is really really tight and I think it shot that board out and something inside the springs. It's basically now it won't clamp the board and the pressure is there but the rollers are no longer working. The rollers are free rolling. They're just doing their own thing. Or nothing. They're actually just sitting there really. So that's our... That's what we think we did to it but we can... We'll get another one. We'll show you what I can really do. Kim's already ordered one. I do really want to thank Xtool for sending us the P2 and the risers and the conveyor system. It's an awesome product. I think it really gives you some flexibility to do some really long cuts and I can't wait to really show you what it can do. Now that we've got it all figured out.  Thank you guys for supporting this channel and if you want to support this channel it'll give you access to a super secret Facebook group all of our files and Kim and Gare After Dark After Show. And a monthly Zoom call. Oh, that's right. And a monthly Zoom call. With all your other top tier patrons. It's a group chat. Yeah, it's group chat. Super informative. And I am about at a time... I have to go set something else on fire. You have to go set something else on fire. We will see you next week when we do it, build it and make it again. Maybe.


I come to the library every day. Every day. He is like my second hope. What brought you to the libraries today? Awesome. Well, I'm always really off the library, so. She's at the library all the time. Yeah, I'm just looking for why it's fun. Today, we are working on a disciplinary lesson plan. Teaching civic literacy. They're doing homework. I'm working on student funding for an organization. I do have to do homework, but we'll see how that turns out. I just finished up math, and now we're going to do our geography study guide. I'll probably be here for, like, three hours, I'd say, with coffee trips in between. But I've been here for about two hours. She's here till five. I'm going to be here until eight, so. Usually, it's like 12 to 2 a.m. Do you feel like you're almost done, or you have a lot? Oh, man, then there's a long road between now and tomorrow at 5 p.m. 5.30, yeah. We'll stay till midnight, minus the dinner break.


Hello and welcome to the session my name is Asha and I am going to help you with the following question it says integrate the following function 7th is root over 1 plus 3x minus x square. So let us start with the solution and we have to integrate root over 1 plus 3x minus x square with respect to x. We have a polynomial of the type ax square plus bx plus c and it can also be written as a into x plus b upon 2a whole square plus c upon a minus b square upon 4a square. So let us try to write 1 plus 3x minus x square as the sum of the squares of two polynomials with the help of this. So first it can be written as minus of x square minus 3x minus 1 it is further equal to minus x minus 3 upon 2 whole square plus c upon a c is minus 1 upon 1 minus b square upon 4a square. So b is minus 3 so we have 9 upon 4 into 1 square it is further equal to minus x minus 3 upon 2 whole square minus on simplifying this here we get 13 upon 4 which can further be written as root over 13 upon 2 whole square by opening this bracket minus x minus 3 upon 2 whole square. So this integral can further be written as root over root over 13 upon 2 whole square minus x minus 3 upon 2 whole square into dx. Now let us take x is equal to x minus 3 upon 2 this implies dt is equal to dx so this integral can further be written as integral root over root over 13 upon 2 whole square minus t square into dt. Now the formula to integrate the function of the type a square minus x square with respect to x is equal to half x into root over a square minus x square plus a square upon 2 sin inverse x upon a plus c. So with the help of this integral formula this integral can further be written as x upon 2 that is t upon 2 root over a square minus x square is root over 13 upon 2 and x is t. So here we can write as root over 13 upon 2 whole square minus t square plus a square upon 2 a is root over 13 upon 2 whole square upon 2 sin inverse x upon a that is t upon root over 13 upon 2 plus c. This is further equal to dx x minus 3 upon 2 upon 2 and the value of this root which is root over 13 upon 2 whole square minus t square is 1 plus 3x minus x square since from here only we derived this and from this we substituted dx x minus 3 upon 2. So here we can write 1 plus 3x minus x square then on solving this we have 13 upon 8 sin inverse dx x minus 3 upon 2 upon root over 13 upon 2 plus c. This can further be written as 2x minus 3 upon 4 into root over 1 plus 3x minus x square plus 13 upon 8 sin inverse 2x minus 3 upon root over 13 plus c. Thus when integrating the given function we get x minus 3 upon 4 into root over 1 plus 3x minus x square plus 13 upon 8 sin inverse 2x minus 3 upon root over 13 plus a constant c. So this completes the session. Bye and take care.


