Hello friends, one of the most interesting and popular lighter than air system that we come across is a hot air balloon and today we will look at how we do the sizing of a hot air balloon. But as an example we will take an indoor hot air balloon so that if any student or a team of students is interested they can actually build this as part of their exercise. So let us start exactly what is a hot air balloon it is a member of the family of lighter than air systems. There are various types of hot air balloons but the ones that we normally see are these ones which are the hot air balloons used for adventure purposes. As you might be aware a hot air balloon has a single degree of motion it does not have any mechanism to control its flight it can just go up and down and one can control the buoyancy of a hot air balloon by the lighting of neoprene burner on the bottom of the balloon. As you saw in the picture the cold air is heated by firing that burner and once there is enough hot air inside the balloon it generates buoyancy required for it to be able to lift itself and the payload which is mounted on it or the people who are carried by it as payload as you can see in the extreme right of the figure. Now you also have a possibility of indoor hot air balloons such as the ones shown in the bottom two figures the one on the left is a series of hot air indoor balloons which are deployed for decoration purposes and the one on the right is a indoor hot air balloon which is touching the ceiling of a mall or the covering for an indoor arena. So we can even carry a reasonable amount of payload in these indoor hot air balloons. Today we have to understand that the working principle of a hot air balloon is the Archimedes principle which tells us that the force of buoyancy FB acting on any body is the product of the density of the fluid in which the body is suspended the gravitational acceleration G and volume of the fluid displaced. So these are the only three parameters which affect the value of buoyancy. So just to sum up Archimedes principle tells us that if you consider any body which is immersed in fluid it could be a balloon containing hot air or any other LTA gas suspended in ambient air or it could be any other enclosed volume suspended in any fluid it could be partially or fully submerged in the fluid. Now when you have a situation like this then the fluid exerts an upward force on the body this upward force is uniformly acting at all the points at which this body is under contact with the neighboring fluid and Archimedes discovered through his very famous experiment in the bathroom that this force equals the weight of the fluid displaced. So this also applies to fluids immersed in other fluids too it is not just necessary that it is meant for a body in a fluid for example if you look at the bubbles air bubbles inside water etc. they all work on the principle of Archimedes ok. As you are aware an elective course on LiDAR thermo air systems is being taught at the aerospace engineering department of IIT Bombay. In fact the recordings that you are seeing are mostly the recordings taken during that course being conducted. As part of this particular course we give many assignments and one of the first and the most popular assignments is the assignment on sizing of rehab which is what I am going to take you through today. So rehab stands for relocatable indoor hot air balloon. Here is a summary of the problem statement. In this assignment teams of students are required to design fabricate and test an indoor hot air balloon which meets a particular requirement. We have a three story indoor fire in our lecture hall complex which is approximately 60 feet high. So the requirement is that we need to do the sizing of a reusable hot air balloon incorporating the effects of varying various parameters. First of all envelope shape. So no specific envelope shape is specified. The team members are allowed to choose whatever shape they are interested to work on. They can also choose any kind of envelope material that they wish to use and they can also use different kinds of fuels to create the hot air inside the balloon. What is the requirement? The requirement is that you should have a balloon which can have a minimum payload fraction of 15%. By payload fraction we mean the mass of the payload divided by the mass of the entire system including the payload. So for example if the hot air balloon itself weighs 200 grams and if we mount a payload of 50 grams then the payload fraction is 50 grams divided by 250 grams. So that is the meaning of payload fraction. So the balloon should have a minimum payload fraction of 15% higher, better and in fact the team that wins the competition is the one that has the highest payload fraction and also meets all the requirements. So what are the requirements? From the time the team is given the go ahead within 4 minutes the balloon should develop enough buoyancy to start lifting from the ground and it should travel and hit a ceiling of that fire within 2 minutes. The fire is located at a height of or the ceiling of the fire is located at the height of 65 feet or approximately 20 meters from the floor. So once we give the go ahead within 4 minutes it should become buoyant and then within the next 2 minutes it should hit the ceiling and then after hitting the ceiling we expect the balloon to cool down and come down and we want it to be recoverable without any damage so that it can be reused. So these are the critical requirements for this particular assignment. If a balloon travels only 10 meters or 15 meters and comes down then some marks are deducted, some marks are awarded for the distance that the balloon travels. So we look at first floor, second floor, third floor and ceiling. So I think you should have a mental picture of these requirements because all of these are going to affect the sizing of the balloon. Let us go ahead. What are the candidates for envelope shape? So one can look at several different shapes. For example, one could look simply at a rectangular cylinder with some frustum of a cone on the bottom, below which you put some kind of a wire and in the center of that wire ring you can mount the fuel which can be ignited and the payload can be stuck anywhere on the top or on the side of the balloon or maybe on the bottom of the balloon. You could also go for a hexagonal cylinder, these are the shapes which many students have preferred in the past or you could go for something which has got a conical hexagonal top and bottom as a frustum of a cone. The conical top allows you to pierce the air and go up quickly because remember there is a requirement to be able to reach the height of 65 feet within 2 minutes and sometimes if you have a very flat top then there might be some problem, there might be massive resistance of the balloon in the vertical flight. So therefore some teams have gone for the conical top and that is the one that we are going to use in the tutorial that we will do today to just get a firsthand feel of the sizing of the hot air balloon. One can also look for any miscellaneous shape that you are interested in, it is up to you. When you do this assignment there are no constraints on the material or the shape, you can choose what you want. What are the candidates for the envelope material? Well any material that is lightweight which can hold the hot air which can withstand the temperature and also be sturdy enough to be able to take all the loads acting on it and of course since we have to build the balloon it should be easy to seal it up. So one can use newspaper because newspaper is very easily available, it is lightweight, it can hold the gas in fact it meets all requirements except