Hello everyone and welcome to the next edition of the BioExcel webinar series. My name is Rossan Apostolouf and I will be today's host. Today we have prepared a very interesting presentation, something different from our usual webinars, and we will look into some software and techniques for visual exploration of biomolecular systems, in particular, using virtual reality. And it's my great pleasure to have today Mark Baden, one of the developers of these applications. For those of you who are new to the series, I'd like to give a very brief overview of BioExcel. BioExcel is a center of excellence for computational biomolecular research, which was established three years ago. It's an European distributed infrastructure, and we focus our work on three main directions. The first one is the development of biomolecular software, and we work with three leading software applications for molecular dynamic simulations. Many of you are probably familiar with it. We also had one of the most popular docking integrative modeling software, and also CPMD for hybrid QMM simulations. We are improving their performance, efficiency, scalability, and we extend applications with features. We also work on improvement of the usability and improving the productivity of researchers, for which we work with several notable workflow platforms, such as Canine, Comps, AlphaFax, Galaxy to device efficient workflows. And we also finally provide a lot of training and consultancy to both academia and industry by promoting the best practices and training the end users. In interaction with the wider community, we do via several different interest groups. We are there focusing on several sub-domains of the wider area of life science modeling simulations. For example, we have interest groups on free energy calculations, integrative modeling, biomolecular simulations for entry-level users, and several others. So I encourage all of you to get in touch with us to visit our discussion forums where you are welcome to ask questions and visit also our YouTube video channel where we have recordings of already almost 13 webinars. At the end of today's webinar, you will be able to speak directly to Mark and ask your questions. For that, during the presentation at any time, feel free to use the questions tab on your GoToWebinar panel where you can type your question. And after Mark's presentation, if you have working audio, I will let you speak directly. If we cannot connect, then I will read the question on your behalf. And you can always come to ask.bioxcel.eu to our discussion forums for further questions. With that, I'd like to present to you Mark Baden, who is a researcher at the Center National Modular Research and Scientific. And he is one of the internationally recognized researchers in the area of membrane protein modeling simulations, especially applying high-performance computing techniques and bridging the gap between molecular modeling simulations and bioinformatics. He's done extensive studies of membrane proteins in complex biological systems, large-scale simulations. And one of his recent areas of interest and the success are in the area of scientific visualization for which we have invited him today. And he has a lot of publications in high-impact journals such as Nature, Structure and others. And with that, I'd like to welcome Mark. I will now give him the presenter's screen. Okay, hello everybody. I hope this works. Presentation seems to have stalled. Yes, we see clearly the full screen. Okay, give me a second. I think I need to restart it. Okay, so thank you very much for the introduction, Rosen. As you said, my name is Mark Baden. I'm a researcher at CNRS in Paris in France. So today's webinar is about how to benefit from virtual reality approaches for the study of molecular systems. So first, I would like to express my gratitude, of course, for Biaxel for making this webinar happen and to provide all the technical support to implement it. And I guess you may probably have heard a lot about virtual reality lately because there's a lot of hype about it. But this is actually a new topic. So I would like to start to look back because this is not so new entry. As you can see here, early head-mounted displays, for instance, go back to the 1960s. That technology we are able to use today, however, that the hardware is new and better. It has many improvements and provides quite a informative experience. But the roots of applying virtual reality approaches to molecular systems go back to the last century, definitely. So here you have a few more examples of devices and setups that existed many years ago. For instance, down here you can see a room scale molecular docking installation. So these examples are taken from a PhD thesis that's referenced here. And at the end of the 90s, the most popular and widely used virtual reality device was the cave, which is kind of a room equipped with several projectors all around you. And you would be wearing glasses, like you can see here, and have some device to interact. One issue is, of course, the cost and the space necessary for such an installation, as well as the fact that scientists would have to schedule a cave session in advance and need to move away from the usual workspace of activation energy that's needed for that. Another general issue that still exists actually with the current headsets is the difficulty to accommodate several users. So typically, except for a few setups, only a single stereoscopic projection reflecting one user's head position is used to provide a fully immersive experience for that selected user. The other users would have a projection that would not be so immersive. So why do you read so much about the VR nowadays when it has been around for such a long time? I think there are several explanations to that. There are several combined factors that lead to the current situation. First, of course, we had tremendous progress in computer graphics power, much improved hardware in terms of latency and precision of the tracking. The form factors improved, things are not so heavy anymore and smaller. Of course, the prices dropped greatly. I mean, you just saw a cave which cost multi-million dollars and basically such a headset was quite a good experience for just several thousand euros, I would say nowadays. So the VR experience is nowadays much smoother and with a significantly reduced cost. Of course, one must not forget the software. So software-wise as well, the availability of easy-to-use software development kits and integrate with widely-used platforms is one major advantage. So Unity that's shown here is a platform used for designing video games and provides, for instance, access to many of the VR gear that you can buy nowadays. So much of today's talk actually will focus on a molecular visualization tool that we designed in my lab that's called Unity Mall which is actually based on that Unity game engine. So because Unity provides SDKs for most recent VR hardware, it was straightforward to actually extend our initial viewer with the VR functionality. So generally speaking, such game engines, they bear many interesting features for scientific software development. You basically use what is called a project, a single project, where you can generate builds for a variety of platforms among which standard executables for Windows, Mark and Linux, web-based builds, and so on. Further, more actually, the game engine helps you to hide the complexities of computer graphics programming like OpenGL and things like that and it facilitates the implementation of a scientist's ideas. So the majority of contributors to Unity Mall actually are not computer scientists but physical chemists or bioinformaticians. And actually, when you develop a such tool, you can run your application directly from within the Unity Editor, tune parameters on the go, and debug why it is running. So that typically shortens to try an error development cycle. Now, here's a first glimpse on how Unity Mall version of augmented reality implementations might look like. So on top you can see Xavier, our main developer, using a setup with an Oculus Rift headset onto which the leap motion is attached so that his hands and fingers are tracked. And then you can interact with the virtual molecular scene. He sees the same thing actually as shown here on the screen, but of course, immersively in 3D. Below you have an equivalent setup that uses the Vive headset so you no longer use the actual hands but some controllers of that headset for the interaction. And here on the bottom right is an augmented reality experiment using the HoloLens. Basically shows a virtual protein that floats in a seminar room. As you can see on this slide, the diversity of devices that you can use provides quite a range of implementations going from classicalization to augmented to virtual reality. So you can basically choose the degree of immersion and which type of hardware you want. So what would be the scientific motivation to use such tools in research? So this slide... Sorry, it was too quick I think. It was supposed to be an animation. It was not to work. Anyway, that slide is just supposed to show a user in front of his data, right? So I think that's one driving force behind visualization analysis of molecular simulation data to try and make sense of the ever-increasing data deluge and that we try to need to make sense from that data. Another aspect concerns the nature of the very data we are scrutinizing. So molecular structures themselves are complex three-dimensional architectures and to understand their shape requires adaptive stereoscopic if not immersive tools. That's actually not so new. And a long time ago in this galaxy people have used tools like this for teaching, for instance, to be able to convey this stereo 3D shape issues to their students. Because nowadays the need for such immersive data exploration is intensified because we have so many different sources of data of very diverse nature. For instance, databases are an emblematic example of the situation. Many experimental data sources are now easily available and they are usually usefully complemented by databases derived from in-circuit experiments such as microdynamic simulations. Here you have a range of such databases and they are often also combined through different sites that aggregate information in mashups. So my focus today will be mostly on static and dynamic molecular data in particular related to microdynamic trajectories. So let us first recall the typical molecular dynamics workflow. So you would typically start to produce your raw data on a supercomputer. Then of course you need to operate some data management backup and start to reduce that data to actually chunks that you can process that can be handled also typically in the lab because mostly people transfer the data first to the labs. And then the final data processing typically happens on