Hi everyone. I'm a dumb. I forgot to do the whole point of this break Sallow pack 350 was to give away mixer spots. So let's grab everybody's names from Sean and the Hawks down to rough We pulled this green Zion and some other nice stuff out of Out of the previous pack and so then I got distracted by that All right, so what are we giving away five mixer spots being given away? After so top five after ten five and a five ten the hard way one two Three and ten, so this is pack 350 top five after ten now first off from six down to 30 Thank you, but be a couple more opportunities again to that mixer if you want Excuse me Kim zoom in Mike tower Russell ties and zoom in again. Look at that So there's a top five right there. So congrats to you. You're in that basketball mixer a couple more cell packs to go Thanks for watching. Sorry about that kind of adding an extra video there Joe for jazzy's case breaks calm. I'll see you for the next one. Bye. Bye


Oh, there's the door gotta get through there There's no way. He's just gonna try to punch it. There is no way second gear does seem kind of OP But I don't I don't know man. Those look pretty secure. There's no way dude. Look at the look at the locks and stuff. Oh Oh my gosh, it's not gonna show us No


Alrighty, let's play this in full first. There is sound. You have no idea what it's like to be a card. See these horrors and do nothing. You have no idea what... Alright, now you're asking here the email about the character you're about to break down and cry and how to push that. Just quickly before I get into this. Careful, we are so edgy on this character here on the left. I think I remember it's been a while actually, but I remember we talked about this where either bringing the character more into frame or it could be over the shoulder so that it could be more balanced so you don't have to show the face, you don't have to animate anything. But right now this feels a bit awkward to be there and then once we cut there's a slight tangent there and then it's just also so close where I feel like this would be... I might have to go back into the previous review we talked about, but I think you'll be more comfortable to at least center it could also be on the left. I mean, maybe at least a bit more here so that we are within my clumsily drawn thirds here so that the eye could be... the head would feel like it's more concentrated here than so far on the right because it's not like the character turns around and ends up being here. That's why we need to anticipate the space here. So just that I think is going to help as well. The other thing too is that I think given that the sound is so elevated it feels like he's breathing a lot or sounds like... which I mean he is but the thing is I would just treat this as... you know, maybe it's just a really good mic or the boom operator like the mic is right there. I don't know, maybe it's something just over dialed but I think it's just too much in terms of what you're doing with the mouth shape so I'm going to turn off the sound here so just if you watch him hey this already pops it's a really big move over one frame and then after that it's like one frame down and then actually goes the other way it kind of locks and goes back there's no ease into this same thing here it's not as poppy here it's still pretty big though in terms of shape changes this gets better and then we get to this and I mention this just because there is a tone to this to bring the sound back it's not like he's yelling at the beginning it doesn't feel like there's a big yeah, something it's just... I think you want to keep the the emotional impact of the shot and kind of the tone of it and having this pop into this to me there's a disconnect where it's emotional and there's definitely a lot of energy in the voice but this is like a big he's going into a poo poo poo poo, weird it's so much energy in here that I feel it doesn't quite connect with the audio but then after that there's an odd pinching of the corners which some rigs have like this is something you can dial in to pinch that in but it's an odd shape for a breathing it's like a very intentional sound or a mouth there and then it continues and that's kind of what bugs me too is that I am suddenly distracted by this shape and I'm looking at what is going on here it's like this wavy thing where it starts to intersect and it just keeps going and if I put the sound back like to me this would just be and I know it almost sounds like where he purses the lips like this but to be honest I would personally ignore that and just keep it where let's go back even this mouth here like that is like a big big inhale then you have looking through the camera really offset lids and this open it feels like everything is dialed up way too high in terms of what is going on and again if you turn off the sound just look at him there's so much stuff going on the bottom part and it's there's also a slight look and feel to it as if this whole lower part is translating down versus a jaw hinge from here where we have a rotation and not a translate and I'm saying all this because you're asking about how can we how can we make this work where we can feel the emotion more the reason I'm saying all this because I am concentrated here I'm not looking here that's my issue there where I want to look into his eyes and feel the sadness and all of this but the problem is that with the profile in this nose it's kind of like my nose I have a bump as well like you can't see this so you're only stuck with one eye not that that's wrong wrong I mean you can do stuff and there's definitely