perhaps newspaper is easily combustible. So by any chance if the flame comes near or on the newspaper because of some drift or because of some sideward motion of the balloon then it will catch fire and then it will not become reusable. One can use plastic bags or the bin liners as we call them which are easily available, they are very lightweight, they can hold the gas and also they have some resistance towards temperature and in fact we have seen in our trials that some of these plastic bags are flame retardant. So therefore if a small amount of flame touches it can even sustain it for some time. One can also use kite paper, this is very popular, it is again paper but it is a special kind of paper which is used for kites which many students have tried. In fact if you place an order for a hot air balloon called as Akash Kandil during Diwali it is very commonly used. If you look at on Flipkart or Amazon you will find that one of the most commonly available balloons are the ones using kite paper. Another discovery is that a butter paper which is the translucent piece of paper is also very popular and it can be used to make the envelope. But in short there is no limit, there is no restriction, anything that you feel is meeting the requirements can be used by you. Every material has its own benefits and its own disadvantages. All right, to create hot air you need to heat it and one of the common ways of heating is to burn some fuel and collect the heat that is generated by it. So what are the candidates for the fuel? One could think of kerosene, so you can as shown in this particular example, you can soak a wick with kerosene and then just use a matchstick or any other device to lighten that. You can use a candle and that will create a lot of heat and hence generate the hot air. Remember you need fuel that creates very large amount of heat because you have only 4 minutes to make your balloon buoyant. The other option is petrol, highly inflammable, much better than even kerosene but very difficult to handle and also as you all know it is very very expensive nowadays. You can use candles because candles have wax which allows it to burn for a very long time.  But there are various other modes of heating, you can think of an electrical coil, you can think of any other method, so we do not impose any restriction. We allow you to be innovative and experimentative in these methods and you can choose your material, you can choose your shape and you can choose your fuel. The bottom line is that it should be able to generate buoyancy within 4 minutes, it should be able to travel a distance of 65 feet in the indoor fire in about 2 minutes and at the end of this it should touch the ceiling and then it should slowly come down and be recoverable that is all we need. Moving ahead, for example in one of our experiments we have used necron wire to generate heat but you know it becomes very heavy to have an on board system. Let us see how we can estimate the lift generated by a hot air balloon. So the simple formula is the difference in the density between the ambient air outside and the gas inside and the envelope volume which is the volume of the displaced fluid into G. So the density of air rho A will be equal to the local prevailing atmospheric pressure P A divided by the local temperature T A and the universal gas constant R and if you use P A upon R T A you will get the answer in kg per meter cube. Then similarly you can use P G upon R T G for calculating the rho G or the density of the lifting gas. Now the question is how do you calculate these parameters P A, P A and P G and T G. So for this you have to now devise some simple formula as well as some procedures which can be used by you. And also how do you calculate the envelope volume? This is from pure geometry so it should not be a big problem for you. Let us see when you go for the weight estimation because it is important to know the system weight and also the self weight. There are the total mass of the system consists of 3 components the mass of the payload which is decided by you. The only requirement as you know is that this total weight the payload has to be at least 15% of that. Mass of the fuel depends on what is your assessment through experimentation of the amount of fuel required to be able to generate buoyancy within 4 minutes and to rise within 2 minutes and hit the ceiling. And M structure is the mass of the envelope mass of the material and mass of any other thing that is mounted on the envelope. So 15% is the payload required and hence it can be shown that if the structure mass is considered as the mass of the envelope material and the base at which you put the fuel and ignite it. So then the first thing that you need to calculate is how do you estimate the M fuel. Or how much mass of fuel needs to be carried. So for that we need to first look at the sizing procedure. There are 2 possible approaches in doing this assignment. The first approach is that you assume some volume. So let us say you say okay I will start with a volume of say 20 cubic feet okay some number. So you assume some volume you select a candidate shape and then you do geometrical sizing that means you estimate the size of this particular envelope based on the shape and on the assumption of the material density and then you know the self weight. Then you start with lift estimation I will show you in a few minutes drag estimation weight estimation and then you calculate whether the lift is equal to or more than the weight and the drag. If you find that your estimated lift is going to be less than or equal to weight minus drag that means you have very little buoyancy available to pull the balloon up. So the payload weight is going to be basically lift minus weight minus drag. So the payload weight should be calculated. In fact the net lift written here is equal to the payload. If you feel that you have taken the correct volume and you get W payload is matching then you can just go ahead and fabricate. If you feel that it is too much higher you can reduce the volume or if you feel that I am getting a negative payload then you go ahead and increase the volume. So it is up to you okay the other way of doing it is you have to assume the fixed size that means you say okay I am going to make this particular shape of this particular size. This could be a limitation from the size of the material available in the market. For example if you are going to use butter paper as a material to build the envelope. Now butter paper is available in the market in some standard sizes right. There will be some particular width some particular length. Sometimes you have very long length you have roles available. So where you can say the length is quite large. But still depending on the width you will hit up with the limitations.  From the volume you estimate the lift from the shape you estimate the drag on the velocity using the velocity that it has to travel in our case it is 2 meters per second upwards. Calculate the weight then you just calculate okay what is my net lift that will be equal to lift minus weight minus drag. Then you can say okay is this enough for my payload? No please change the size. If it is much larger you would make it smaller. Generally you get a negative answer for payload so therefore you say okay we have to increase the volume. You keep on doing this till iteration and then you say okay we have finished the iteration. Now we have a balloon which has got enough payload the fraction is what we were planning. So then you can start fabrication. Remember you should keep some margin in your calculations always because when you actually fabricate the system you are going to encounter larger values of parameters.