end-user workstations where you have a basic cycle combining the visual inspection and data analysis making a decision for further processing visualization. My PowerPoint just got stalled. So let's see what I can rescue it basically here when it should have entered further processing. And of course if you do this cycle you might have some hypothesis and you might then move back and run more simulations actually and this goes on and on and on. And the idea now, sorry keynote seems to have some issues with this slide. So now why? So let's just look at here. So the idea then basically is to make this whole cycle interactive and to help to immerse the user in his data. And so finally substitute for the neighbor scientist to use advanced algorithms and interactive exploration tools to discover more obvious patterns in that data set. And this basically actually, the visual conceptualization does not actually stop there but it goes on in what I would call visualization driven scientific discovery cycle where you start from your raw data and you do this cycle to come up with hypothesis that you might test. And hopefully you could end up with some insight that you might want to publish and explain to your colleagues. And then again of course we need some visual tools to convey your insight to your fellow scientists and readers of your article or poster by designing of course the best possible representations and capturing the essential aspect of the discovery. So here for instance you might want to find the best viewpoint illustrating a certain feature of interest and so on. So what can we add to these processes? So I would summarize it as I would say immersion, right? So let me define what I call immersion here because that term has different meanings in different communities. First I would say immersion in the structural world of molecules which intrinsically are three dimensional of course and to every other spatial architecture is not trivial at all. So we are decisively helped with this task. The second essential aspect to this immersion is the possibility that you are an actor and manipulate the molecules or more generally speaking the data you're examining are just being a passive observer. So you can see an example here of an arcade machine that we built for hands-on folding of RNA molecules and that we provided to school children for instance. Or you may also know the folded series game that has also been used for research purposes. So before we further delve into such applications let us see whether there are any particular issues with these VR approaches. Because there are a few things one needs to pay particular attention to in VR and that need to be adapted for a good experience. You may have heard about so-called cyber-sickness which is a form of motion sickness. To avoid it, it is very important that latencies are as small as possible.  For example, in our case we had to work on the performance of our GPU shaders in Unity Mall to reduce such latencies. Another important aspect is to provide visual cues of the surroundings. For instance, biting landmarks such as a floor, a room, or skyboxes. That helps a lot to provide reference where up and down is and where you are in a virtual world. In contrast, if you imagine floating in space next to your protein that makes you sick very quickly. So I'm happy to report that we haven't had any cyber-sickness incident so far. With I would guess about maybe 100 people haven't taken a test drive in Unity Mall VR. The only inkling of such a niche has been observed when people have had this headset on for quite a long time at say more than 90 minutes. Then to improve the user experience in VR, it's also essential to adapt the software so that it can be easier to use and assist the user actually in the manipulation. A few examples are related to an optimized use of input devices so that the manipulation feeds intuitive and natural adaptation of graphical user interface and menu system to the VR context and for instance tuning navigation metaphors optimizing them to guide the user. The last intrinsic limitation I'd like to mention and I already alluded to is that some devices in particular the headsets are single user centric. So it's difficult to imagine you would have a group meeting with 10 people each bearing every headset but at least not in the same room. Of course you can unite other types of many people in the virtual scene and provide tools for them to exchange maybe even quite naturally using language and gestures but it's still very different from a meeting face to face which is why also the augmented reality approaches bear some intrinsic advantages. So let me illustrate a few of the points I just mentioned. So here's what I mean by providing context and landmarks for spatial reference which is important use for. You can see here a membrane protein with a five-fold symmetry. So we have a natural direction which is the symmetry axis and at the same time the direction is a function of importance because it is the ion channel pore of this molecule. So if you then define that the extracellular part of the membrane is on top then you have a clear way to orient the system up and down. This is also visible by the background skybox that actually shows the top with the sky and the moon and the bottom with this cloud which helps with the orientation. You can actually also use the information we just discussed for the navigation thereby making the navigation metaphor aware of the context of the protein that we are looking at and using this symmetry as a natural guide. So let us look at a few examples for that which are shown and illustrated here. These are four navigation tools that we adapted to this protein's context. First up here is an external exploration where it may spin the protein around its axis and they want to go up and down, close or further apart. Then for looking actually at the ion channel inside we can use an analogy with being in a lift that can go up and down along the channel axis and in addition it may turn around the axis. Or we can exploit down here the five fold symmetry. For instance if you were looking at an interesting site you could easily jump to any of the four equivalent size linked by symmetry for an easy comparison. And the last example down to the right assumes that you have selected a given residue of interest and then the software calculates the camera pass to get there and ends with the best point of view on that particular residue which you might otherwise take some time to find. So in these examples we did not change anything on the protein structure but you can also imagine some manipulations to help understand the actual topology and architecture of these objects which is shown here. So you certainly have come across so-called exploded views that are quite often used in schematics of machines. Yeah, okay, it's coming. And so we actually can apply the same ideas to a molecule in order to examine for instance interfaces that would typically be hidden from view because of the packing. So in our case a natural way to split would be just by extending the subunits of the protein away from the axis. So here we can have a simple demo with the five sub-units moving apart. And so you can imagine for instance in virtual reality if your head would get very close to the molecule and it could naturally open up so you don't bump into it but you can actually see that the sub-units are moving away and the sub-units are moving away and the sub-units are moving away and the sub-units are moving away and if you open up so you don't bump into it but you can actually examine the hidden regions the hidden interfaces. So this example concludes the VR adaptation examples and that brings us to how we explore molecules in virtual reality. So the most immediate application for VR is actually to look at these invisible objects as if they were life-sized artifacts that you can touch and examine. So you can get a sense of crowdedness, spatial relations interactions and so on. So in UnityMol we implemented Visual Exploration Facility together with an industrial partner using Biopharma in the context of examining drug-binding sites. You can see here the controllers and the user hose in his hand that are also represented in VR and the menu system that you can interact with through a kind of laser pointer metaphor. And then you can change your range of visual parameters, displace the molecule or actually just walk around the object to get the view from all of the sites, simple manipulations. And you see again we added a scene here a room to have this reference where the bottom is where the top is and so on, not floating in three space. Again I already mentioned this, this is very single user centric, but let us look at some possible extensions. So this is a capture of a VR session on ArtSpace VR, using a specific extension called altpdb.info, written down here, first developed by Tom Skillman. And Tom and another colleague from the US, Nick Cramer, were kind enough to introduce me to this platform. And so here we had a sort of Skype in VR around my favorite molecule. And so I am explaining, I think I am the guy in yellow if I remember well, I am explaining some features of the molecule, so you can see the head movements of the avatar and also how the movement of the devices is transcribed. So you can actually to point at features of the molecule and then what you cannot hear, you can actually have an audio exchange with a colleague just like in Skype. So it is quite natural to use this to discuss some molecule scene. So we should be adding such functionality, you need a model over the coming months as well. Of course, static molecules have you seen so far, fun for a while, but then one may think also about modifying and animating them. And that is basically the next part I would like to talk about. So the idea is of course that you could interact with the models while they still behave in a chemically and physically realistic way. So first, a natural way to apply this is in the context, for instance, of integrated biology. Interactive refinement of structural models, for instance, using available experimental data is a very useful tool for model building. So by combining the experimental data with the human expertise and interactive manipulation of an underlying physical model, you can, for instance, fit models, molecules into socks or cryo-m envelopes. That's particularly useful because experimental data is ambiguous and allows for several solutions. So the interactive assessment by an expert user is extremely helpful in trying to find the most plausible models. So the physical model, we actually found that cost-print representations are very robust for such a purpose. And we actually used these approaches now routinely also for training our students that's shown here as an example. We have put together a contest where the students have the task to