Okay. Can you hear me all right? Okay. Thanks for coming. So, we just converted all of these slides two minutes ago to PowerPoint, so I have no idea if this is going to work, but let's give it a try. Okay. So, I'm Dave Ferner. I'm Creative Director at Studio RGL in London, and we're making this little documentary up here. It's actually my first Blender conference, and really excited to be here, and excited to tell you about what we're making, and it's very much a we that are making it. Almost all of these talks, it's just one person standing at the front, almost always a dude, but actually Rosie, our producer, runs the company with me, and Una, who's from a live action background and is a filmmaker and editor, is helping out with this project, and the three of us have been working on it for almost a year now in pre-production, and we're being joined by all sorts of talented people and helped out by many others, and a few more starting once we're into full production. So, yeah, this is actually our first nonfiction work, so you can see the problem, right? We actually had to change the logo, so people trusted us more. If anyone can think of what this stands for, let me know. Cool. So, we're going to be talking about a lot of things, look development, art direction, technical direction, but what it all boils down to really is how to make something look cool. So, yeah, this is what you start out with, or rather actually this was the hard bit, the script, but we're not going to be talking about that today. So, you've got all your characters and all your scenes, so how do we figure out what we want it to look like? So, I know all of you are here today for technical tips, and I'm not great with technical tips, but I have one, and this is the only one, so you can go off and get lunch after this, and it's how to make something cool in two easy steps. So, hopefully this is going to work. Figure out what you want to make, and then make it. Okay, so maybe not easy steps, and you could probably break them down into sub steps, but the important thing is the order, right? Figure out what you want to do and then make it. If you start making it before you know what you want to do, it's great for prototyping, great for experimenting, but often you'll find the tool starts to guide you rather than you guiding the tool. So, we'll come back to this. Okay, so what do we want to make this thing look like? So, a lot of the talks have been in this green circle here, and a lot of the work that goes into 3D software, you know, radiosity, subsurface scattering is all focused on making photorealistic stuff, and then there's this little area some of you may be aware of down here, NPR, which if you look at the forums is pretty much just anime, but actually that's not what NPR means, it's just non-photoreal, so really everything outside this circle is NPR, including anime, and there's been some wonderful talks with different areas in this, deduce particularly, I think he's about here, so, and I've been thinking about this a lot actually, so this is from understanding comics by Scott McLeod, and what Scott's tried to do is figure out a space and kind of categorize stuff, he's got three poles from reality to the picture plane to meaning, and you know anime is here or whatever, but even he will admit that this is a massive oversimplification, there's no such thing, it's an infinite space, right? Everything outside of photoreal is up to us. It doesn't really help us in narrowing it down, because we've got so many options, so what do we want? We have our story and we need to come up with a look that supports the mood of the story, and as you may have noticed we're a really tiny team, so we need to come up with something that works with the team size, so obviously when you're doing animation it's nice to just doodle all the time, so you're doing story doodles all the way through, but you also want to know like what's it going to look like when it's finished, right? And I was sort of, so actually we started this thinking about this in lockdown and then I just moved out into this wonderful space in London, which is, it's called Miller's Junction and it's just a shared studio with animators, but also illustrators, graphic designers, photographers, poster makers, everything in between, really fun place to be, and it's actually, it's part of something called Print Club, which you can see at the bottom, it's a silk screen printing place, and first rule of Print Club is you've got to print something, and I think it's really good to get away from the computer every now and again, talk to some people, get your hands dirty, get your clothes dirty, and learn something slightly different, and one of the things you notice when you're screen printing is every color takes time, effort, ink, soap, and so these artists have come up over the century, it's been around, with really efficient ways of using limited color palettes, and kind of using tones and patterns, and I have this really interesting graphic language, which we don't tend to explore very much in 3D, so this just seemed like it would be really cool to explore it. So, yeah, the other thing that's really useful at the start of a project is sort of collecting a mood board, right? And none of these images is going to have everything you want, but they all have some kind of feeling that you want to get across, it's not something you could put into words, because if you could, you wouldn't need a mood board, right? And they don't all need to be the same artist, or the same medium, or even the same century, really, but they all kind of help you crystallize this look, and it's also really good to have something to refer back to as you go through the project to remember what was the spark that you were trying to capture. All right, so this is the sort of figure out what you want to do, and now let's go into more detail about how we actually make it. So the first thing you'll notice about all of these images is they look very unlike what naturally comes out of Blender. They're not, you know, really taking advantage of ray tracing or beautiful lighting, and in fact, there's a super limited color palette, like in the screen printing examples, and also these wonderful textures, which we think