As-salamu alaikum. Peace upon you all. My name is Rana Dajani. I'm a professor of molecular biology, originally from Jordan. I'm half Palestinian, half Syrian, from the Hashemite University. Currently, I'm in the United States as an affiliate with MIT, working on systems awareness and refugee education. In parallel with being a scientist, I'm also a social entrepreneur. I'm the founder and director of a program called We Love Reading that works on changing mindsets through reading to nurture change makers. The program has spread to 65 countries around the world and it empowers vulnerable communities, mostly women, to find their voices literally and figuratively to become change makers in their community while stimulating intrinsic motivation for children to become lifelong learners themselves. I'm also an advocate for women in science and recently wrote a book called Five Scarves, Doing the Impossible. If we can reverse self-hate, why can't we redefine success? Which was reviewed in nature and it's an example of a female scientist from the global south. I'm also the president of the society for the advancement of science and technology in the Arab world, which is a network actually of Arab scientists in diaspora and works to advance science and technology and higher education and research in the Arab region by supporting scientific human capacity building, development of academic and research programs and providing scientific, technical and material support to local academic scientists and universities. So we aim to catalyze and mobilize the engagement of scientists, professionals, NGOs, academic institutions and professional societies to advance higher education, science and research in Arab countries using the potential of Arab scientists in diaspora. And as a result, we actually spearheaded last year a global conference for diaspora networks and science because we are not alone. There are diaspora networks of scientists from every country and every region. So this conference was held virtually and aimed to enable science diaspora from all scientific disciplines, including basic, social, applied and humanities to come together with other multistakeholders such as governments, industry and media to learn from each other, share experiences, challenges and successes and then identify best practices that can make these networks more efficient in their work wherever the scientists are located and especially in their home countries. As a result of this, actually one of the highlights was a production of a science diaspora networks study, the first of its kind, which a report on the goals and functions in future so that we can learn from them. And also we launched a global science diaspora platform, which gathers together a global community of scientists from dozens of different fields and sectors and countries. And the mission of the network is to provide a digital space for scientists to connect, collaborate and grow their skills and expertise no matter where they are. We invite you to join the global science diaspora so that you can find a mentor or a collaboration, interact with other scientists on specific scientific topics or find job opportunities, grants and funding. As a scientist at the court and a human being, I want to call out to remind ourselves of what allowed us to survive as a species which our curiosity, our innate curiosity leads us to ask questions. And as a famous Nobel scientist said, to see what everybody sees but to think what no one has thought. And so the world needs every one of you because everybody's DNA is unique so there's something you can give to the world. So we urge you to have confidence in yourself, reach out to the people around you, try to solve the problems in your community using your skills and expertise and reach out to the wider network so that together we can create a better future for our future children and to make a better world. Thank you very much.


Welcome back everyone. I'm Peter Clausi and this is Investor Intel. Just when you think you know everything, it turns out you don't know what you don't know. And today, we're going to be talking with Ankur Resources and Stephen Borrego about that. Steve was kind enough to share me the slideshow earlier. Steve, can you start at slide 12? Sure can. How are you doing today? I'm good. I'm excited though. This is good. Slide 12 is what your company is known for. When people talk about Ankur Resources, they talk about your relationships and your corporate social responsibility. So this we do know. So let's briefly touch on your January 2020 press release because it matters. Sure, absolutely. You know Peter, I think it's really interesting right now you can't make an investment in your portfolio without considering ESG as part of the conversation. Every broker, every investment advisor has been mandated to look at these things and you call it ESG, you can call it social license to operate, you can call it social corporate responsibility. Whatever term you'd like to apply, the fact of the matter is that if you're not liked within the environment of communities that you're working in, it makes it very difficult regardless of the quality of assets to bring something forward. And we realize that especially in the context of Cambodia. We've been there for 12 years now and it's not very common where you can have such a strong relationship with the people on the ground within your local communes all the way up to the highest levels of government where your prime minister starts referring to you by name saying please be more like anchor, please do work closely with your local communities and try and bring positive impacts on the ground. And we took that to heart and we've always taken that to heart so since 2009 we've been doing it differently and we're very proud of that and in fact we've actually been asked to present our model at the United Nations in Geneva. So hang on, the picture on the right, the dental clinic, you actually paid to send a team of dentists over to Cambodia and work on the villages for free. Well it's not necessarily a pay-for-plake on a model here but look we identified a wonderful partner and it's a family business. I think there's three dentists within the family, three generations of dentists they came out of San Francisco and they've come to Cambodia multiple times now and sure what we do is we provide all the logistics and we help support and identify the various communes where we could bring their expertise to bear positively and that's the type of project that we like to work on. We've always felt that a partnership is the way to go. So whether it's a partnership with the local community whether it's partnerships with groups like this for a dental clinic whether it be bringing 40-foot containers of medical supplies into Cambodia these are ideas that Mike and Elaine Weeks developed from the very beginning of the company while we were a private couple and we continue to lead the charge in trying to find ways for corporate entities to do work differently. So yes, we brought dentists. We know that about Angkor. It's always the first thing that comes up. The second thing we know about Angkor is you're searching for gold and you have three prospects. You did a small bit of drilling at one of them and you have a larger program