fold RNA molecules from an extended form. They do it through interactive modeling in UnityMall. You can see some screen capture here. Interestingly, we found that they use quite different strategies actually than if you compare it to automatic approaches such as replica exchange and differences. So far, we implemented this experiment with a simple mouse and 2D displays because that scales to classroom setup. And the students already did quite a good job on the folding, but we now would actually like to see whether adding VR immersion will enable them to fold even the trickier targets. To motivate the students, they can actually upload their suggested results to server, kind of contest server, and then they can compare to the fellow students to get closest to the known solution. And that makes them want to perform better and continue. So translating such an experiment to VR is, of course, as a crucial point, which is how do we interact with these objects in 3D. So that's where the VR controllers come into play. There's a range of controllers that you can use. With VR, here we just show the Vive and the Oculus ones. In UnityMall, we actually use an abstraction library to try and provide a similar look and feel for the different controller types. Of course, then you can display the molecule, grab and put on atoms, or you could also implement more complex deformations if that is needed. So let's look at how an interactive and dissemination looks in VR. So here you can see the VR implementation. We have just a small peptide. It's actually in a water box, but the water box is not shown, and that you can manipulate with a laser pointer. You can select an atom, pull on it, or eventually pull on two ends, then you can unfold it. And at the same time, you have a few plots that update live to give you information about the energy, total energy, hydrogen bonds, and things like that that can guide you into manipulation. So this is just proof of principle, of course, of education. And once you have that basic functionality working, then you can start improving and make the use experience better. For instance, the jiggling of the molecule in VR is not always very nice, so one might think about smoothing the thing or other effects like that. Another type of modeling that you can do in VR, for instance, could be docking. So here you can see some protein-protein docking implemented in UnityMall VR. So here you have kind of, you will attach the proteins to the VR devices. You can get an idea of the energy that's actually displayed here close to the device. And you can also see hydrogen bonds, or sometimes when there are clashes, they're kind of like red explosions. And that helps you actually in trying to find a good arrangement. And I mean, this you can, of course, extend to many, many other types, but I think these are some very, very standard ones. Now, let's try to go back to the bigger picture. Remember, I started with this visualization driven discovery cycle, and I said I will talk about these simulations. So then, of course, one immediately might think about analyzing trajectory, trajectories, and data derived from and the simulations. So here's just some idea of how such a new interface might look. In the future, the idea is to integrate many of the current tools that we have in a generic VR-aware contacts to be able, for instance, to analyze trajectories and data sets while forming hypothesis. So here this is kind of a non-VR example where you work on a display wall at my institute. We use a database that is queried and corresponding protein structures are displayed in 3D. So this one is not immersive, but it can be used with multiple users. And you can actually combine it with a VR exploration moving back and forth. So you could imagine a single user first explores the system in VR, identifies interesting features, selects viewpoints, and then later on place them back with a group in front of less immersive hardware such as a display wall. So here you have a small comparison of typically 100 features of such a display wall compared to a headset. So display wall typically has higher resolution, it's larger size, but of course it's less immersive. On the other hand, it can have more features than the other, but you have no head tracking, at least not in our installation. So yeah, there's kind of trade-off and you can imagine that you can vary the right hardware for the setting that you intend, whether you would be in a working session with thorough people or just individually want to explore something. And then we then have combined with a tool we did at the few years back for trajectory analysis called Vitamins. And that's a tool that allows you to look at several trajectories at the same time. So here, since we blocked again, okay, what happens to keynote? Let me try once more. Okay, here it comes. So here you can, you have kind of like a video recorder or a metaphor and then you can cycle through here five trajectories at the same time. And this one was looking at wetting, de-wetting transitions of that iron channel I showed you earlier. The interesting thing is that all these plots are interactive. And so when you select something in one plot, actually this has an incidence on what you see in the 3D view and the analysis, the subsequent analysis that you carry out. And so then we started to experience a transition of such a tool in the VR context, using it in a cave.  This is the haptic arm that can move through the whole cave. And you can action the menus I just showed you in the Vitamins slide through a tablet, actually, moving between the 2D and the VR context, which I mean is not ideal because class and data analysis typically are tricky to implement in VR, but using an artifact such as a tablet makes this workable. And therefore we have also tried to improve that by designing an assisted tool, for instance, with using semantic links. So that's illustrated here. So here you would first basically define using ontologies, what a molecule is, what the analyzed data looks like, and how both are linked. And then you could do something, or we did use something like voice recognition that can trigger actions because they can be interpreted using these ontologies. For instance, selecting some molecules from the graph here, and then perform some further selections in 3D, and then update the analysis based on the selection you just did. And things like this. So this was an early prototype. And so we recently started to try and apply this to a research question, for instance, about the redox biology of a green algae called clammidomonas rhinology, where we actually modeled the full proteome of that algae to be able to make some structural interpretations to understand how these proteomic structures may explain the redox modifications of these things that occur in that system. So we actually would like to be able to predict such redox modifications from the structures, and then be able to understand that network. So for that purpose, we have been working on an immersive data mining tool as an extension to Unitymore. And so here you can see the underlying proteomic database on the left, which would just be projected through a web browser onto a plane into VR, that you can manipulate with a laser pointer metaphor. And on the right, you have the proteome network that you can also examine. We can then manipulate these abstract data. As you can see here, the network is manipulated, or here just experimental data that is abstracted. And what we want to understand is how certain redox modifications cluster in that spatial projection that we can choose. Different choices that we can have. So the first task in such a study would be to query the underlying database. Here you have an example of typical steps one would use. So you choose some data set here, nitrocellations that were observed experimentally on that proteome. Then we have made a further selection on the systems that are typically modified to look at the buried ones, and then try to see whether they have any particular secondary structure. And combining that with the visual inspection, we came up with a hypothesis that that may be linked to a specific fold of the proteins when the system is buried, so-called Rosman fold. And that we can then compare to a control data set that has other modifications than nitrocellations. Yeah, so here then you can click on one of the selected data points and have the view in 3D. And this is what the user would see here on one side, the database view on the other side of 3D view. So this is just requiring the filtering clauses. I just said how do we arrive on the data that we finally analyzed. And so afterwards you can check whether that hypothesis would be true by looking at the statistics. If you compare exposed systems to buried systems, you can see that there's indeed much higher propensity of data sheets in the buried systems. That seems at least at a very cost level to verify that that observation. So now how do we link this to VR? Actually, as I mentioned, this database and data mining tool is web-based. And so we then added a web VR feature to Unitymall. And so then on the web page, you have kind of an icon like this. And if you click on this, it would open any scene in a compatible web VR device. For instance, the head monitor display. So that was actually the last example I wanted to provide in order to hopefully get you interested in using VR approaches for your research. And so with that, I would like to thank you very much for your attention. And of course, also thank all the collaborators and contributors. You can see here a selection of many people, as well as the funding agencies that you have down here. And so I'm happy to take questions. And I think we can start the answer session. Thank you, Mark. So I will encourage everybody to use the Q&A Mark, can you show the last slide, please? Yes, yeah. Please use the control panel or go to webinar. There is a tab for questions where you can type it. And I will let you speak directly. I have a question, maybe some of our listeners are wondering whether the software is available to use and what is the roadmap, what is the license? Yeah, so right now, what we do is whenever a publication comes out, so we're about to submit a paper on the VR version, we release the source code that goes with it. And then while we work typically on the next version, we can provide some access on request and to the source code. And we always provide bills for whoever wants to use them. Thanks. The code is open source. And then people can reuse it in their project in any way that they like. Yeah, actually, I just saw that Jason has asked a similar question. I will try to connect with him. Hi, Jason. Can you hear us? Maybe he's... Yes, Jason wrote that his audio is not working. Anyway, he was... Jason Evans was also asking whether the software is open source and it will be exciting