So, let me remind you, when we did without polarization analysis, we had two component potential v plus and v minus. And I also showed you two Schrodinger wave equations for the two polarization plus and minus. Now, with one step ahead, now I have got a four component potential. That means there is a potential for non-spin flip, that means plus plus minus minus and two potential for spin flip, plus minus and minus plus. Now, just compare this with the two component potential, now I have got four components. Why four components? Now, let me quickly justify to physics wise. If you imagine there is a sample in plane, magnetization direction is this, now suppose the in plane magnetization is not parallel with the magnetic field, but at an angle. Let us say this is the, so at an angle gamma, this is the magnetization. Now, let us consider this is the neutron spin, this is the angle gamma and this is the angle m in plane that it makes with the applied field, this is the applied field direction. Now, this m I can resolve into two components. One is m cos gamma and one is m sin gamma and this m, this m comes from magnetic scattering length Bm. So, Vm can be written in terms of that we know, but now because it is at an angle there are two components, one is m cos gamma, one is m sin gamma, now take this m cos gamma, this is of magnetic origin, it does get added with the nuclear potential B coherent, but see this is the spin of the neutron either up or another experiment either down and this is either parallel or anti-parallel to this direction of this component of the magnetic moment and because they are parallel, this magnetic field will not cause any spin flip for the spin. So, that means m cos gamma cos gamma will not give any, it is a non-spin flip component and consider m sin gamma, now this is the spin direction for the neutron and this is m sin gamma, this allows precision of the magnetic moment around m sin gamma and this causes spin flip for the reflected beam, so m sin gamma is the one which will cause spin flip. So, now in this four component potential, now please check that in this four component potential, I have got V plus plus is rho B coherent plus B y that means m cos gamma from this plot and this is twice pi h square by m rho B coherent plus B m cos gamma, V minus minus is just this sin goes negative as I explained just now, but now we have got two components of potential which is either plus minus that means up goes to down or down goes to up given by the normal component of the spin and this is this spin flip component is purely magnetic of origin, spin flip component is purely magnetic in origin, why I mentioned this? Because you can see the non-spin flip part has nuclear as well as magnetic either plus or minus, so this is similar to what I showed you for V plus and V minus, but here either spin flip potential it has its origin only in the normal component of the magnetic moment and it's purely magnetic in origin, so now I can write down the Fresnel reflectivity earlier if you remember I wrote q1 minus q2 upon q1 plus q2 going from one medium to another it is just q1 I have written qz and q plus minus is given by when qz is in air it has got two parts nuclear part and the magnetic part and qm square again it is given by I can talk about ky square kx square and kx square plus ky square equal to I can write km square and qm square is equal to 2km qm equal to 2km, so I can write it in terms of qz qn qz is the in air the value of qz without any refraction effects this was qz for the beam in air, but this is q plus and q minus of the propagation vector in the medium which depends on nuclear as well as magnetic part, so now still we will write down the Paris formalism as I told you for psi plus and psi minus their continuity and the continuity of their differentiation and now the there will be components of psi plus, so we have to add in this continuity of psi plus psi plus we will have psi plus as well as r minus plus into psi in the medium because now we also have to consider in a parrot formalism if you remember I consider continuity at n minus 1 and nth layer and n plus 1th layer came in the recursion relation, but here when I talk about psi plus here I also have a reflected component of psi in the medium, so now our parrot formalism the continuity equation will have one extra term which I am not writing over here, but that is straightforward, so thus again let me highlight the observed non-spin flip intensity gives nuclear scattering length density and m cos gamma and the spin film component gives only m sin gamma and from these two components we can reveal the magnetic moment as m equal to vector sum of m cos gamma and m sin gamma, so I can say m is equal to mx plus my which is basically m square equal to m square cos square gamma plus m square sin square gamma, so we can get the value of m if I can determine m cos gamma and sin