about to get underway. That's correct. So let me spend a couple of minutes here. I'm just going to back this presentation up so that your viewers get a chance to see some of the data and the details in sort of a logical method here. So we continue to have five licenses in Cambodia, northeastern Cambodia and we have approximately 1,000 square kilometers. It's 983 square kilometers to be exact across those five licenses. We own them 100 percent and in some cases what we've done in the past is we've brought new partners to bear positively, use their dollars to further the exploration activities on some of it and we've worked with Jogmec out of Japan on a copper porphyry on the Oyedao South license here if you can see my cursor. But today what I'm going to talk to you actually about are two licenses. One is called Andangmia and that's that blue license to the north. There's two targets in particular that we're working on. One is called Wild Boar and the other is Canada Wall and then this license to the south and it's called the Karniak license and the prospect in particular that we're working on is the Peacock prospect. Now it's really interesting Peter because Cambodia is not known for its production on precious metals nor on base metals nor is it known for oil and gas production and that's because it's only recently that these milestones are being achieved. So in late December Cambodia became an oil producing company our country I apologize where Chris Energy out of Singapore brought their offshore oil platform online. In Q2 of this year our former partner on this license it's an Australian company called Emerald Resources they'll be pouring their first Dorae bars in Q2 of this year which will be the completion of that full circle of identification of an early stage exploration license asset moved through the exploration process mining permitting building out the mine and pouring gold now Cambodia has modern mining in place as well so it's exciting for everybody because I think that really has positive impact not just on Emerald's shareholders but I think ours as well it shows that you can invest in this country so quickly we'll talk about this license in particular so this is the program that you mentioned that's just been completed it's a drill program it was a drill program that's right and Emerald had drilled 15 holes onto this target last year a year and a half ago I'm sorry and the best intercept was about 3.61 grams per ton over 8 meters it was an interesting target but it was an RC drill hole so what we did is we twinned that hole got direction and some structure data and that allowed us a step out so we extended our understanding around those initial results 600 meters is a short program and I hope to see some results back from the lab sometime in the next couple of weeks labs around the world are busy right now you know it's so true and we're very fortunate and I say it as sheepishly because I don't want everyone starting to send their lab their assay needs down to Australia and Southeast Asia but we usually can get a turnaround of around four weeks four to five weeks and that's pretty exciting pretty good right now the other license that we're working on is the Andalmia license that was that blue license to the north on the map that I showed you earlier and what we're going to be doing is we've moved our team from the cognac license to the south up to the northern license and we're going to be focusing on two targets the first one is the wild boar target now in early 2020 we actually had cores on the property out of Korea and they did a ground truthing program and they came back with some assay results that got us clearly excited and they were going to top in 55 grams per ton on some surface results we sent our team back in there in October, November once the rains have subsided and we came back with some great results on top of that high grading up north of 70 grams per ton now these are float samples we've never drilled the target but we've identified four key areas that we're going to be working on we've got a team on the ground doing further surface mapping and trenching along those four targets from north to south is about 700 meters my hope is that within the next two to three weeks we'll be finishing our trenching program our pitting program we'll have targets in line and we'll start a 1,000 to 1,500 meter drill program on the primary targets on the wild boar prospect cool so you're known for your corporate social responsibility we know that we know you're looking for gold but what I didn't know is that Cambodia is now an oil and gas country and you have licenses there so that part I'm fascinated by tell me about it no problem so in 2019 there was a little bit of information that was produced by the Danish Geological Survey and it was the missing piece really to our puzzle we've been looking for oil and gas potential in Cambodia for seven years so it's not like we just decided one day to get in a bed and say let's look for oil and gas it's something we've taken very seriously the entire management team has oil and gas experience and we've been focusing significant efforts to try and decide is the time right to move forward and in late 2019 we submitted our application for block 8 and block 8 became very interesting to us because essentially you have I'm just going to flip through a different map here you have oil production Peter all around Cambodia that's the red circles these red circles represent major oil fields and gas fields so here in the Gulf of Thailand you've got offshore oil production you have the Kulong Basin offshore of Vietnam and you've got the Korat Plateau to the north along the border with Cambodia and Thailand there's 23 TCF of gas in place here every major gas producer has a concession within this area and it often finds comparables the USGS group put together a report about three or four years ago comparing this to the Permian I mean it's a prolific area for gas production but why not in Cambodia? well this is the million dollar question and I think realistically let's just back this up to this map again there were some onshore concessions that were under ownership or with Jobmec and Petro-Vietnam excuse me and they had some licenses to the north that this is called Tongy Sap Lake they had three licenses here and they didn't do anything with them they sat on them now nobody has drilled a deep hole into Cambodian's onshore potential to date now our theory is that this might be a little bit overcooked you know I'm not a technical guide Peter so forgive me if I'm offending any of your viewers but I'd like to keep it simple overcooked means there's potential for gas so the liquid hydrocarbons is really our primary focus and I think that there's great potential to the south for gas as well and let's not forget Cambodia needs everything so right now from an energy production perspective Cambodia is keen to see oil and gas production coming online because they want to move away from coal production produced energy so at the end of the day they're very supportive of our work of the work of Chris Energy offshore here in this area in the Gulf of Thailand but just to quickly give you a sense as I mentioned just north of here 23 TCF that is a massive amount of gas in place when we found out through the