of textures as like we're going to UV map it onto something, and it's going to curve realistically, but none of these people are worried about that. So they're doing some really interesting things, and, you know, it's a cool look. So how would we go about creating something like this? Oh, yeah, and then we'd also be doing style frames the whole way through. So these are just quick mockups to kind of get a feel for how some of these techniques might come together. So yeah, once we've got a good idea of, you know, figure out what we want to make, then we're on to the making it. So onto some less arty stuff here. So I used to work with a load of programmers doing video games and stuff like that and sort of try to absorb some of their massive knowledge. And it comes in really handy with shaders, because even though it's nodes, it's programming. I know it's not quite as glamorous as art, but you can be an artist and a programmer, I think. So a lot of their tips come in really handy when you're building something. So plan everything. I didn't do this for the presentation. That's just for me. Label everything, right? If you don't have time to label everything, you definitely don't have time for what happens if you don't label everything. And then keep it simple. So human brains, mine especially, can't understand that much stuff at once. You don't want to be looking at a plate of spaghetti graph. So break it down into blocks. And then also once you've got a block that works, don't copy paste, just reuse it. Don't repeat yourself as the programmer thing. And you can see, for example, this is our palette. And that little 15 means 15 shaders are referencing it. So if we find one color is a bit off, we can just tweak it a little bit. So these are all part of figuring out what you want to do and then doing it. And yeah, so we because we want to do all these graphic things, we sort of built up a little library of basically the functionality you have in Illustrator. So these are all real-time EV shaders doing various bits and bobs. I don't have time to talk about them in detail, but we'll put up a link maybe on the comments for the video, and you can just download them and have a play around. So these are all like little building blocks that we can put together to build these graphic shaders. And so yeah, with this stuff, oh, that's very dark video, isn't it? We quite quickly are able to build up some really interesting looks. We figured out what we want to do. And then making it is actually not that hard. I've seen a few people, particularly in the deduce presentation yesterday, that were doing some really nice half-tone stuff. One of the things we're doing here that was kind of fun is using the object's location in the shader so it kind of sticks to the object while turning to face the camera. And you can do some really fun stuff. These are just us messing around, really. And you can see it's all real-time in the viewport. And you can get these very interesting shapes and patterns from very limited pallets. And then once we've got all of those, we can just sort of slap them on whatever we make. And it's going to look sort of cool. It's the hope, at least. So yeah, once we knew what we wanted to do, this was not that hard to do, to be honest. Okay, so we've got our color and texture. And then the next thing with the look is shape. And this one's a little bit more involved. So we want to go and look at some of these images in a bit more detail. And now some of these. So a few reference images here. That's George Greaves, Gratia Lam, Aisha Frans, of course. And I actually thought this was Fry Alder, but someone told me this is Norwegian for free entry. So if anyone knows who that is, I really want to know. But yeah, so all of these look very unlike what we're getting in our blender viewport. Not just the shading, but something about them. And it's helpful to really get in there and analyze what's going on. So one thing you'll notice is all the horizontal aligns, they're all aligned with the frame. So it looks very neat and graphic design-y. Same with the vertical lines. So we're already thinking if you've done drawing lessons, you might be thinking this is one point perspective, right? And it is. But actually, if you look where that point is, when you take a picture with your phone camera, that one point perspective is going to be in the middle, right? None of these are in the middle. That's way off to the side. Fry Alder's one isn't even in this presentation. It's like up in the sky somewhere. I didn't even know you could do this. So easiest thing to do would be not do this and then just go back to blender and carry on. But we decided what we wanted to make and we're going to make it. So let's figure out what we can do. So I think about this. Actually, remember the conversation I'd had years earlier with a guy me and Rosa used to work with the photographer, James Medcraft. It's one of his pictures. And you'll notice it's not one point perspective, but there is something weird about it. So it's two point perspective. So a little bit off the horizontal. But all the verticals are parallel and the vanishing point is way off in the center. So it's like way over there, below where you'd expect it to be. Now you can do this in post or you can take a big image, crop it off. But Medcraft is a purist and he would never do something like that. And actually the way he'd been doing it is with something called a tilt shift lens, which is designed to do this exact kind of perspective distortion that these artists are doing it intuitively. And once you know what you're looking for, this is actually in blender already. It's just a button you have to drop down. Apply that with the graphic shaders and you know you've got something that looks really interesting and very unlike the stuff that you'd naturally think would be coming out of a 3D program. But the 3D program is actually the best way of doing these and they're just really fun, right? They have this, wow, these are way more zoomed in than they're supposed to be, so you're only seeing quarter of the image, but thanks PowerPoint. But you get the general vibe, like we've already got something that's quite unexpected and very interesting. So we got it. Except we didn't quite because there's still some more really interesting ones. So this is Gracie Lam again with a different perspective, Tally Bear, Dominic Kesterton, and if we look at these, sure, the horizontal is horizontal, vertical is vertical. There is no vanishing point, like completely parallel, which again gives it this weird atmosphere that's really cool. So easiest thing to do would be ignore this, carry on, but we decided what we're going to do, let's do it. So, and actually this goes way back. So this is a thousand years ago, and you can see that this is a Chinese painting, but Japanese painting also does this. Vertical is vertical, and you have all these parallel lines, right?  