gamma basically we have to determine the angle at which the magnetic moment is oriented from the spin flip intensity, so I will use only one example over here which is a cobalt gadolinium multilayer, so this is the typical structure or model structure for this we have gadolinium and cobalt of 140 angstrom and 80 angstrom thickness 8 bilayers on silicon, both of them are ferromagnetic cobalt of course magnetic at room temperature it has got a QD temperature around 1400 Kelvin, gadolinium is ferromagnetic just below room temperature around 290 Kelvin. Here in this example that I have chosen what we observed actually is a very interesting structure of structure in cobalt gadolinium multilayer here first again the additional informations from other measurements one is XRD which says that it is a polycrystalline sample XRR gives me the scattering length density or the physical density as a function of depth and magnetic hysteresis loop hysteresis loop. Now this magnetic hysteresis loop interestingly I just show you the hysteresis loop at 5 Kelvin under a field cooling field of 500 hot state plus and 500 hot state minus you can see the shift in the hysteresis loop we know that the hysteresis loop should look like this this is m versus h so initially when you start applying the field the thing gets magnetized the thing gets magnetized to saturation magnetization when I reduce it it goes to remnant magnetic moment then cohesive field and then the loop from the positive to negative loop it goes to the same one and goes but if there is a antiferromagnetic coupling at the interface then the coupling needs to be broken in the hysteresis loop and that shows as known as this antiferromagnetic coupling this indicates a shift in the hysteresis loop either this way or the other way when the cohesive field in the positive and negative directions are not same because in one direction you have to apply higher field to break open and that's what is shown here that that means there is an antiferromagnetic coupling at the interfaces that we can try to guess from the magnetic hysteresis loop in a sample in our gadolinium cobalt sample another interesting thing is that gadolinium and cobalt both of them are strong neutron absorbers so this experiment was really difficult to make now this experiment was done at off-spec spectrometer at icis I will just show the results so at 300 Kelvin first the sample was ferromagnetic cobalt gadolinium was non-magnetic so at room temperature cobalt show should show a ferromagnetic nature and gadolinium is non-magnetic so when you plot the room temperature magnetic scattering length data along with the nuclear scattering data it looks like this so nsld is from the left side and magnetic scattering length density has been plotted on the right side so here it is there is no analysis of the reflected beam just the magnetic moment density profile we tried to find out and the red curve you can see the red curve here for gadolinium wherever it comes to gadolinium layer the magnetic moment density is zero and whenever we go to cobalt layer I can see a positive magnetic moment scattering length density so this is at 300 Kelvin now let us go down to 200 Kelvin when you go to 200 Kelvin you can I can assure you that there was a shift in the hysteresis loop and then what we find here that at 200 Kelvin the gadolinium and the cobalt the antiferromagnetically coupled at the interface understood but in this plot I have done r plus r minus and here it is so what I plotted is r plus plus r minus minus non spin flips for up and down non spin flip plots for up and down neutrons and this is how they looked at 300 k this is how they looked at 200 k but please pay attention to this part this is the spin flip what we have done actually I have plotted r plus minus r minus plus average spin flip here still the spin flip intensity with the given model of gadolinium and cobalt one antiferromagnetic to the other is very small there is not much of spin flip that means if this is the magnetic moment direction which is 500 gauss in this case the cobalt is aligned almost along it maybe few degrees this way that way and the gadolinium is aligned opposite to it so I have a cobalt layer a cobalt layer and a gadolinium layer so at the interface the antiferromagnetically coupled which makes it the hysteresis loop shift here this 200 k structure is between two ferromagnets which are antiferromagnetically coupled and the spin flip intensity spin flip intensity at 200 k is almost zero that means there is no normal company now let's go down further we have gone down to 125 k here you please know these are the non-spin flip intensities there is a spin flip intensity now the spin flip intensity is increasing and increasing because now your magnetic moment if this is the applied field is having an angle with respect to the applied field which can be broken up into two