Danish geological survey that the temperature levels were in the oil window that was when the light went off and we decided that block 8 was the area for us and it's also a very familiar structure it's called a four land basin and basically what that means is it's very similar to Alberta's oil sector so if you look at Alberta's structures you've got a mountain range you've got a sedimentary basin that butts up against that range and you've got a source rock underneath that that's your basic four land structure you've got in Alberta you've got the Zagros mountains we're smaller of course we're not proposing that the potential is as great in size and scope but there's certainly all the pieces that you'd want to ensure that you had the pieces to the puzzle everything appears to be in place in Cambodia and we're pretty excited by that you've got to have a section showing us that well you know there you go Peter you read my mind so this is a cross section of an offshore line of seismic that was shot just below that concession area and this matches up perfectly with what we saw from seismic to the north in that gas basin so if you see it to the south and you see it to the north and this appears to be all one big basin that runs that's been cut up a little bit through through some faulting over the millennia you've got really this contiguous basin that runs south to north all the way through Cambodia and we're excited to be the first ones to test it when will that happen? that was the question I thought you were going to ask so in early 2020 we were just in the process of our production sharing contract negotiations so we have to sit down with the Cambodian government we all have to come to terms of how this how this asset will be built out over time all the way through to production health pandemic hits and this is early March and airways start to close and we decide as a group that we would put it on pause for a period of time not dreaming it was going to be a year but it has ended up being a year and my hope is that we'll finish negotiations re-engage and finish negotiations starting sometime in March and take as long as we need to but we've obviously seen a very strong oil and gas market build up since it's low during that time frame during the health crisis so we're very excited to get moving on this okay so what's slide 11? slide 11 was back to where we started which is at the end of the day 12 years of experience allows for us to have amazing relationships and fundamental access to assets that I don't know if everyone would get because of the fact that we've done work the way we have we've told them what we're going to do we've done what we said we were going to do and we've always been transparent and we've worked closely with the local communities all the way up to the ministry and then the highest levels of government it's because of that great relationship that we were given the only access to an onshore oil block at this time no other company has an onshore oil block access to an onshore oil block in Cambodia today well that is what you're known for and you're known for the gold and now I will tell people about the oil and gas I find that fascinating Encore Resources trades as ANK on the venture exchange Steven Berega is the passionate CEO I suggest you look them up I'm Peter Clausi signing off from Investor Intel have a safe day thanks so much Peter for your time today have a good one


We're actually getting away 16 Teams or 16 spots in this break to give you extra opportunities to get in Basically guys once we do the randomizer for the giveaway top three names get into Chronicles basketball Whatever team you match up with and the next three get into Chronicles football So there you go top six get in to those breaks So this is team sheet These are Team winners and there goes for the winners there And we'll determine that a little bit later. So since we only sold 14 spots Basically, I was able to give everybody an extra free spot But we just got to do a randomizer to see who gets the extra two spots to make it 30 spots So top two names get the extra Third free spot So you go we'll use a dice roll for the giveaway and the names and teams with a status fat pack One of the seven one of the six seven times one two three four five six and seven seven times Alan and Martin so there you go you guys got extra third spots And we'll put a little double character signs there to see if that helps you guys out Determining if you win those teams and those breaks Now let's do the break really quick seven times one two three four five six seven down to Alan Murdoh one two three four five six Bulls down to the Knicks. All right guys.    There's a SGA rookie Kevin Hootier Key debates and Deandre eight So you know not bad. This is a LeBron's first year Lakers. So anything like that's always nice There you go Clippers and Phoenix So now switch scenes again Let's do the giveaway now guys. So top six get some teams in both of those breaks roll it That is Two and a four six times. Good luck one Two three four Five six Boom top six Martin Sean Martin Allen Allen and Christopher. So there you go top six get teams and the top three Get into the basketball break Which Christopher Allen Allen six years Lakers magic and then Martin you have the Titans Shawn the Panthers and Marma the Jets. So there you go guys coming up next is both of those breaks back to back Chronicles cereal box break then Chronicles draft picks. Appreciate you guys. Jasper's case brace calm


But before I get to talking about cartoons, I need to talk about why I'm going to talk about it. There's, you know, the young and fresh-faced innocents will come up and they want to be in the industry and ask you like, how did you get to where you are? And inevitably, I personally always deeply disappoint them because I have no idea how I ended up here. It's just been a series of accidents and somehow this is where I am. Especially as it is now. Which, if you've seen my daughter who's a teenager over the corner there, can not imagine what she'd do. Good times for cartoons and animation. I'll get in the future and I'll get back to some stuff that I didn't. I learned from my interest in animation and continue to apply to that. And there's a lot of interesting stories that have become more and more relevant to me as a bottom-up person. And that is the animator Chuck Jones. Does anybody here know who he is? You know who he is. Or at least you know what he did, basically. So Chuck Jones was in the art studios in the 30s, 40s, and 60s. He's there for a long time. He also created, like I said, you've seen Chuck Jones work even if you don't know who he is. He also wrote a couple creativity instruction manuals. They're really, really well written. And I realized how much that really, like, steeped into. I'm going to tell you some of my interest from his books. And, you know, in the light of what I'm also, hopefully, in the light of what you can get out of them. So the first thing I pull, the lesson I pull out of this, is this idea of digging with it. So Chuck Jones, in the 1920s, I think, kind of going into the 30s, often too, as our school's first row in class, the professor said, he carries around with me for years. I love it. It's so useful. I use it for myself. I use it when I talk. It's anything, right? It's