for people to get a copy of it and start playing. Yeah, so just in addition to that, so right now everything is open source and because we, as I mentioned, also work with several industrial partners, we're now trying to maybe enrich the licensing model so that people could make extensions like plugins or so that have a different license, which might be easy for them. But the core of the software will remain open source. How does it compare? Are there other similar solutions and software? Have you done some comparison with similar types of codes? Well, I think the difference might be that, I mean, you have several major visualization software around, VMD, Chimera and so on. And they all, I think, work or look at what VR can bring. And they have been around for a long time. I think we maybe had some advantages in the sense that UnityMod was a younger project. So we could really, I think, change the offer to be optimized for the VR content. So because there was less... So I think it's really, now the main developing direction is the VR version of UnityMod. It's really focused on that. And are there any special requirements for the hardware to be used if people start playing? The graphics card is very, very important. So we do run it on laptops, but typically we recommend something equivalent to a G4 GTX 1280 to have a good experience. If you have a smaller graphics card, then you get some limitations. Yes. So we have another question from Jonas Bostrom. I will let him speak. Jonas, can we hear each other? Can you hear me? Yes. Yeah. Yeah. So I think VR is extremely cool. And I wonder how you would convince conservative users saying the same. I mean, you can do all these things with traditional tools. Yeah. I mean, I think it's not a question of convincing. I think it's just once it is there and it works, then why not use it? I'd say if when people moved from black and white to color television, right? I think there are many few things we don't need to color and it's just gimmick or so. But once you have it, why would you not use it? Yes. Any other questions from the audience? Yeah. We don't have other questions asked. So I guess it's maybe some time next year when we have already full release and when we get to the stationings. Also easier for people to develop extensions. We can do a follow-up of the webinar. It would be very interesting. I'm looking forward to see more application of the tool. Yeah. Don't hesitate to contact me if you have any further questions also after webinar if you want to demo build or whatever. Please do so. So for everybody who is listening and recording this, feel free to get the treat mark to copy. Okay. Well, if there are no other questions, we can finish with that today's presentation. And I would like to let everybody know that we have two more webinars scheduled coming up in the next couple of weeks. So next week we are having Kaitlin Ballant who will present the Smirno format and Fossil format, which is part of the open Fossil initiative. It will be next week on the 10th of October from 4 o'clock Central European summer time. And then the first week of November on the 7th, we will have a presentation by Daniel Letzi from the Supercomputing Center, who will present the Comcess framework for development of parallel applications. This is one of the frameworks that we use extensively also in BioExcel, and it's very flexible. It's been extensively used for developing a very powerful workflow. So, everybody's welcome to join and please subscribe to our main list where we send monthly highlights from what's happening in BioExcel. We send reminders about upcoming webinars that might be of interest for everybody. So with that, I'd like to thank again Mark and see you again. Thank you very much. Bye. Bye-bye.


Hello everybody, welcome to my channel. Today I'm coming to share with you small envelope booklet. I hope I can call that this way I'm making my family lab book. It will contain all of family Photographies and I wanted to have there some Pockets opening and I was missing gear on this space something so I have created this small booklet Where you can write down some things you can glue there some pictures It has pockets and it has I'm gonna take off this ephemera's probably because it will be for our family Family pictures, maybe I will leave them there. I'm not sure yet, and it has loads of pockets here here and here So today I'm coming to share with you how I have created It will be on my Etsy, so I think it will be much more easy to have a look if you're interested to see how I Created the base for this lab book. It's already on my patreon. I Will put links down down below and I'm also planning to create one more of these books with step by step by step of how I Decorate it that book because that the decoration I made Off the camera Is it I mean I didn't do video with the decorations. I needed to try it myself So the base for this lab book is already on my patreon But the decorative part I will just do with the second lab book So today I'm going to share with you. I will have this one on my Etsy link will be down below It's three four four pages. There are some ephemera's and there are a Journaling pages this and this one and there is a cover for that So I'm gonna cut out all these pieces and then I will show you how I put it together So I have cut out everything I've got here those two journaling pages and I've got here that pocket and These are those two to those small pieces. So I'm gonna use those frames as a pocket for those journaling pages and this small ruler as a pocket in the flap of that envelope So it looks like this I'm gonna take one of these journaling pages. It's already folded half. I used T died Ranger distress ink To distress all these edges and what I'm gonna do I'm gonna fold on the cover I'm gonna fold these flaps inside Put that glue. I'm gonna put the glue here close to the fold on the pocket Not behind the fold but here on on this pocket, and I'm gonna take that journaling page and Try to place it like this make sure it's not Behind the fold So it can be folded this way like this here are corners for my journaling pages. So I'm gonna Cut them off and cut them off So I've got the first look like here I'm gonna take those second journaling pages and do kind of similar on that opposite side I'm gonna put glue here. I just folded it and Distressed with that T died Ranger distress ink I'm gonna place it here on that backside make sure it's not in the on the fold here like this and again Here are picking those corners from those journaling pages. So I'm gonna put it off put it off And I've got one Booklet another book come on down and I've cut here these frames And they are in the size of these journaling pages. So they can be used as pockets So I'm gonna Fold these sides. I haven't put these frames exactly. I could the long sides Exactly how they are on the picture, but here I left even that the white space that Between those frames, I left it there to have something, you know To use it to use it like those folds And I'm gonna put the glue on the bottom that you try But here that second one. I'm gonna do exactly same just fold that Side then measure the opposite side where I should fold it. I think it's somewhere here So I'm gonna put the glue here on the bottom and on the opposite side And glue it down So I've got two pockets here One here one here and I've got pocket here and pocket here and I've got loads of ephemeras to use for decoration I've got this small ruler So I'm gonna use that ruler like Slight spot. It's not kind of pocket because it's too small and I could get this long piece And here on the top it has a star so Where you can do it's cut the bottom of that star No from the middle Not that way hold it properly When you are trying to cut that star So I've got star like this And now I'm gonna fold the bottom and just slide it behind the star Like this one. I'm gonna use this ink and very easily You can glue it somewhere I think here it's good because it will also hold the ephemeras inside So I'm gonna put the glue just on the top I think my son So we did glue it here this one And I've got here so many ephemeras so they can be stuck inside. They can be used As decoration on pages To clip them there you can use these Decor Think I'm gonna click this here Slide it there and maybe this one here And I'm gonna clip it together again So I can slide something behind And this one here and you're flying everywhere Here I've got four labels so it can be at you know Somewhere I'm gonna put it to my Pocket at the front I'm gonna slide these two small here and As a closure I'm gonna take again Velcro closure, and I'm gonna add here velcro Cut here these half circles, so I'm gonna take one two two of these half circles On one side on the other side, and I'm gonna close it It's in the size which can be fit to do envelope, so you can send it as you know The penpal penpal envelope and it's not too thick Although these velcro closures they are thicker, but usually that envelope it's not too thick it has So many pockets and it will be wonderful even in journals If you will imagine to put this into your journal Maybe like this to glue it on the page and have this one as another pocket So you will have pocket with opening with another pocket here with journaling space with journaling space Here one pocket another pocket and another pocket here, so even for junk journals I think this one will be wonderful to add here and there, you know like a decoration I'm gonna slide it to my pockets because it's flying everywhere, and I'm gonna close it with that So it looks like this Thank you so so much for watching. Thank you so much for sharing your time with me today I hope you've got wonderful day. I will put all links down below for this collection for this envelope booklet and also for this base of this lab book we have created Have a wonderful day take care about yourself, and I hope I will see you soon. Bye