components two components so magnetic field has magnetic moment not the magnetic field magnetic moment has two components one along the field which is the cause for this non-spin flip reflectivity and it has got a normal component which causes the spin flip and we can fit these two and now please look at this structure which you obtain at 125 k we get something like a two-dimensional domain wall structure that means if I consider this is a gadolinium layer and this is a cobalt layer so one is that this is rotating actually it is I am not able to show it three dimensionally it keeps rotating and ultimately rotates and does a two-pie rotation inside the layer that's why I call it this layer behaves like a domain wall 2d domain wall domain domain wall and in case of cobalt it is again antiferous magnetic couple then it goes down rotates around the tree and then goes down sorry I am sorry because it has to go to two pi I have by mistake I have made it pi so it rotates and finally it comes back to the same orientation here here also that means I made a mistake if it's if I start from here it should be down then it keeps rotating two pi and then finally comes back as down so these are two pi domain wall structure and so this is what we show here and actually you can see in this plot that the magnetic moment direction has been plotted as a function of the thickness as you go from the gadolinium cobalt to gadolinium layer this is the in plane direction of the magnetic field which is 500 oz and you can see the rotation a helix getting created in this cobalt gadolinium structure this is a very interesting result in which by polarization analysis you can see below 125 you have got this component and I have fitted this and after fitting the spin flip and the non-spin flip components we decipher this structure a helix which is forming in this cobalt gadolinium multilayer it's a very interesting structure and possibly this is the only technique which can determine this structure without destroying the sample experimented so this is a two-dimensional domain wall and in case of 5k data we see the structure only in the gadolinium and the entire cobalt layer remains anti ferromagnetic coupled to the gadolinium layer so with this helix we see only in the gadolinium layer and we don't see the helix in the cobalt layer so that means 300 k cobalt is ferromagnetic 200 k both of them are ferromagnetic but coupled anti ferromagnetically at the interface that's why in both these cases we have only non-spin flip data then at 125 k we have got the helix in the cobalt layer as well as in the gadolinium layer in 5k we have the helix in the gadolinium layer and not in the cobalt layer this result shows the strength of neutron reflectometry polarized neutron reflectometry with polarization analysis and with this I stop here


What's up everyone, welcome back for more Exo's Heroes content. In today's video we're going to discuss Hero enhancement, the do's in the don'ts, and level of enhancement. But before that, if you want to see more Exo's Heroes content, please be sure to hit the subscribe button down below. Knowing when to enhance your hero and how to enhance them is very important in this video, especially when they dropped Update 2.0 in which we had a hard time clearing Chapter 11. So in this video, we will give you a step by step on the list of possibilities on how you upgrade and enhance your heroes. But before that, first of all, these are the do's and don'ts of hero enhancement. So number one is know the hero that you're enhancing, know what type of hero do you have because it's important in hero building and also on how to make sure that you have the right equipment, especially on garden stones. Also make sure that you have enough materials to enhance and lastly, don't waste your resources. Make sure that when you enhance your heroes, it's a one time thing or if you have scarce resources, make sure that you put them to good use. So the basics of enhancement starts with leveling up. So leveling up a character involves taking them from level one to level 100, but along the way, you have to enhance them, bless them, and eventually transcend. So there are certain stages in a character that you have to enhance. When you reach level 60, you have to enhance so that you can upgrade your character to five stars and also when you reach level 75, you also have to enhance so that you could upgrade or level up your character beyond level 75. Beyond 75, it's also important that you also transcend your characters. Then the only way to go up level 60 and 75 is through bless your character. So these are the basics in terms of leveling up or enhancing your characters. The next one in enhancing or leveling up your characters is through your weapons. So your weapons give you large stats depending on what rare your weapon is. Like for example, your rare gives you two lines of stats, but your