Did they not get perspective? But actually when you look at that, literally the bigger picture, they're working with a 20 by 1 aspect ratio, so perspective would look terrible, and actually this is much better way of doing it. And it has this weird feeling, like those of you that grew up in the 90s might be getting like a weird nostalgic feeling from this perspective, or maybe a violent feeling, because all of those side-scrolling beat-em-ups did exactly the same thing. And for the same reason, like, you know, 10 centuries later, it's still a very good projection for this exact problem. But yeah, so we're interested in this weird vibe that it gives you, how do we do it? So a little bit of research, a little bit of maths, it becomes obvious that you can do it with kind of an orthographic, but you need to skew it or rather shear it. And you can kind of fudge blender to do a shear by rotating non-uniform scale, rotate back again. And once we know what we're doing, it's actually not that bad to do. So this is really running nicely, it's not even geometry nodes, it's just an empty and when you parent stuff to that, you get this funny little thing. And you can see it's got this horizontal axis aligned, vertical aligned, and it has this weird motion sickness vibe that I absolutely love. Not everyone is going to like that. And you can see that we've thrown on all these graphic shaders from before and we're already getting something that is quite close to what we wanted to make. Oh yeah, so we don't really have time for this, but I'm going to throw it in. So I just didn't want you to think I hated anime. So I used to share a studio with some 2D animators and they do some very interesting things with perspective.  And it also made this funny little tool for doing curvilinear perspective grids. It's an open source thing, it's around somewhere, this is before I learned Blender. And so 2D animators use this to kind of, they draw there, they draw there and they pan the camera across. So this one, for example, has two vanishing points opposite each other on the same bit of paper, which of course you can't do with straight lines. And what you do is you draw something cool on that vanishing point and then draw something cool on the other vanishing point and then move the camera and it looks like a 3D scene, but it's really just a flat image with curved perspective. And anime does this incredibly all the time. So that one we made, but the rest of anime, I actually don't know that one, anyone know that? But kill or kill, watch what happens with her elbow there, red line. And this red line example is incredible. So pushes the button, speed boost, and then I don't think there's even a word for this kind of perspective. The whole film is like that, it's amazing. And they're basically like we know with perspective smaller stuff is further away, but you can play with it and there's no reason we can't do that in Blender. Once we know what we're trying to do, we can just go ahead and make it. This is just messing around, but instead of smaller is further away, these are just like smaller is further away and dips down or smaller is further away and tilts to the left. You can do smaller is closer and bigger is further away. It's just in geometry nodes and then a little car in there. And I would love to see this with some anime shaders on. So if Dylan Goo wants to grab that, just throw some cool shaders on there. And yeah, who knows? Could be cool, right? So once you figured out what you want to do, actually doing it is kind of the easy bit back on track. So we've got our little scene. Now I need some people in. So again, we had the mood board and we're sort of going through figuring out what we want and what kind of characters are going to tell our story and fit in the scene. And yeah, so these are really graphic, very simple and it's pretty standard Blender stuff, you know, just build it, rigify, throw the shaders on. One tricky thing though is the faces, because you see the very graphic. And we played around with a couple of standard ways of doing it. We'd love to do it in grease pencil, but it doesn't quite wrap nicely around the head. If we had more budget, we could do it in meshes like they did on sprite fight, which is incredible, but we don't have the budget or the skill to be honest.  I'll be honest, it wasn't quite as easy as I thought it was going to be. And Rosie was like, Dave, are you okay? And I'm just getting deep into the Blender forums and weird bug reports and finding the limits of like, for example, EV can only take eight inputs from the object info node and really esoteric bugs, which culminated after about a week's work in one new line in the Blender manual, which is my proudest achievement. But eventually we got this working and it's pretty fun. So it's just a shader for doing cartoon eyes. And I got it a little bit carried away because I was like, whoa, this is cool. You can do all kinds of eyes. And we have a lot of different characters. So I was like, we'll make this really flexible shader that we'll do all the eyes we could possibly want. And it's just a texture so you can apply them to everything. So yeah, and same thing for mouths, you know, we already have all those nodes that do, you know, parallax mapping, drawing rectangles, just join them together. And it works great. Got really excited, started applying them to like spheres and cylinders and Suzanne's and, you know, what's coming next, right? This is actually my favorite gift. And then, you know, I really got into it. I was like, this is the way to do it. This is a really cool thing.  