All right, next up here. There's no sounds, but really nice fluid animation, clean posing, some cool 2D effects, and a fun ending there. Cool. So if I go back here, what I like about this is the attention to detail with the slight move already. There's a lot of detail going into that, but then that's cool. I like that it just has that bigger move led by that arm, and because you move that arm, it pushes that body over for a little bit of weight shift. It just has a really nice clean body mechanics feel there. And then as you go into this with that, see, patient, nice drag there. You can see with that nice line into that, that really bends those legs into that. And then as many people do, adding 2D effects in there, nice little stretch, clean line, and that, again, the breaking of joints here for this. And I like how it just stays. It's already looking over there, getting ready. I love this here. It has a nice, really nice feel to that clean pose. And then we're going to stretch, going into that, forming this. And I feel like the only thing here, this is all cool. Watch this again from the beginning. It's all cool. It almost feels like this is a bit too slow. I always feel like you want to go up here and go into that sooner. So I like the rhythm here as just something where we hold this for too long, subjectively. All right, I'm saying this, you might watch this and go, totally fine, totally fine. That's the only thing. It just kind of loses its snap in that moment. But as you're seeing in other clips, you got that pose going out. Nice drop in the toes there as well. Clean pose down into that. Lots of 2D stuff here. Like I go straight into that pose. Now, this might not be completely in character, but you kind of need to maybe lean that head and start a Y rotation. Not that it has to be like a complete lead with the head in terms of, I'm going to look over there to drive that ball over there. But something that just may be a bit strong. I love this here. Tongue out into that. And since there are 2D effects here, just like in a previous one that I looked at, when it exits out this, they've been cool to get some stuff coming out there. But I do like that. It comes back in with to this. And again, we got 2D effect here. The cool thing too is that it's not just really nearly adding 2D effects, but you have, you have to think about, this comes in here. There's all that momentum going this way. All that goes this way. So when this hits, there's rightly so the flow of that smoke continuing to go this way. It's not just, let me just add something here that dissipates in every direction. It has the overall flow of going this way, which is, you know, this might be not important to someone, but I like that stuff. I like that there was thought put into that as well. And even that far away, boom. I like this. You got a really big squash and stretch in this here. Real clean poses. It helps with that color silhouette here. Lending into there. Probably I'm going to put this piece maybe over here, all the way there. So you don't have that darkness here right there where the top part of the costume is, we can kind of lose those legs a bit. Same thing, maybe a bit of a lighter background to not lose that section there. Which has an overall really nice rhythm, really clean body mechanics.  It's not just an arm moving that then is only affecting or nothing on the body, which is the arm moves.  That's going to obviously affect the shoulder. And if you move the shoulder, it's going to affect the chest. Because you want to move over there, it has that nice lean in the body to then come back into this and into that move. I just like that. Everything really feels like this is the way the body would move. Nothing feels CG isolated where, like I said, if you have, especially in this case, if arm moving that, there would be no animation there. Unless of course, the style is super stylized and limited, and then it's okay. But in this case, I like how all of this works together. Nice holds and the squash here going down just enough. This doesn't feel too fast. It feels just right in terms of weight going over all the bit for the change of direction to come back. It doesn't betray the weight of the character. Yeah, the only thing to me would be, this feels just almost lingering a bit too long in this section, their floatiness. Maybe it's because we want to see this turn and build, but I'll take a couple frames out of that. And that's really cute. And then just maybe pushing this a bit more, like I said, with the head. But that's all super cool. That's it. Next up here, we have a kind of a less is more type of thing that is absolutely fantastically successful. As I critique things that talk about things also in terms of my students and my content online, I always talk about sets and backgrounds and all kinds of things that will potentially help you with ideas and acting choices. And I love that this is basically just a character in the empty scene. And I love that it goes straight into my folder of really, really good animation that I want to show my students and everybody else where it shows that you don't have to have a set or crazy props. Yes, there's a staff. Yes, there's this that that is part of the shot. But you have already is a very concentrated look and nice, clean silhouette. It totally works from the posing. And then you have that slight adjustment with a nice kick out on the leg that goes into a hop there with really nice timing and also love the detail and the clothing there into that, which is again here into this. You can see there's also lack of motion blur. So that's a bit of a rougher type feel where it's almost steppy. But I love that look into that. And then what's real successful, I mean, I love this before we go into the actual main animation of the character. I love all of that.  It has nice, I love those little extra bits and that stuff is just so cool to look at. It blends in well. It has just a nice flow into that drop. And even how it holds that squash on the drop you watch is at the end just enough of it. It actually works almost better with the loop as it squashes. Then to come back, if you watch this, right, it's placed in the loop and then it comes back. But all of that works really well. But what I like about this is, hey, the flow is really nice. The timing is really nice. The poses are clear. You have a nice hold there to get into that again, clean posing. But the big thing is that this someone else had that in different shot as well that I looked at where it's kind of squinty in terms of the concentration eyebrows are low, but everything here close the eyes, which also cool. Not a lot of people have the characters close their eyes for that long, big compression of the eyebrows. Everything is always kind of compressed and smaller. And then it's there for contrast when this has to happen. It just wouldn't be as effective if you had always bigger eyes. So you have that nice pop in the life. How simple it is. Not simple as badly done, but it's just less is more. It's a really clean contrast of just those eyes getting bigger. And you can see if you look back and forth how little is moving in the character otherwise. You have a slight little eye dark down and then that little overshoot in the eyebrows to come back and see the little change in the mouth as well. It's just really, really well done, clean. So as much as I like all kinds of stuff in the background and following camera moves. And I love all that stuff and I love animating all that stuff. But when you just see something that's just clean and really nicely done focuses on really beautiful movement. And you can tell this by animating the mechanics, the timings there, the timing and the spacing is there. All really well done. And I love the extra tiny little thing at the end of that. Just those eyes there. So yeah, many, many, many elements here that work really, really well. And that's why I wanted to take this clip and highlight that one. All right, thanks. All right, let's watch this in full. There's no sound. I'm adding some sound effects here. And all right, not that sound effects are making me better. Now this clip, I'm picking this one not because there's anything to critique in terms of the animation because I think it's really cool. And if you go through, you have a good moment of even a little bit of a keep alive. I will probably give it a little bit of slight complexity in the head. It's just super big. It just kind of goes up in one axis and you can potentially just kind of go bit of a twist in there and maybe offsetting these where these are not so opposed to pose or all of that just opens at the same time. Other than that, there's always a clear view of the face as he goes back. I love the shapes here where you have that where you really feel the drag. The silhouette is clear. You got a good anticipation with big squash and then stretch. I love that it goes out and we linger to still see this with a little bits and pieces there for nice little detail. And then comes back out to reframe kind of lead the eye and the camera up there. I love that push shapes there comes down the good camera work. And the same thing you can frame through. You can see that big stretch and how that really feels like it's we have enough weight and mass to really feel that compression. That's great, great lines, great drag and all of this and like that at this point it turns but in still eye on the prize you can still see the eyes. Never obscured even at this point you still see one and again nice shapes there. Really nice poses.  I think all of that is really cool. The reason why I'm picking this because of the rhythm. I do like it starts off slow and it goes into just enough of a quick to give it a nice energy and then you hold just for a little bit of a pause and then I like that. I like the rhythm of and these coming out. It's not just him but you have those set pieces, those crown pieces here then coming in and then that. It's a classic thing of big event happening slow with that at the end but I like it. It's very effective. I like that he ends on that really nice pose and as we linger and as he's not moving there's nothing crazy happening here that will distract us from not seeing this. That's what I like too about this. The direction of lots of stuff happening here. Cool shapes with this then as we hold then nothing is moving. The eye can comfortably go over there to do this. It could be interesting to do maybe on this little on that maybe a cracks a little bit or something. A little piece goes towards him and that almost leads the eye back to him. It would kind of land here but because the eye went over there we're ready to look at this. This would be super picky but that's kind of that. I started to pick this one just because the rhythm is with the animation. It's really cool. The poses are cool but the camera work is great too. I just like the rhythm of it. It has a nice contrast and timing, good texture and good leading of the eye for that last event. Thanks. Alrighty here is another one with sounds. Let's play this the full. This is a cracks me up. Love it. Alright let's take down the sound here. The couple of things I want to mention here where I would push a couple of things a bit further. It's also because of the sound design but I do love the inclusion of her and to have that right there. I like that almost this drives the split screen even though it comes from the right. I think it might have been almost cool to start in that line. The thick line that follows then into like a thicker black line and then goes out left and right. This is super picky. I was really mad. It still works obviously. Watch this here and go it's so fast but kind of would have been cool because that rock would be the leading thing that goes into the split anyway. Love that and then you can see both of them attacking at the same time and I like that coming in. That already cracked me off. That was really clever. Now looking at the animation here and let's bring back the sound just a bit. So first of all I like the entrance.  