legendary gives you three lines of stats. And ultimately your fated equipment or armor or weapon has four lines of stats. So you have to also make sure that you progress your weapons in your equipment in order for you to enhance your characters. Then the newest one that we had and that was given to us in Update 2.0 is Awakening or Awakened. So when you awaken your heroes, you will be required at least five equipment that are level 60 that are fated. Again, you have to have fated weapons for this one. Sorry, fated equipment for this one. So you have to level them up to level 60, all five of them. Then they will be consumed for permanent stats. The permanent stats that you see here on the right are very impressive in terms of a one-time enhancement, but the downside is you lose the equipment that was equipped to your character.  Aside from that, whatever garden stones that was equipped in those equipment, especially if they're in a set, will also give you Awakened bonus effects. But right now, I don't have them equipped here. But if you have them, for example, if you have six frost garden stones, it will be a plus 700 in the defense permanently. So Awakened is a high risk, high reward type of enhancement because you risk a lot of components, you risk a lot of resources, but you gain also a lot of stats. So that is it for your simple enhancement of your hero. The next set of enhancements will involve an FC or your Fate Core. So once you equip your Fate Core like this one with Deva, she increases her stats automatically. So if you can see her stats here, take note of her attack. It's plus 937.11. As we take off her Fate Core, you can see that her stats have dropped already. So once there is an equipped Fate Core, automatically your stats take off. So aside from that, once after you equip and also you try to enhance your Fate Core with Mew, stats also increase. So you have your Attack, Defense, and H-Win Combat Power stats increase. So for each enhancement that you put on that FC, I think for every FC enhancement, the drawback for this one is that there's an RNG to your enhancement. And as you go higher in terms of enhancement, the percentage drops. So from the the highest 70 drops, 5% every time you do an enhancement for the Fate Core. Again, it's also a high risk, high reward type of scenario, and you're so dependent on RNG. I'm not saying that you shouldn't do this, but eventually, again, be wise on who or what hero you're going to do this to. Because not all Fate Cores should be enhanced unless you're really using them for quite a while, or you're using them for PVP or for other content. And the last enhancement for your Fate Core is your Fusion. Your Fusion requires you to have a copy of your Fate Core, which is really, really hard to get. But again, if you just even fuse it just once, there is also already a big bump in terms of stats. So try as much as possible to summon for at least one duplicate or two duplicates, if you can. I think one duplicate is enough, but the more fusion you do on a Fate Core, the stats go even higher. And the last would be your Core Sharing. So for your Core Sharing, you can find it here in your Fate Core. So when you're new to Core Sharing, you initially have to open it with 300 ZS. And be careful when you Core Share, because the stats do differ depending on which Fate Core you're going to use for a certain type of hero. So try to browse through your Fate Cores. And based on what I've seen in my other account, normally for Fate Core Sharing, the higher the account for fusion for a Fate Core, usually the stats are much bigger. So let's say for example, if you've fused Lepin three times, so her Core Sharing stats are a bit more higher compared to only a FC Lepin who's only been fused for only once. So be careful with this because this is only allowed with one hero. And once you cancel sharing, you I think will be waiting for another six hours for this one to be shared or another Fate Core to be shared. So that is what we have covered today for Hero Enhancement. Well, it has played a big part in our game recently, especially with the recent update. People or players have been looking for ways on how to finish off Chapter 11 and so have I. I think the game is getting pretty much harder and harder, but I'm sure that we would be able to find ways on how to enhance level upper characters. The last, the last recourse would be to awaken your hero, but that would take a lot of mix, that would take a lot of resources, a lot of equipment, and also holy water of the universe. So that is I think the last recourse. Try to do the other enhancements first before you do your awakened hero. But anyway, that concludes this video. Let me know what you think in the comments below, especially on who you want me to highlight first in our gameplay and enhancement guide. You all stay safe and I'll see you in the next video. Warden out.