examples of this but I think if you had something that's never really comes back doesn't even here it's like we kind of see it so to me it's like either you turn them around so that we see both eyes so that it's more ish like that you can push it maybe a bit more or you push it where it's always like this and we only see one you do see two or see one but this always kind of like am I seeing this like I always feel like lean over and see past that that nose bridge there and again I'm saying this so that we can connect more with this like I feel like the emotion is going to be sold more through that than this this to me is upstaging what's going on here there's too much movement there let's go back see these horrors because if you let's see if we can do this here I think what might help you is just to do this just concentrate on this let me just see how much we see here okay alright see you can see how much if we only see the top part how there's not much going on there here it freezes do nothing and I know we talked about this where he might stare off this is the memory it's not like he's processing stuff so you wouldn't have that many idards but I think it would serve you to and I don't remember if he did like if you film some reference you look find reference or better if you film reference and you act things out like what is going on do you is there anything where like this is also pretty high in terms of a squint this could also be lower so that through this section when he's here do nothing like this is imagine he is see these horrors see these horrors and you might have one or two blinks right like he's re remembering stuff and again I might go back and contradict what I said in the previous review I apologize I can't remember it's been a while I know we had some back and forth but looking at this now and the way this is animated my current suggestion would be to keep this see these horrors see these horrors have one or two maybe two darts not huge but imagine he is is trying to remember things right it's just processing stuff and that causes the darts he's looking like what happened and then he gets that imagery of the horror and that's when he starts to stare but imagine the lids are lower and even this could be I mean depends how far you want what you want to go with the eyebrows but imagine from here to this instead of having just the stare this is where he is mentally looking at the horror and maybe that's when the lids go up that's when his brows go and the furrow they go lower you might even bring in a little bit of a tear imagine like there's a tear forming in but something where like a few would act this out how would you if you're mentally just imagining that whatever horror image that he has in his head how is that gonna affect the character right so to me instead of just staying still and just looking out it could be also something where he might start here hold a bit this could be another idea where you just do this instead of all the way up here you're here and then as during this section where it's all quiet we're actually here and then he goes up a little bit more and he goes up a bit more it's almost like the imagine he's a certain headspace and mentally just gets worse and worse and worse and worse until he just breaks down and that's when we have this here you could also do something where see these horrors see these horrors like I said like darts and then it's just kinda it could also be a whitening could also go contrast wise where you start here and then slowly it whitens it whitens it's like the horror and the shock is going back in the brows go up the eyelids whiten and you know it's it could almost be like more than more than two eye darts but then it starts to slow down and then as the horror sets in and the lids widen and the eyebrows go up do nothing do nothing and instead of this do nothing you I mean you can go up but you close his eyes that's the big contrast right you go from squinty to big to closed that's your big contrast at the end do nothing it's almost like this is so horrible I can't look at this anymore mentally and everything is just so horrible I have to close my eyes this is too much and then maybe he can he goes back down maybe that's the moment where I said before maybe if you do more three quarters we see both eyes so it has more impact to see both eyes whitening at the end do nothing he closes his eyes and turns away in profile and then looks down he looks down he's almost like in shame he looks away from the other character that sits there if that makes sense I mean that could be a transition where you know imagine not that he's talking like this but that's kind of the feeling in his head as he's saying this he's kind of talking to him but then as he realizes and just do nothing that's just the worst part in him then he just wants to look away if that makes sense imagine he would say the whole thing like that and then he looks a bit more this I'm not saying you should change the whole thing for me mentally it's like he's talking to him a little bit then he's imagining what's going on so he stares away just pass camera and at the end and do nothing that's when he turns away here and closes his eyes but now imagine this is all taking place from this angle right so when he says all this he might come back up bit three quarter we see both of his eyes does all this eyes widen to full shock in his face and then he looks away head down profile so he looks away from from the guy here with his eyes closed that could be a way I mean there are many ways to do this as always I don't want to I don't want to dictate anything so I would recommend just act things out try different versions you can always email me with your references none of these counters any submissions so we can kind of decide maybe on some ideas that would be faster to act things out then block things out and then go from there alright thanks alright there's an email you can sign up you can start whenever you want you can submit whatever you want you get 16 submissions either way a like and subscribe would be awesome alright thank you