It already comes in with it might say almost a bit of history like she is there's strain there might be pain but it's definitely not a happy face. It comes in telling us something happened before which is really cool and you got the drag in the body and then she settles their arms getting the more powerful pose getting ready there and you got a little bit of a dart very subtle here. It looks over nicely done with the eyes but then also a little bit in the head then you could have pushed a little bit then in the eyebrows just kind of give it an overall change but I do like that and I probably would have done eyes first the frame or two and then the eyebrows it's always a instinctual the dart of something that she senses and then it goes over into this but I love that we are using here the negative space so the cleaner brighter area than the rocks right so if you look at this it's dark it's got a color silhouette of this coming in looking over there she does her thing and then this happens the only thing here in real time where I feel like not that I miss it it's not like that I'm confused I can tell it's swinging or it's flying with that and then coming down but when I watch this here it feels just a tad fast it's almost like it's tricky where maybe you bring down those rocks a bit and you have a bit more of a clean silhouette because it gets a bit busy here with all of that going on and maybe having an area of either making that whole bigger or just rocks ends here and maybe continue there just something that would have cleared this up a bit and given us a bit of a different thing where maybe it might be higher and then it does a bit of a dip where you feel like the body goes down takes a cell there with it and then goes up into that just something where we have a bigger understanding of what's going on because right now it just feels like it's already I mean as you know as he steers it it goes up and goes down it just feel like this is also so close and then this is covered by that even though you have a color silhouette just something that is missing and then go straight into that camera move so to me would have been cool to give this just a bit of a clear view and even if it's just keeping what you have adding up two frames like a thing of just that rhythm that we can really tell there's a bit of a beat of I'm out swinging out letting go to then snap down into this but this is cool I like how dynamic this is with a big stretch here coming in and this is really cool I was a big fan that people really make sure that the character is aware of what's going on she is still here so as he comes down he's still going to pay attention to her this wouldn't be the head down all the time where it's just kind of concerned about the move only no no he knows what's going on the move just happens to be there for that moment they're going into this I think this is all really cool so the thing is if you listen to the sound we have to sound a bit louder here it's a lot of bass in my headphones so with that much energy here especially here with that sound away I just wish there was a bit more of an explosiveness in the moves I mean you have you have the jump the nice delay here in a nice stretch although it gets a bit funky with the color it's very similar and we kind of see this and I wish again the coloring would be different you have a cleaner color silhouette for that move we're starting to miss like at this point we just don't quite know where that leg is you know this is fast but even on the frame by frame basis I would try to keep this as clean as you can and potentially push this where maybe it would have brought up the hip a bit more to bring that leg up and then into a bigger snap down it's already fairly snappy I just feel like it's it's almost casual with that up and maybe what I've been going up and holding this and more of a hold where not much moves to really hold this in that clean silhouette here then coming down and same with this one here once you're down here especially with that bass I feel like it would have been cool to really shoot forward where maybe all the cloth gets pulled back a bigger stretch in the body maybe even more of a down as well so it doesn't feel like up here right and then we're stuck here like visually it's always kind of there and might have helped a bit to go maybe a little run down up maybe a bit higher then a bit lower on this again close back then to come back up just a bit a bit a bigger effect of coming forward with the body where it's such an explosion through this and that got to know is the biggest thing then going real time here it's okay but even this I could probably go lower I mean you have that you got the stretch but maybe experimenting with spacing wise but here you're gonna pop up a little bit and then even down down maybe that could have been experiment to go lower because then that would have really made sense for that amount of stretch if you if you go even lower through a crazy dissipation to really justify that stretch here to to go up there and then I wonder if you could take out that frame because we still have the body the foot here this already goes up here I'm curious if it would be from this to that that would make a bigger impact in terms of really popping out but you do still read this here I feel like that's almost a not necessary pose right there into that that's cool probably keep this arm that amount of negative space right there till the very end so you don't form a tangent there but cool pose all that's cool she is back in there too reacting a little bit of a forward move anticipation going back that's cool too closing your eyes getting ready into that push but maybe that could have been I might be not a bit out of character but maybe widening there I don't know if it needed even a bit of a snarl and see the teeth but feels a bit the same throughout besides the eyes closed maybe a bit more strain in there yeah into that and then maybe if you go here I know he's got a point down there but either going lower with the arms and breaking silhouette with that leg and then bringing that leg a bit lower to see more of the foot so that the foot is not hitting here and this is not forming a tangent so if you do a silhouette test there I can there's no lights here so I'm doing my squinty test right look at the silhouette this feels a bit you don't quite know what that is that could be pushed more potentially to either lower either lower arms a bit higher for the fire or lower to break that silhouette whilst you have a clean distinction what is arm what is leg with either breaking through or keeping a clear negative space area and then freeing that foot a bit and it's silhouette out maybe this way or whatever you want to do there that's that's elegant without foot out that much but that will be that again really cool idea is really neat this cracked me up to have her in there for the showdown and the duel here that's all very cool all right thanks next up you have a clip here there's no sound but it's stop motion it's very cool using the sticky bones armature here and that flight right there bam so cool big fan of 2d and big fan of stop motion it's really neat to see that in action that's really really like the timing of this there's a really good sense of weight especially right here rip yeah so cool I'm I'm so never do stop motion I mean I did in school years ago I don't feel like I should be critiquing this because I can't really talk about the technique and how to do things better the only thing I would say here is that kind of nice to maybe see that other arm come out here maybe that's a bit too twin there but maybe out down there with little hands something it's not super hidden maybe that is the point to bring the arm out the other arm comes out but I really like that the pivot off the feet here into this and then moving forward with that slight slipping here into that really nice line of action really shows how how nicely constructed the sticker rig is in terms of with the shape so it can get out of this look at that really nice clean posing here and then my big thing is also giving the character times you have this back the nice timing there into just enough hold right there go into this and then I love how long we hold here and go back for the thought to then to go into this love that it's just has a little bit of keep alive there and then we just kind of hold just for a little bit longer so again watch this in real time timing of this going in I'm such a big fan of this I love that they'll slip it like I said into that hold it's also a little bit of a head move there huh almost like a little bit of a oh what's up there kind of examining the area in front and just the timing of this this is a lot of time switching student work where the animation could falter where you just don't have the right timing or going up with the hold and coming down this is really successful I really like this you got your full extension on the legs nice foot roll here again showing what you can do with the rig where you can go into full um foot roll detail then using this to go up you have a nice little moving hold going back here I will probably say again I don't feel super comfortable stop motion it's like I can't do it at all but maybe cleaning up the silhouette bringing this out and maybe this arm is out this way to clean this up into that that maybe gives us a bit more room for a nice silhouette and then to that a nice camera shake there too and I love this too even the timing of the fall who watches it just has that ease into that move so he's out of that stop he's into that move bam then having that and even then the animation continues you can see here the maquette turns around to look at us it has that uh-oh what did I do type the thing and watch us again and it's very cool also get a little bit of that in here as it moves a little chain there going up and hopping over out there it's really cool to watch us again it's not super crazy in terms of you know it's let's do a razzle dazzle with 2d effects some kind of stuff it's just neatly presented and clean and really really good in terms of the posing the timing the weight and on top of that it's a motion that again it's pulls my mind so yeah wanted to highlight that and show that clip because it's awesome and I love it shout out to sticky bones all right thanks this one has sounds I'll play this with sound here it's very cool all right turn the sound off and this one I picked this one not mainly because it's 2d but it's it's a big part of it I like 2d stuff but I like overall I like the usage of space where the character starts in this area but then takes a couple steps to