Yeah, NVIDIA, look I don't name my dog NVIDIA for nothing, there's a nice little dog section I should have called NVIDIA, but when I'm with Lisa, she actually likes to use the names Bug and Everest, doesn't really think it's right to use the name NVIDIA, because that's more of an adopted name, it's just kind of more of a moniker, but the NVIDIA piece this morning about Toyota is very important, everyone should recognize that NVIDIA is the leader on autonomous driving, and I know that Intel, what mobile I try to take that leadership back, so it will be interesting to see what Intel can do, but Jeffree's downgraded Intel to a sell, I do think that NVIDIA, they're involved with Volvo, they're involved with Toyota, they're involved, it's an ecosystem that NVIDIA is building, and I think people still, NVIDIA is still down from when left, when Citron said listen it's too high, I should stick with it, it'll be a roundinger, don't worry about it, and right now I'm looking right.


Hello and welcome to the session. In this session we are going to discuss the following question and the question says that a company A has $1.5 annual dividend, the company's stock trades at $25, another company B has $2.5 annual dividend, the company's stock trades at $35 compare the dividend yields of the two companies. We know that dividend yield is equal to annual dividend per share upon stock price per share. With this key idea we shall proceed with the solution. Given that company A's annual dividend per share is equal to $1.5 and the company's stock trades at $25, so the stock's price per share of company A will be equal to $25, this implies that dividend yield of company A will be equal to annual dividend per share that is $1.5 upon stock's price per share that is $25 which is equal to $15 upon $250 that is $3 upon $50 which is equal to $0.06, so the yield percent of company A is equal to 6%. Similarly, company B's annual dividend per share is equal to $2.5 and the company's stock trades at $35, so the stock's price per share is equal to $35, this implies that dividend yield of company B will be equal to annual dividend per share that is $2.5 upon stock's price per share that is $35 which is equal to $25 upon $350 that is $5 upon $70 which is equal to $0.071, so the yield percent of company B is equal to 7.1%. So now as the yield percent of company A is 6% and the yield percent of company B is 7.1%, hence we can say that company B has a better dividend yield. This completes the session. Hope you have understood it well.


Hi, my name is Jeanette Sargent-Hamill. I'm a gerontologist and an independent filmmaker with a passion for producing movies about elder and family history. I've been offering digital storytelling workshops in California and Hawaii since 2008. I'm currently developing an exciting intergenerational project for middle and high school age students called the Family History Project. We invite educators to attend to find out how you can introduce this into your classroom. Community television of Santa Cruz County has invited me to open another weekend workshop series which will be held on Saturday and Sunday, April 21st and 22nd. The Guide to Digital Storytelling session will kick off the series on Saturday morning where we will discover more about why it's important to document family stories, the purpose and goals of your project, how to organize and digitize photos and other media, and you will also see samples of other projects that will inspire you. On Saturday, I will also be teaching interview techniques where you will discover how to customize interview questions, how to develop an interview outline, how to compose a great shot, and how to conduct a professional interview. My book, Your Family, Your Story, a Guide to Digital Storytelling will be available for sale at the workshop. Community television will offer other workshops, including a demonstration of Final Cut Pro, uploading to the web, and others. The weekend will end with a free member networking session. If you're not already a member of community television, please join now to take advantage of special pricing for these workshops. Space is limited and early registration is highly recommended. We hope to see you all soon.


We've been going pretty hard all weekend, so I think she's just had enough and let go. Spectacular action in and around Malaga as usual, but it's not over yet. We've got three passes through here in the centre of the city, Langley Park Hagrid. Is this fighting my way through the food vendors? Not over for our teams yet. Three passes through here before it's all over for this year's Quiddtaga West.