Our goal in this lesson is to describe the one lesson that emerges from studying thousands of years of monetary history. To do so, I'd like to explain why economists have forgotten history so that these lessons are no longer open to them. In the late 19th century, there was a battle of methodologies where the historical and qualitative method, which is natural to economics, was embattled by a new emerging method based on so-called scientific methodology, which wanted economics to be quantitative and mathematical and empirical and data-based. For various reasons too complex to go into here, the scientific methodology won out and economists have forgotten history so these lessons are no longer available in modern economics textbooks. In economists no longer study history, the question of how we extract lessons from history is also no longer available. So the issue is that it is not easy to extract lessons from history because history consists of unique sets of events which never replicate. So one has to analyze those events in a more abstract and theoretical way in order to derive lessons which can possibly be applied to future eras. The important lesson which arises from studying history is that theories are bound to their particular historical eras. Each theory emerges in a particular historical context and it cannot be understood outside of that context. And some lessons require analysis of a long stretch of history to understand and the quality quantity pendulum is one of these lessons. Here's this lessons about the nature of money which are not available in textbooks. The money is based on social and political and financial institutions which create trust and consensus on the value of money in the public. And this aspect of money is not available in textbooks. High quality of money is one which has high level of confidence and social trust. And one way to do that is to use actual gold coins which for psychological reasons inspire trust. But this solution suffers from many difficulties and the difficulties have been visible throughout the centuries. Critical problem with gold is that it's not matched to the needs of a monetary economy. In a monetary economy in order to produce something you need to purchase inputs, hire labor and do a number of things which require laying out money first. The production takes place later and then you sell your goods to get money. So without money the production process cannot get started. This means that if there's not enough money in the economy then the production active productive activity will suffer. At the same time if there's too much money then inflation will result. Now the quantity of gold cannot be controlled by the government and so it does fluctuate in both those direction and causes both of these kinds of harm to the economy leading to the instability of the value of money which is quite harmful to the economy. These preliminaries out of the way we can now turn to explain the quality quantity pendulum. A high quality money brings a lot of benefits to the economy and therefore efforts are made by society to create this high quality money. The simplest way to do so is to use gold but this may not be available in sufficient quantities and even when it is available, foreign trade may lead to its export leading to low amounts of gold within the economy and recession in the domestic economy. So throughout history people have attempted to find ways to expand the money stock beyond the supply of gold which is available. One of the standard ways to do so is to use token currencies where you take gold and you mint it, put government stamps on it. That has a lot of advantages because minted coins guarantee the quality and quantity of gold and make it easy to use for the public. The government also can control the supply of money by minting less or more according to the needs of the economy. And also if there is insufficient gold then the government can use what is called debasement that is the token gold in the coin represents the value of much more gold. And it can be exchanged for that gold at government treasuries. So the currency is a token for the actual value. It is the actual value of the coin is less than the value of the gold that it represents. The high quality money is created by the society then the pendulum starts to operate. The high quality money can be preserved by keeping strict controls on the stock of money. But once the confidence and trust in the mechanisms of money creation has been created then the benefits of creating more money are just irresistible because this confidence is not shaken by a modest amount of excess money creation. And so the temptations amount and excess money is created until it reaches a critical point at which the trust or the confidence built up painstakingly over a long period of time gets shattered and the quality of money is destroyed by the attempt to increase the quality of the quantity of money. Excessive money leads to loss of confidence and leads to instability in the value of money inflation occurs and this causes suffering to all of the society because the money is used by