These are just like placeholder character designs. Got really into it. And like, by the end of that, and it was like a month's work, probably, had this sort of modular system that could animate different faces and even hooked it up to a really amateur motion capture system. Like, yes, this is cool. All right. So now let's do it properly. So I'm not a character designer and I sort of scribbled some ideas, but I like drawing spaceships. I'm not a poor person. So we went back to the mood boards. And one thing you'll notice here is there's quite a few images from the same artists here. And I know some of you are thinking, oh, we could get an AI to do this, blah, blah, blah. Just message them on Instagram and work with them because they're really cool. So we had Alex and Esther, both incredible character designers, getting involved and throwing some ideas into the mix. So standard thing when you're working with freelancers, you do a little brief. We had like quite a detailed these are the colors we're using. These are the patterns, a few notes. And they had quite a lot of freedom because we could just stick this face on anything. So just don't change the face, right? So instantly they're both coming out with really cool stuff. Did change the faces, but I'm like, oh, we can just replace that later. These are Alex's designs and you can see. So these are just 2D images laid onto the previous ones. And you can see it really fits in the scene and they're really cool designs and just stuff I would have never thought of. And it sort of works, right? And so then we went into more detail. These are some of Esther's designs and they're coming out with these really like different variations and we're sort of homing in on exactly what we want. And like we're normally a remote studio, but actually me and Esther were in the same place for this. So, you know, this is like half an hour's work, just throwing some of the shaders on a placeholder mesh and just figuring out how it's going to work. And of course, because we had those face shaders, there's no rigging. We just apply the shader all good. So by the end of the day, I'm like, yes, this is brilliant. We're going to be finished by lunchtime.  Like, then I'm looking back at all of these faces like, oh, cool eyes, cool eyes. Those mouths, our shader can't really do those, to be honest. So, oh, no. So what you'll notice if you've been paying attention is I did exactly what I've been telling you not to do. I made it before we'd figured out what we wanted to do. So I did it wrong deliberately for educational reasons. As soon as I finish the presentation, I've got to go back and do it again, but different. But yeah, we're getting there. And like as long as you stick to this whole figure out what you want to do and make it thing, you're going to get there eventually. So I just want to add one more step, though, which is something I hadn't noticed, but I think is really crucial. So meet lots of creative people and learn from them because all of these little tips and tricks like if we hadn't been chatting with photographers and programmers and printmakers and illustrators would have never occurred to us. Like, they're just outside learning to keyframe, learning how to do shaders. So yeah, just get away from the computer and kind of surround yourself with these interesting people and you're going to learn stuff that you didn't know you didn't know, which is kind of why we're all here, right? It's why we're all at this conference. And I hope you're going to take advantage of it because I've learned so much already. Thanks for coming.


Hey guys, how you doing? This is Richard. We have a rich TV live and today I want to speak to you about Valeo pharma I brought you this pick around 75 cents in early November today. They sit at $1.30 congratulations to all members on this big winner VPH in Canada and VPH if in America you can clearly see that it has gone up From the lows in America to where it is right now as I predicted it would Where it is currently trading at an all-time high Okay, currently a 131 trading right around the all-time high and when we first started we marked it the the low to the high and Predicted that it could go as high as 130. It did it went as high as actually 131 Actually 130 came back down and it's come back up. So this is extremely bullish and now we can kind of look at this like this since we started and We found this around 75 cents and In about five weeks, we are now at $1.30. So congratulations to all members and they have some big news today and Let's break down this news Valeo pharma announces health Canada approval for Redesca trademark and Redesca HP trademark commercial launch to impact first half of 2021 revenue 30 million forecasted annual peak sales. That is huge Eight years of proven in-market safety internationally low molecular weight Heparin increasingly used to prevent COVID-19 Driven complications. This is breaking news out of Montreal Valeo pharma Inc VPH in Canada VPH if in America and VP2 in Frankfurt, Germany a Canadian pharmaceutical company announced today that health Canada has issued a notice of compliance for Redesca and Redesca HP low molecular weight Heparin LMWH Biosimilars, this is Valeo pharma the regulatory approval of Redesca is Significant corporate milestone for Valeo and also great news for the Canadian health care system mandatory use of biosimilars is increasingly being adopted across the country and Expected to help provide significant savings. That's right significant Savings to provide health care plans said Steve Saviok president and CEO with more than eight years of proven in-market safety internationally and a robust supply chain Ensuring product availability. We expect Redesca to play a major role in the achievement of our growth objectives the Canadian LMWH market is an access of 200 million annually and a complete product line and differentiating clinic package will be a beneficial factor helping to rapidly secure market share Improvinces across Canada added mr. Saviok in addition to being used primarily for treating and preventing deep vein thrombosis and pulmonary embolism LMWH are Also now increasingly used as a first line of defense tool in the fight against COVID-19 