a great way to start an educational path by saying, look, you're going to screw up. And that's totally cool. In fact, not only is it cool, you have to do that to get to the next level. It's a really great way of saying you don't have to come in here at a certain level already. You don't have to be an expert in this. This is a journey you're going to have to take it. Just, I mean, basically deal with it. But in a really encouraging way. Well, this is one of the things that Chuck Jones always pointed to in terms of how he learned to work through the necessary parts that were sometimes kind of tedious, of creativity, and bringing a project to completion. And he has another story about that. So as hundreds, he grew up in Southern California, so he had this really amazing advantage that he didn't know at the time where he could go down the street and watch Charlie Chaplin make movies. And he said, one day, when he was a little boy, his father came home and like blew his mind by saying that he had been watching Charlie Chaplin film a certain scene, and he kept not getting it right. And this is the quote. I'm going to read a lot of quotes in here. I'm going to read them. I'm going to use his words whenever I can. So back and visit him later or feel free to do that. But I'm going to make sure I read them all too. So Chuck said, one evening I lost faith in both my father and Chaplin. But my father came home and told us that he had seen Charlie Chaplin shoot a 15-second scene 132 times. And I think he gives him a little bit more in the book when he talks about it. He was like running around the scene and he's like supposed to follow, but he wasn't following the way he wanted to follow, and so he did it again 130 more times, over and over and over again. And little Chuck is like, why not do it right in the first place? He can't even learn to do it while watching his own movies. But then he goes on to say, it was the beginning of my understanding of the two primary rules of all creativity. The first is that you must love what you are doing. The second is that you must be willing to do the often dull and tiring work necessary to bring each creative endeavor to completion. And in that endeavor, only the love should show. There's a little bit more in this passage too where he talks about you watch Chuck those movies, you don't see it 131 times that he fell, or that he didn't do it right. You see the time you got it right, but it's also, it's not chance. He got to that point where there was 131 other takes that he did. This is a little bit of an extension of the first lesson is that in recourses of the same point, it's really hard to make things and it's really hard to learn how to do things the way you want them to be done. And there's no way through it, or there's no way around it, and just going right through it and doing all of that work.  I'm going to have too much. So to kind of wrap up this particular point, this particular story, is going back to Chuck Shaw's experience when he was learning at school, at art school. And he said that he had, it might have been the same instructor that I quoted in the beginning. I'm not sure it might have been another one. But he talked about this instructor had two critiques. So if you were there in class, and you were drawing, this instructor came up behind you. There were two things he would say. What would it be? It looks like you're having some trouble, which would mean that, yeah, maybe things are going as well as they should be, or that you wanted to, so he would help you work through that. But he said that the other critique, not so much a critique as an observation, would be having fun. And he said having fun was the best thing that you could have get from this instructor. That meant he could see that you were enjoying the process of what you were doing. This always really struck with me, because while the other two things are talking about reaching a particular goal, or getting to a point, this makes the point in itself that it's not always about having a goal. That maybe the goal is that you're enjoying the process, and that's all the goal that you need to have. And maybe that's okay too. I think sometimes it's really easy to get locked into, I need to get to a certain point, or I need to get this little expertise. I need to have this completed. I need to do this. And forgetting, you know, maybe the process itself is valuable as well. Maybe that's enjoyable. Maybe you don't have a particular goal on what you're doing, but you're going to do it anyway. So those three things together are how I learned a lot about process in many things, whether it was in my career. It's definitely something that I've talked about when I've taught code related things. All of these things. The fact that you're going to have to do a lot of work to get where you want to go. When I was a coding instructor in my last job, one of our mantras was you are not your code, which means that, you know, this is a separate thing for you. So if somebody is critiquing that, it's a reflection on you as a person. And these things have that same message to you. This is a process that you need to go through. It's not about anything that you're doing wrong. It's about what we're going through. And then also, maybe we should be valuing that process as we're learning. Even if it's, you know, not perfect, it doesn't have to be. Maybe it's just about us enjoying what we're doing. Another thing that I really picked up from Chuck Chen was this idea of valuing individuality and character. Has anybody seen this cartoon? Can you see it? Okay. It's Mark Anthony and he's the big bulldog and he has a little kitty. If you have not seen this, I think there's a couple of them. The first one is called Feed the Kitty. You should go look it up. I think it's online in a couple places. It's a really beautiful little cartoon about the bulldog who's a big, ferocious bulldog. He comes across this little kitty. He starts barking ferociously and the kitten just kisses him on the nose and then climbs on his back and goes to sleep and it melts his heart completely. The problem is that the bulldog, his owner has told him that he's not allowed to bring anything else in the house or he's going to get in so much trouble so he can't let her know that he has this little kitten that he's not falling in love with. So he spends the whole cartoon hiding the kitten and of course hijacing Sue and all of that. It's really remarkable to me because this is a cartoon about too many characters or animals who never speak. This is not like any other cartoons where they speak English. They never speak at all. The only person who speaks is the dog's owner and that's only briefly. I've seen people cry at this cartoon and I've seen people I mean me too. Like it's so... I don't know, it really gets to something. But just the fact of that the fact that we can have a six-minute cartoon about characters that don't even speak and yet we can get so much out of it that we can connect with it on that level that in itself led into another really important lesson for me. In this passage, Chuck is talking specifically about animation and how you would draw characters. He says specifically we are not what we look like, we're not even what we sound like. We are how we move other words, our