everyone and instability in the value causes harm to everyone. So then the effort begins to start to build a high quality money once again. And so this is the pendulum. Two lessons that we learned from this analysis of the broad sweep of history lessons is that this quantity quality pendulum is only desirable over centuries in any local period, 10, 20, 30 years, one of the two positions makes a lot of sense. We have a high quality money, then the advantages from expanding the money stock are so immediately obvious to everyone that it's the position of the one who wants to control the quality of money becomes untenable and everybody sees the benefits of expanding money. And so this becomes the both the theory and the practice at the same time when the money is low quality than the advantages of creating a high quality money and restricting and narrowing the keeping the control tight on the money is also obvious to all because everyone is suffering from the harms of low quality of money. So again, there becomes very strong and insistent and dogmatic insistence on the necessity of high quality of money. So in any local period of time, 10, 20, 30 years, one of the two theories seems dominant and there's highly convicted, highly convinced views from both parties. But over the longer stretch of time over the centuries, one sees both of these sides as only one of the two ends of the pendulum. The idea that becomes clear from this analysis over the centuries is that the economic equilibrium is an illusion, it can only be found in textbooks and it has no relation to reality. As Minsky put it, equilibrium itself is destabilizing. Once you have a high quality confidential money, the mechanisms to disturb this high quality by printing more money are inexorably put into motion and this cannot be prevented. So the money itself destabilizes itself. The lesson is that the psychosocial aspects, the social consensus is central to understanding money and this is completely missing from the textbooks. So throughout history, you find events, critical events which change the level of public confidence. Most recently, the euro was suffering from a lot of problems and uncertainty and stability until Mario Draghi, head of European Central Bank, announced that we will do whatever it takes to stabilize and preserve and protect the euro. And immediately after his announcement, the euro's value of the euro became stable and the markets became calm. About money from history is that these lessons are not available in modern textbooks because textbooks economists have forgotten history and therefore cannot learn the lessons from history and therefore I doomed to repeat them.


In this video, we are going to create the aliveness probe. So that's slightly different than a readiness probe. The readiness probe basically tells Kubernetes when the application has started up and is ready to start accepting traffic. Aliveness probe is a health check saying that, hey, I'm alive and I can continue to accept traffic. So slight difference, but very important nonetheless.  And when I come down here, we do have to set one more environment property. I'm going to come in here and say, and again, this is to enable, go ahead and enable that aliveness probe. So we're going to come in and say name, again, as management health. And this time it is aliveness state. And we'll give this a value. And just as before, we can come in here. And let me try to get this up off the bottom a little bit. This time we have a liveness. Again, we'll be using an HD2 get. Yeah, it's actuator health. And creatively, this is going to be liveness. So this is going to be our health check. I'm just going to double check the spelling there. That all looks correct. So let's go ahead and save this. And again, we can go ahead and apply this. I'm going to go ahead and fix this real quick. I'm going to pause the video while I do so. So came in, so I have a typo there. I have a quote instead of a colon. So very, very easy mistake to make. So I suspect this will work much better now. And we can see that that has been applied. And we can see that we have one instance terminating the other one starting. Go ahead and get this one that's starting up. Take a quick look at the logs. And we can see that we are up and running. And now we are up on 30.159. That is the port that this came back up on. Let's toggle over to Postman. Go ahead and send that. We can see that we are up on the readiness. Let's check the liveness endpoint. And we can see that is up as well. Come back over to the command line. And we can see that our application is up and running. Again, Kubernetes has now been configured periodically. Check that endpoint to make sure that the service is up. So we configured two things. One is a readiness. That is basically saying to Kubernetes that the service has started up and is ready to start accepting a request. The other one is a health check, the liveness. That tells us that the application is still alive and able to accept traffic. So if we look at our deployment, you can see here, this is the complete configuration for it. So we've had to set up three different environment variables. So starting up with to enable the health probes, to enable the readiness, and then also to enable the liveness state. And then we have the liveness probe. That is, they are both doing HDP gets against port 8080. And for the liveness, we are going to actuate our health liveness. And creatively enough for the readiness, we are actuating our health readiness, the two different paths that Kubernetes are going to be using to monitor our spring boot application.