go over there does a little change you go back over there then another step over to then go into up and down and have a little bit of a curve out into this and then exit with that that already is a good usage of space this is all flat some really long perspective there so it's good to use that space to move around to not be locked in one area also like the elements here it's the way this is animated with the liquids it's really cool bam that's really cool the rock and then the fire and then it goes into the lighting aspect I like that it's very in a dark environment so that the light here on him can really pop out and then that's really cute into that expression and I love that we are exiting here where we have all little bits and pieces with the smoke there so there's a lot of bigger elements that are really cool and even if you go in there frame by frame I like the there's always a focus for over there goes up still looking over there there's a good little settle in the body going down I love how as he goes down already starts to take the shape here down of the liquid so cool love all that all little bits and pieces here with the highlights there with some somewhere's a light up there that creates those highlights but I'll like that a little it reminiscing not reminiscing but remaining curvature of that arc is still in there even leaving that out there even that with that shapes complex stuff in there it's really neat and then you have that flow that's coming out still moving that part of the cloth a little attention to detail here that's really cool like that all of that the timing of snapping up here without squash and then hold that's enough of a hole to give this you can see this here just that just that it's not super stuck in the air so there's a bit of a moving hold bam into the really two frames really not in terms of timing going in terms of just two frames of big poses that go into this and then even this doesn't just immediately go up but you have a little bit of ease out of that going into this so cool same thing here it starts to go over there and bam into a big move here really nice clean line there to go then up into this I like how it's even in this is not framing needs with the head there you can see the strain in the face then we got into that fire to this move just a nice flow that's cute too with that little accent there on the legs and that just in terms of complexities that we don't just land and go out in a straight line but you have that a little bit of a lean this way while this goes over screen left but then curvature into that exit again all the two effects are really cool nice stuff with the sound for bringing the sound back it's really great just enough sound design that it doesn't feel like the sound just kind of stops and goes it has those harsh edits just enough overlap the biggest edit is probably that and just ends but it still flows nicely and you've got a nice overlap in the sound with the ball rolling it's really cool just really overall really nice presentation nice posing nice action good flow and rhythm good usage of space and then top of that you have also the sound design so just overall really really well done clip it's really cool all right let's take a look at this one this one has sound so this one's cool it's always great to have sound in there too just kind of add to the elements of the shot same thing for this one as a previous one that I reviewed where there's not much really concerns me about the animation there's some really I mean it already starts off with an appealing pose all that stuff is clear I think sometimes the arcs could be just worked on a bit where it feels like we having a bit of an energy going this way just the flow of that but then kind of stops and goes straight down like little things like that just kind of make it ever so slightly more fluid but I like those elements here where you have multiple limbs you got your streaks there all that is great you got again clean poses the silhouette is nice all of that is great and sometimes again the arcs where it feels like we can just push the fluidity of those moves just a bit more and sometimes potentially avoid stuff like that where we might just see the elbow bend a bit more and it gets a bit of a short arm or potentially clearing this a bit more for a clear silhouette on the fingers but the stuff that I like and this is why I'm picking this one too is that it has really good elements in terms of what's close and what's far away to the camera so we have a really good look of the main character doing more detail work with the fingers and stuff like that here and then we can go back where there's more body mechanics it's a bit wider with the bigger poses and the camera's further back to see all of this which is really cool and then I love this that we go really far out and then you can really push the body poses into really exaggerated work and flow and I love this this at the end again you have big moves with the body but then it ends with this going out as kind of like an extra joke I love this it's this bigger element and I love him flying off the couple shots where people have have him roll off fly off but I like that that succession of elements here of close up into a bit of a better view of the body with bigger moves now with this and also nice implementation of 2d effects there but just bigger moves and the progression of close to far away with a surprising element of this of him of him of that creature that rock creature here going off and I love that too even the detail here of these guys and that being completely fused together so that when he starts flying off there's a bit of a delay in there in terms of picky things it could be something where instead of going straight up here I mean this was a part of the shake but even on that flying it could be something where he could lead into it a little bit and then that leads the piece there as well so that we can see almost a bit the separation and because of that that piece then goes over in the rotation as well so then follow back and then you have a bit more of a contrast of like right now that piece is in this axis for quite some time as you can see so it would be kind of neat to push that where we lean over there so that piece goes into this this and it starts to turn so you have that change in the flight path I think that would be a picky note on this but that's about that I thought it was a really clever presentation of all those elements coming together with this fun ending of that thing coming off and him and especially if you bring back the sound how he gets out here all right that's it thanks all right let's play this in full there is no sounds but there is awesome animation awesome fights and that is the end all right cool so the reason why I'm picking this one is because a it has cool animation but it also there are a couple elements that work and then some things I wanted to point out to anybody who's watching this where even on a fight like this where there's a lot of stuff happening a lot of stuff left and right they're constantly fighting there's movements I still would have some moments where there is a bit more of this I love this here as he fights and gets blocked by that you can see that sudden wow that's not what I expected with that look of surprise if you play this in real time even if it's short you still there's still a reaction to it and some of the things that happen here is that when they fight right there like for instance this even though he closes his eyes I wish that there was a bit more reaction and I know the arm goes back but something a bit more complex where maybe a side comes up more for a different role it's just a moment of maybe bigger pain just the bigger strain in that moment when they clash and even on something like this sure because we are not super close but we're close enough to see the head and I like the tilted horizon it has a lot of energy there but when you have something like this when this comes in into him we don't see the face this seems just a bit dead in the face but I wish it was just a bit more even on something like this when then he goes into that it could be closed eyes and a bigger strain in the neck and in the face to get into this and maybe potentially pushing the face more into just a bigger moment maybe again potentially closing eyes sooner to get that big contrast here which is really cool because then when you get into this one does that turn I love this here I love that he looks at him and then looks up like stuff like that is great just a few more reactions like that will be cool because even as he turns here he has that that's all cool I love all that love all that smear that bends breaks apart it's really nice swinging a nice momentum in how far back that arm goes but then it feels like it looks to the ground looks to the ground looks to the ground and just happens to evade it in it I know it's all short but I think there's just enough time when you do right through there to do a faster head turn where it's kind of like and you don't get me don't see the eyes but it'll be just a moment of oh this didn't work I need to look up because this guy is coming at me so I can invade him and even this will be potentially this will be like ah this is a bigger strain so open the mouth here just really selecting the moments to push reactions and even bigger strain again here it feels a bit because like he's on the bed it's like ah I'm stretching I'm about to get up versus like you know like almost the last attempt of a fight and even this here could be pushed again in the in the expressions other than that is really cool I think one thing that could be tweaked also is in the other guy some of the timing where after this it feels just a bit jumps in and goes versus comes down does this and then potentially a bigger preparation in his arms to anticipate to go back a bit so it's not just hovering and going forward but a bit more of a and that way and even you keep the length of the shot by having more dissipation then going back you can then take frames out of this to make this just a bit snappier it just feels a bit you know like a car versus a bigger bigger attack mode and that's that other than that it's super cool you know picky notes subjective notes as always but this is all super cool well done already let's watch this in full first there's no sound awesome animation as always and a lot of cool stuff here so right of the back what I like about this is that as you go from this there's already an expression there it's already in character where it's not default I mean yes you have somewhat of a twin pose that is part of the pose there and then going into that already shows a lot of contrast you already have a little bit of movement there which you can probably offset so it doesn't feel so at the same time and just arms and shoulders in there you can kind of