Yet another COVID-19 weapon the World Health Organization who issued guidance regarding the Prophylaxis use of LMWH to help prevent complications in the clinical management of severe acute respiratory infections When novel coronavirus COVID-19 infection is suspected digital Investor awareness program the company also announced it has launched a 12 month digital investor awareness program through a Goracom Interesting or Goracom and ourselves do a lot of different deals together a multi-faceted digital platform operated by Goracom Internet Service Corp in order to enhance information availability for current and future stakeholders The company has agreed to renumerate a Goracom 75,000 plus taxes for the above mentioned services a first service payment of 15,000 was made on December 7th 2020 with the remaining balance split equally and due on each of February 27th, 2021 May 27th, 2021 August 27th, 2021 and December 31st 2021 so that's an entire year of visibility Payment will be made through the issuance of companies common shares with the number of common shares to be issued determined by the using and The closing price on each above date Common shares issued to a Goracom under this agreement will be subject to a four-month hold period So they're going to get a lot of eyeballs about Redesca Redesca is a low molecule weight harparin biosimilar LMW H's are injectable anti-coad coagulant drugs used primarily to treat and prevent deep vein thrombosis and pulmonary embolism Redesca has more than eight years of proven in-market safety internationally and more than a hundred and fifty million patient days treated in Europe alone About Valeo Pharma Valeo Pharma is a pharmaceutical company dedicated to the commercialization of innovative prescription products in Canada with a focus of neurodegenerative diseases oncology and hospital Specialty products headquartered in Kirkland, Quebec Valeo Pharma has the full capability and complete infrastructure To register and properly manage its growing product portfolio through all stages of commercialization We can go to Valeo Pharma website It looks like this and we did bring you this pick When it was under 80 cents and today like I said it trades at a dollar 31 up 3% on this news so far and I believe that the story is just getting started Let's go to OTC markets And we're just gonna quickly look at their share structure fully reporting bulletin board company in America Highest tiered exchange and if we go to securities detailed other than the OTC QX Which is actually the highest tiered exchange. That's not a senior exchange But this is what I love about them tight share structure only 15 million shares in the float love the float 64 million outstanding shares and a baby market cap of only 60 million market cap I believe we see this go over well over a hundred million market cap and they've already been a success For our community. Congratulations to everyone who got in for the win on Valeo Pharma And I believe that this is a story that's just getting started love to know your opinion If you like this video, please smash the like button comment down below share the video everywhere This is rich for merch to be live bringing you the news on Valeo Pharma Announcing the big news for Redesca Valeo Pharma announces health Canada approval for Redesca trademark and Redesca HP trademark really big news For Valeo Pharma, and this is a story that is just getting better seems like every single day This story just gets better Love to know what you guys think if you like this video, please smash the like button comment down below Share the video everywhere. This is rich for merch to be live If you're not winning you're not watching we bring you the winners and we bring them to you first Valeo Pharma big winner for our community, and I believe that this story is just getting started love to know what you think comment down below If you haven't subscribed subscribe and Share this video everywhere so that the world That is watching can win big. Thank you guys. We'll talk to you soon peace Another big winner you can book it. I'm out. We'll see you soon


So first of all, story in advance in case I do something clumsy with my microphone but I'm Italian so in my hands for talking this is really difficult. So in this talk I'm going to give some improvement about inner product masking skins. So first of all let's move some context. So we're in the truck of such a general task. So the task I'm going to talk about happens when we implement in a hardware sound cryptographic algorithm. Indeed we can have some legal about sound, day, pleasure, timing, and the most useful is actually power consumption. And all these legalities can give some sensitive information about the values. So the security model that formalized the agenda tax is the T-proven model, the one that we are going to consider. We're in the T-proven model and we're studying in access after three days in a circuit. So usually a circuit looks like something like this. So in these blocks you can see we have some operations. For example we have some linear operations or some non-linear operations like the multiplication. And so in order to guarantee privacy in the T-proven model we have to guarantee the existence of a simulator which can simulate the adversaries view without actually knowing the secret. And a stronger property is that T-strongware interferes, TSNI, which I don't give the video as a body but you just have to remember that it's a property which guarantees a good composite behavior. So guarantee that if a gadget, if the output of a gadget is actually input of another gadget, this can be always a secure composite if both gadgets are TSNI. So an important countermeasure against the channel of tax is the masking. So what does I mean by masking? So this means to split every sensitive variable in the circuit into n random shares such that if the attacker knows up to T of these random shares then he cannot figure out entirely the secret. So this is the circuit. So a circuit would look like this. We will have an encoder which will speed the cigarette as seen in some shares, this one is n. And then we will have the circuit where we will have the operation we saw before and the non-linear operations especially we