personalities. And our personalities are shaped by what we think, where we come from by what we have experienced and that personality is unique to each of us. So even though we may not be drawing characters or having to think about how you would animate a character, there's a lot in here that speaks to how we interact with people and connect with people and empathize with people because this is true. Everybody is really unique and they're bringing with them all these background information, all these experiences that you may not be aware of. And so if we can find ways to think about that when other people are bringing in and think about what we're bringing with ourselves when other people are seeing that, I think that this is really for lack of a better term, we talk about some of this stuff in relationship with diversity and inclusion in our industry which I think makes a lot of sense. It's all about learning empathy and it's about learning how to bring in these understanding of the other people's backgrounds and have communications based around it. I've always figured that if we can respond the way that we respond to a cartoon about a whole dog and his little kitten that never speak to us, we should be able to find ways to communicate with other people and finding these common grounds and understanding other people's backgrounds and getting something just as valuable out of that. And that if we've learned how to do that then we get to mine all of the rich experiences that unique individuals bring to what we're doing our workplaces and our communities and everything that we're making and we can learn to communicate effectively and find these common ground then we can and we just have so much more to work with even if we're not bulldogs or kittens which is the ideal but we can't always get there. So here's another idea of respecting your medium. This is a really straightforward and arts and this goes back to a story that Chuck Jones told again when he was a young boy when he was younger his father tried a lot of get rich quick schemes and most inevitably failed. There was always be like some new idea some big build up and then the business would fail. The thing is in part of the build up what his father would do by a whole bunch of new stationary with a new business letter head on it and a whole bunch of new pencils with a business name on it. So when the business failed all of the Jones kids got deep nest drawing materials and imaginable they got to use these great materials but the thing is their father wanted to make sure he got rid of the stuff so he could go into the next business so he would encourage the kids to use as much as they can and he also said they were actually forbidden to draw on both sides of the paper he says no, you're only allowed to draw on one side and he said what if you were literally a da Vinci and you painted the Mona Lisa on one side of the canvas and the last supper on the other and then Chuck goes on to say nevertheless and perhaps, just perhaps he knew what he was saying he brought into focus the most vital role of creativity you must if you ever pretend to artistry respect your medium be it a blank piece of paper or a canvas and a touch bar sheet an uncard piece of stone or an unexposed for your film or unexposed for your film so this was, when he was writing this this was still really early to directly to what we do in the tech industry today for me this always made a lot of sense though a lot of my speaking career I've spent talking about the connection between design and development and talking about, you know, what it's like to work, design for a medium that is dynamic and moving and what that means in terms of usability and things of that nature so this makes a lot of sense to me and then this is one of the passages that correlates most directly to my career on a daily basis but it's very easy to translate into pretty much anything you do you understand the rules of what you're working with and the more you can understand that whether or not you think that's your exact realm the more you can understand the whole the better you're going to be able to make something effective with this going back to my earlier example so if you were maybe a developer who thinks that you don't know anything about design or don't understand the whole process or don't need to but the more you understand about the whole and understand what you're working with the better products we can make and also vice versa when it comes to disciplines so the next lesson I pulled out is the idea of finding inspiration and constraints and more in Brother Studios in the 1940s in that era when they were making cartoons so here's the thing about those cartoons we know a lot of them today because they're on television they re-run a lot, right? we have no DVDs now but when they made them nobody expected them to ever be watched again beyond the one time they were shown in the theater and they were really produced with the sense of back to those days if you were a theater owner you would order a package from a movie studio you had a feature movie, you had a newsreel and you had a cartoon it all fit into a nice time slot and they just needed the cartoon to round everything out other than that nobody cared the one and only studios in those days were animation studios were just an amazing bit of we don't care about what we're producing we just need a product to fit in the slot Chuck Jones in his book sells a very colorful stories about how they produce things in those circumstances but those things that always suck out to me when I read these books is the interesting thing that these bits of film they were not allowed to edit at all, period, there was no editing and if you know anything about film that sounds ridiculous, and it is all of the cartoons had to be 6 minutes long and so they had to plan it out to the second before they made any of it because there was no time to edit, there was no money nobody cared, like the producers are like we need 6 minutes of this I don't care what's in it, produce me 6 minutes and so as a director Chuck Jones has to think of every single second of an animated cartoon all the frames have out of the music everything went together at a time and he said later is that none of them realized that there were any other way of doing it none of them realized that editing was a thing that existed they just knew that this is what they had to do but the thing is you watch those films now those cartoons and their timing is impeccable the storytelling is impeccable because it had to be so there's a really strong lesson in that for me is that they were able to distill everything down to what it absolutely had to be and this is something Chuck said I don't know specifically talking about this but I drew the inference but he said the whole essence of good drawing and a good thinking perhaps is to work a subject down to the simplest form possible and still have a believable for what it's meant to be a lot of times I think that our inclination is to fight against constraints we don't want to be constrained especially us we don't want to do things we don't want to do we've got freedom we have power we get to make things with a client or anything else puts constraints on us that makes us do things in a way that we would not