make that a bit bigger but you can see a little bit in the body too it's already a little bit of fine detail there but then it goes into this the only thing I would say is again I'll probably anticipate this with a little bit of potentially a downward move on the face that then leads into this arm and then this arm doing their things it's kind of like almost with that arrow down into that arm it's not too pose to pose but I like that it goes straight into this where it's a nice line of action that I think goes into that move I could probably I mean it gives her a nice bend but if you go I mean a little slight slight move in the bend bows there curve those arm that arm a bit more out probably go a bit further out there gives a bit of a nicer flow into this but it just has a nice overall flow already into that and I think that I really like is this here so you have those sleepy eyes to some degree right then you got squinty eyes squinty eyes to some degree because it's just this concentration at the eyebrow and because that is smaller that gives your room to grow into this it's that bigger reaction if you had all of this already at the beginning it wouldn't be the same so that's really cute I like that yellow squash and stretch in the head and it's not just the head that reacts it's everything in the body you can see has that slight little change the arm goes up a bit it's like is that heightened it's almost visible in the hand as the hand goes from a lower position to a higher position so lots of little detail that's really cool and then it goes into wait a minute and like that all of this expression changes at the end yes that and let me instinctively do my move to do a change here but then you get into that nice stretch again in the face and again clean silhouette clean pose like this too where it's somewhat the same but not really it still has enough of a change there's also contrast in terms of that's not what my cursor was where the the height is let's go back here right so you go from this up bam into the other pose we were here before but now we're much lower so contrast overall not just in the pose but in the I mean yes this is opposed to the crouching but also just visually you are in a lower position there and then with this obviously in another bam pose clean silhouette going into that which is again all the different poses and I love this here that little stretchiness in here you can see now the bimbo's in full effect of that let's go now love that slight twist or slight twist rotation in the body so it's not super straight goes into that with a really cute expression it's a very appealing rig and this in real time has just that nice little contrast so I like the the bigger move right short big move big move ring move and again the timing is different on each one of those so it's not it doesn't quite feel like one two three you could potentially push it a bit more so it really feels more like one two three or one two three it's a bit of a bigger change but again big change or a big pose big move to quick move lots of little things that happened here at the end for like a really nice contrast and ends and that's that it's really cool


Hi guys, Kristina from Speak English with Kristina here and today's episode is very special because it is a real unscripted conversation in real American English between myself and my sister, Lisa. And this video is actually a part of my course, Understand Real American English. And in the course you get videos just like this one, real unscripted conversations between two Americans and you also get things like the transcript, the exercises, audio exercises to help you understand and decode what you hear in the video, a video lesson where I'll explain everything to you, pronunciation practice to help you improve your pronunciation and your comprehension and you get all of this for 10 different videos that will be included in the course. Now, today's video has no subtitles because the objective is to help you understand like in a real conversation, but if you want to get the transcript and all of the exercises to help you to understand, there's a link in the notes below where you can go and test the sample lesson from the course, Understand Real American English. Alright, so let's go ahead, get into the video. I'm really excited about this one because it's going to help you understand English in the real world. Alright, let's get it. Yeah, the class was fun with the little finger symbol thingies and everything. Yeah, you guys did good. Yeah, I did have fun. So how's your preparation for your hard rock thing coming? It's going good. It's really busy. I mean just because like I have to work too, so I'm working two jobs and doing that and it's kind of a headache logistically because we have all these different dancers coming in but they're all flying in at different times. Alright, where are they flying into? New Orleans. Are they all flying into New Orleans? All of them are flying into New Orleans. Who's going to go pick them up? Well, originally... That's the magic question. Well, okay, let me back up. Originally I was going to pick them up and then I took this other job so now I work during the day. So then Paul was going to pick them up but now he's brewing beer for the after party and he has to bottle it the day the two of them come in or it won't be ready. The day of the event. Can you bottle it like, can you bottle it up before? No. Because it won't be ready to come out of the tanks before but if he waits and lets it sit in there it has to kind of like cure in the bottle for a little bit before you can drink it. Because otherwise it's not good. Yeah, it won't be ready for the after party if he doesn't bottle it Monday. Got it. So two of the dancers are coming in or flying in Monday. So I think that Seisha, I think we've got it figured out that Seisha can go get them because she doesn't work Mondays. Is she the girl that was there with the black hair? No, you haven't met Seisha yet. She is the one that normally, she, I don't know why she hasn't been here this week. Other than she has like a, she has a scratch on her eye and it was like giving her problems because she wears contacts. Okay, yeah. And so she got something up under the contact. Like under her contact and it kind of scratched her eye and yeah. So her eye looks like she has pink eye right now and she is kind of miserable. Poor thing. So she didn't come to class but she is a hairstylist. Oh, okay. So the salons here are usually closed on Mondays. Yeah.  Yeah, okay. So she can go and pick up the people. Okay, yeah.  Well, it's kind of weird with this show because it's like two shows and one sort of. So like act one is like all the people who are coming to the festival and taking the workshops and just like local like students. Like students who want to participate.  Yeah, okay. It's kind of like a recital. Okay, yeah. And then act two is the big professional show that they, the instructors that are flying in. Okay. Yeah, they put up something fancy. Yeah, and they had auditions too. So like we were able to make videos and send them in to them and they picked some dancers to be in their show. Okay, yeah. So they're eight of us. They picked out the people who they wanted to dance with. Yes. Because they have the good skills. Okay. Yeah, yeah. So there's eight of us that made the audition. Oh, cool. Plus we have the one dancer coming from China. Yeah, okay. So she didn't have to audition. She owns her own school. She's like top tier in China. Yeah, yeah. You don't have to, you know she's good. Yeah, so she's coming there. And then in the first act, some of it overlaps too. Because like some of the eight who made the audition are also going to do their own thing in the first act. Okay, yeah. So there's a lot of people who will be like doing lots of different things. Yeah. Okay, let's go. Okay, good. How much of that conversation did you understand? If you didn't understand much, or if you wish you understood more, go ahead and check out my course, Understand Real American English. Try the sample lesson. Have fun with it. Do the exercises. Train your ear to understand these expressions better. And then come back and watch this lesson again and see how much more you understand. And then if you want to get 10 lessons that are going to be like this, then go ahead and join my course, Understand Real American English. Before we close the registrations on Wednesday, April 4th. And while you can still get the course at that special 40% discount of 87 euros. Alright, have fun with the course. Have fun with the lessons. And I'll see you next time.


We're here in road of Spain and this is the first port of operation for the Defender Europe mission 2023 and basically we're unloading the ship with all our equipment including CH-47 helicopters which you see here behind me, Black Hawk helicopters as well as all of the supporting equipment including fueling ground maintenance containers including all of our prescribed load list which is parts. My experience has been phenomenal I truly enjoy being part of joint missions like this and this this is my first one and I've always been wanting to work with another branch specifically like Air Force or Navy Marines. I have four to five cellars assisting the the Army unit and moving their cargo and their vehicles to be sorted our facility here in Rota. What they're doing is they're helping load they're helping transport and account for all these parts and making sure that they're hey hey they're get there safely they're well taken care of and they're maintained and so I think that's important and it just shows how we're here to support being able to just center here. So the Navy here in Spain has been absolutely great to work with all of the information we need to safely fly and Spain has been provided through them. I'm extremely proud of my team they in and day out they teach me new things and they're the subject matter experts. I'm just there to help guide them and show them what they need to do but they actually do it. They're the people putting in the time putting in the work they deserve all the credit. We will line haul it all up to the airfield and then we have a little bit of time to build up the aircraft to make them airworthy. There'll be some testing some maintenance test flights that occur before we actually take them up into the exercise location where we'll be executing mission tasks in conjunction with the Air Force, the Navy and the Spanish military.


Neder Karimkay my which is looking for the stories that may be of the most famous stories that are on our collection. I need to be contrasting in Egypt, at this episode, when I was living here, nearly 500% of my family is from India.  And I say, oh, thank you very much. You are welcome. You are welcome. You are welcome. You are welcome. And I, oh, thank you very much. You are welcome. You are welcome.