have some problems in order to guarantee the, to hide the secret. And then at the end we will have a decoder which will recompose the output. So the current studies are about masking scheme are trying to find a good trade-off between high performance and less evidence of leakage. And there are different masking scheme that have been proposed so far. One of the most common is the William Masking that is vastly used and really efficient. And what we are going to study the inner product masking in this talk because it actually shows less evidence of leakage but so far it was really inefficient so not really used in practice. So in particular I will give you a new multiplication scheme which is the design. Let's show, so less execution, with less execution time and with less randomness complexity, randomness requirements and then we will see an application in the S box of the AES some new implementation results and more detailed information to the evaluation of the inner product and the encoding. So first of all I give you some more detailed context. So what is a William Masking? So if we have a C with S, so a William Masking in the William Masking encoding we will consist in taking some N minus 1 random values, S1, SM and to assign to S1, S2, SM sorry, to S1 the sum of the secret plus the sum of all the other shares. So it's kind of intuitive to see that in order to decode the secret now we just have to add all the shares. And a really famous multiplication scheme is the SW that was in 2003 by Isha Isha Wagner. So a multiplication scheme now needs to overwrite on some vector. So because now the inputs would be NMB for example, the first share in the 1AN would be 1BN. And the output C needs to guarantee that the product would be between the sum of the shares AI and the sum of the shares AB if the sum of the shares of C. So now high-forge says W, so we have a magic T that is composed by the inner products between A and B, so AI vj. And on the other end we have a magic of random values. So in particular all these random values so this means that every random value has to appear two times and one of the two times should be the opposite of the other one. Yeah, we will see why this is useful. And then we sum these two matrices and we have the sum of B and the sum of the components on each row, each column will give the components of the output C. So now we can see why we need these particular random bits because in order to guarantee correctness we need that the sum of these output shares will give us actually this sum. And in this way now we can cancel out of this randomness and we have correctness. So the inner product masking is a lot more complicated. Indeed we have a set of phase at the beginning of execution of the circuit which will fix a vector L and this vector will be fixed for all the execution of the algorithm. So this vector is represented by L2 and Ln random values, known as zeros, and we're assigned to the first value L1, L1 and in order to encode a secret S now we take S2, Sn, random values and we're assigned to S1, the secret S plus the sum of the products of the shares L, I, S, I. So now we're coding, we're calculating the inner product between the vector L and the vector of the shares S. And again it's easy to see that this gives the secret S. So I will now show you our new multiplication scheme and I will explain why it's actually in improvements compared with previous works. So again the multiplication will take me to Tmd. So we actually take a lot of inspiration by the Sw that I showed you before. We did again a matrix T of inner products and a matrix U this time of random values. But this time we have to take into account the presence of this shares Li in order to guarantee correctness. So the matrix of the inner product will contain Ai, Bj and Lj. And as for the random values, again we have some random values appearing two times considering an encoding of zero and all these random values has to be multiplied by Li the inverse of Li. I will show you later why this actually guarantees correctness. And then for the rest it's really... I'm sorry. For the rest it's really similar to the Sw of B4 so we sum T and Q. And again the sum of the components of B even says the components of C. So correctness. So I'm not going to be on this formula, don't worry. But what we have to see is now in order to show correctness is now that the inner product between L and C is equal to the product between the inner product between L and A and the one between L and B. So by just simply substituting the components here, at some point we see why we need this Li to the inverse of Li because now thanks to this here we cancel out some values and we will obtain the sum of the UiJs and since we do all of them one the opposite of the other one, this is just zero and here we just have the product of the inner products. So we have correctness. It's just algebraic calculations. And we show this scheme to be TfNi so to have good composability properties and it needs only T plus 1 shares and it's really the optimal amount of shares needed. And all schemes so far are magic T-proven security so it didn't give any guarantee about composability and it needs 2 T plus 1 shares. So we can see here we are improving. So let's see now so how to apply these schemes to the S-box of the NS so we have to consider the exponentization to the power 254 and we take this algorithm from a given proof. So we see from this chain that we need some multiplication of these green blocks and then we need some squaring that are in our operations and some refreshing. So now for completeness I can show you the refreshing and the squaring but actually this algorithm is already existing already in previous works but actually we are also going to get more precise proofs for security. So this squaring so it's pretty easy because it's just a component-wise operation and it doesn't need any randomness since it's linear so we just need to square all the components of the input and multiply them with L1 and Ln. That's it. So the refreshing is a bit more complicated so we are definitely refreshing. So we have an input text and we have to give an output which has the same decoding so Ly is equal to Lx but internally we will add some randomness and