reach for in the beginning that makes us just not like things at all and I'm the same way but that's why I try to keep this in mind because I think sometimes constraints can create some really interesting things because it will force you to think more carefully about what you're doing and why so it's not necessarily always a good thing to have constraints imposed on you but it doesn't necessarily always have to be a bad thing either I think it's worth going through that process and thinking about maybe this is an opportunity for us to really distill the essence of what we're doing down to what it has to be take away unnecessary things maybe find better ways of doing what we're making or trying to achieve than we would otherwise come across seeing the cartoons that these slides are from somebody's very excited about that that makes me happy we'll get back to the goal of having you see current students after this this lesson is really a culmination of all the others it's everything that I've pulled together in terms of why these things mean a lot to me and I start this section off with another story that Chuck told this one is a little bit different I'm going to have to draw it out a little bit more like I said it was animating 30s 40s this was also the time that Disney was doing a lot of really influential stuff in terms of their shorts they started doing feature animation the first studio to ever make a feature length everything was going on and Chuck Jones obviously saw that this was really impressive wow nobody's been doing this before so he sent a letter to Walt Disney about that and he was like this was really cool thank you and Walt Disney wrote a letter back to him and he was like wow he was really proud of that letter he carried around for years so he could show everybody he said in over the years he wrote Walt Disney and other four or five letters and every single time he wrote a letter to Walt Disney wrote him a letter back and I got to a point in the early 60s Chuck said that he was I ended up just being at a place that was across the street from the hospital where Walt was nobody really knew at the time it was really close to Walt's death and so Chuck went in to visit him getting introduced himself and he said thank you for answering every letter I ever sent to you and then he said Walt Disney said something really strange and he said it wasn't hard you're the only animator who ever wrote to me and Chuck chose this story obviously this is sad this is kind of like wow this guy who changed the whole industry and the whole business of animation was able to reply to all the letters that I wrote to him because no animator ever wrote to him to talk about this sort of thing it makes my mind for a lot of different reasons it reminds me to always be appreciative of when people reach out to me or that I should reach out to people that I admire and do that but it also makes me think of just what kind of connections we're forging in our community in general I feel like I know that in my new career and I see it sometimes in others it's really easy to get so heads down in what we're doing or this particular thing that we're learning whatever it is it's really easy to kind of bury in it and forget to look up and see what's going on with us sometimes we forget to talk to other people not you guys because you're here at the conference maybe I get stuck going to the same type of conferences or you see the same people and you forget to talk about new things or you're not reaching out to see something new or learn something new I see this as an example of forgetting what else is out there and what other input that we can bring into our lives and our work remember to talk to somebody about something new maybe somebody you've never talked to before maybe it's at work or it's not at work or it's in a community or somewhere else there's so many things out there and I think this also goes to when we're thinking about education in general all of these things here are things that I picked up years ago when I was a teenager I was trying to work towards and I never got there I'm not an animator today it's a little funny that back when I was wanting to be an animator the jobs that I'm doing now didn't exist and now that I'm here doing these jobs traditionally I'm not an animator it doesn't really exist anymore so it's kind of like different discipline I learned how to be open to new ideas how to be open to learning new things and being okay with the whole process of experimenting and creating things without knowing exactly where it was going to end up if I had never succeeded I mean I've learned all this stuff so it's the fact that I actually kind of failed in that and focused on something completely different than what I ended up doing then I'm coming around full circle and learning all this stuff and so in terms of just being open and making sure that you're reaching out to everything that you possibly can whether you think it's going to fit into your path and your goal right now or whether it seems relevant or not or whether you think that person is actually going to talk back to you or anything like that reach out anyway the rules are simple take your work and never yourself seriously pour out the love and whatever skill you have and it will come out if you have a job that's just a job that's okay too what is it that you want to try has anybody had like an old hobby that you don't do anymore and everyone's knowing you think about hey I should do that again or like that but I'm not good at that anymore so there's no point or something like that it doesn't matter do it anyway it's not about your skill or anything like that this can be anything in your life it can be relationships with people it can be your job if that's what you want it to be chances are there's something there that you feel passionately about and it's really great to remind yourself that that's all that really matters and just go try it just go try something new or try something that you that you used to do that you don't do anymore or that you would always want to do and you thought you couldn't do some things like that so I said earlier that my goal was to get you all to go watch cartoons is anybody want to go watch cartoons now? maybe? and we achieved that but really my goal was to want to make you all go do something new and I know that's a really big, vague, grandiose but that's what I wanted to do anyway because why not? what's stopping you? it doesn't matter if it fits into your plan because whatever your plan is anyway you're going to get something out of it no matter what and until the end if you want to do something sincerely it's going to work out and it all comes back around the way it should be and that's really all I have so you know, Godspeed I'm just going to make the books a check room these are the titles of them they're pretty easy to find these are the only two that I've written the first one is a little orchestrate biography the second one has a little bit more about technical drawing and I was talking from because it's a long story website if you'd like to check that out, feel free do we want to chat about some things? if anybody has anything we want to ask or chat about, I'd be happy to do that for a few minutes it's been so much stuff alright, thank you