this will make the masking independent of each other. Indeed the refreshing is usually used in order to grant the independence of our use. So we have a first step in which N times we assign a vector L and R which is a different encoding of 0 every time. So encoding of 0 this means to take again R2 and random values and just assign to R1 the sum of Ri and i and then in the second step we have to add recursively this Rj to X so for step we just assign X the vector with the input and then we have X plus R1 then X plus R2 and so on and so forth and again the output will be X plus R1 plus R2 plus Rn. So this means that every component assigned now has been added to N different random bits and this is actually the power of this scheme it's why actually it's really simple it's a U and so it's also TSNI again So now let's look a bit more in detail about the J so here is where actually it's used the reflection and yeah so as I said before the reflection is needed in order to grant the independence indeed before actually these values are injected in R that are dependent these red lines that you see here but the multiplication our P multiplication needs to be, needs to receive independent inputs so it needs the inputs before pass through a reflection in order to be independent at this point but so you saw before that this reflection needs a lot of randomness so it's really expensive and in order to optimise the amount of randomness needed we design a new multiplication scheme for dependent inputs and we go in IP mode too so this multiplication scheme can take two dependent inputs A and J where G is a linear function and of course we want this scheme to use less randomness than this case so the the trick in order to grant it is to internally refreshing one of the two inputs so first of all we refresh internally this A so we add AI to some random values E, J and we obtain a magic A prime so as before we have to calculate now a magic T of inner products but this time one of the two members that we go to multiply is not AI so it's not one of the inputs anymore but this will refresh components of A prime and then we do exactly as before we go into some random components they find exactly as before and then we add a vector V which actually just guarantees this is not needed in order to guarantee security because here when we did this calculation we add some new members that will not guarantee that again we will not cancel out afterwards and then again we have a magic V that is the sum of all these vectors and all these matrices and one of the components of the columns is the components of the output shares so now we can substitute the first multiplication scheme with a new multiplication scheme and we can eliminate here the refreshing that was before and we show this scheme again to be secure and composable using T plus one shares of the input and in general all these books are S and I this is really important because of course in the AS and this is composable with other rounds so some comparison so this is the new case where we use our optimized multiplication and this is what we had before so a multiplication scheme and the refreshing and here we have a table of comparison between the number of addition multiplication and randomness so this is the amount of we see here in white in green you see this case and here in orange you see the case with multiplication and refreshing and we are pretty the same with addition and multiplication more or less but with randomness we save a factor of n in the randomness because in it before the refreshing needs T squared and square randomness in addition internally in this A we just need n randomness so let's go now for look at the performance evaluations so here you can see an implementation of the S-box compared with Boolean masking so in orange and in red you see the Boolean masking with two different addition shades and with green and blue you see the implementation with our IP masking with the two different multiplication as I showed before so there's no reason surprising to see that actually our scheme is lower and the reason is in the presence of this L that actually gives a lot of more computation as before on the other end it's also true that the most practical cases have the one with low n small n so we need to show you an optimization for small n so what we did we tabulated the multiplication with L i and yeah this is possible only with small n that would be small n there wouldn't be practical and here you see comparison of timing and memory so here in green we have the IP masking again with just the multiplication using the same one and here we have the Boolean masking so you can see that now we still of course have an overhead that is smaller than before so fair enough so we gave also a deeper information journey evaluation of the IP encoding we consider the case of n equal to 2 we consider encoding of a as a1 plus l2 times a2 so here you see the case of linear leakage so where the leakage is represented by the humming weight of the shares plus noise that is usually random variables and here you see how the middle information between the leakage and the value behave according to the noise variance so in this black line you see the a so the value a that is not masked and then in blue you see the one with Boolean masking and then with red we see the more IP masking and on purpose we actually try this IP masking with different values of n because we saw before every time we have to so in the new execution of a new algorithm of a new circuit sorry we have different n and interestingly we saw how by by tanning this n we have different kind of values but more interesting we can see that actually our scheme leaks less than the Boolean masking so we study also a bit more the transition-based leakages so what does it mean to see transition-based leakages so this happens when an adversary receives not only the noisy version of the shares but also the distance and when does it happen when some registers are used consecutively in order to store two different shares of the same value so for Boolean masking even I'm calling a of a 1 plus a 2 so whether the humming weight of the sum will give us the humming weight of a this will vanish actually the effect of the of the masking on the other end our IP masking so in our IP masking so this L will make still the distance of the humming weight uniformly distributed so we don't see any evidence of leakages in transition-based leakages and for concluding I will show you some empirical such general leakage evaluation that actually gives confirmation of what we just saw in practice so so here you can see the comparison T score of the Boolean masking so the T test of the Boolean masking on the IP masking so in red is the threshold of the T score so in practice this means that when these lines in grey go out this means that our variable is leaking and yeah it's really evident that our IP masking show less evidence of leakage so for concluding just remark again that we saw some new IP multiplication scheme with good composability properties and better improved performance about way improved performance and yeah we can say that actually IP encoding represents an interesting alternative to Boolean masking with just a slight performance of the head over small N compensating by less evidence of leakage in practice thanks if I understand correctly the only condition in matrix U was that the sum of all the N squared elements would be zero and you achieve it by having two identical values one is plus and one is minus but actually you can achieve it without this condition if you just choose a matrix where the sum of all the elements happens to be zero without pairs which are the plus and minus of each other so is there any reason why you put the extra condition that should be pairs with plus and minus why not use a general matrix with sum of m to s to zero to gain anything from some m to s to zero yes sum of all the n squared m to s in U is zero this is the only condition you ever use yeah but if some of these m to s are zero then I think you can actually you should not write then on the components inside so because it is U I use them to write during the computation so I don't know we will have A, I, B, J plus U so if this U is at this constant zero you are not hiding any more than your products no not all the values are individually zero but sum of all the elements so you achieve it by having pairs which are equal I'm saying why is it why do you put this restriction not use a general matrix sum of all the elements in the matrix happens to be zero so I think this is a thing possible we just do this because it's more practical but yeah, good point of course


Okay, so I don't have a PowerPoint or anything like that. I just have some notes and here I have to share the podium with the entrails of the pig, a good company. So I guess I'd just like to begin the way I begin really most of the speaking that I do and just sort of address the question, what is fermentation anyway and why is it so significant? So broadly speaking, fermentation is the transformative action of microorganisms. If you have a biology background, you might already be shaking your head. Biologists definitely have a more specific notion of fermentation and that is that it is the production of energy without oxygen, anaerobic metabolism. And indeed most of the most widespread ferments that people enjoy are products of anaerobic microbial processes, the production of alcohol from different kinds of sugars, the production of yogurt and many cheeses from milk, but there are some ferments that require oxygen. They're sort of the oxymoronic ferments. And some examples of this would be vinegar, kombucha, tempeh, certain kinds of cheeses. And really everybody on the ground understands that these also are examples of fermentation. So I prefer to work with this broader lay definition that fermentation is the transformative action of microorganisms, but it's really important to understand and we all understand this in a very visceral way that not every transformative action of microorganisms results in something delicious that we wish to put into our mouths. And in fact, most of the food that we discard, we are discarding precisely because of the transformative action of microorganisms. And generally we reserve this word fermentation to describe desirable or intentional microbial transformations. But I think that the fact that microbial transformation can go many different ways gives us a little bit of insight into the inevitability of microbial change. And so as Herbert laid out, our human bodies are these complex microbial ecosystems. And the number of cells that we each possess that reflects our own unique individual DNA code are actually outnumbered 10 to one by bacteria that we are host to. And human beings are certainly not unique in this regard. Every biological creation is covered with microorganisms. And the evolving consensus in evolutionary biology is that all life is evolved from bacteria. And the flip side of this, which doesn't get talked about quite as much, is that no form of life has ever lived without bacteria. We all, from a carrot to a bee, to a bird, to an animal, to this pig, we all are these complex microbial ecosystems. And our physiology interacts with all of these bacteria. So this complex biological reality, this biological imperative that we must coexist with bacteria contrasts sharply, I think, with the indoctrination that certainly we receive it very, very strongly in the United States, but I suspect that through the second half of the 20th century and into the 21st century and most of the rest of the world, there is this cultural project that I like to call the War on Bacteria. And that's this indoctrination that bacteria are bad, bacteria are to be avoided, bacteria are to be killed. And I haven't really observed this here but that I can't really read Danish, but in the United States, in public restrooms everywhere, you find these soaps that are antibacterial soaps that sort of market themselves on the premise that they kill 99.9% of bacteria. And it's really come to the point where there's nothing more alluring that you could write on a container of soap than the promise that it kills 99.9% of bacteria as if that were a desirable thing. Because I don't wanna deny that it's possible to become ill from bacteria. There are bacterial infections and bacterial illnesses, but the reality is that what protects us from the relatively small number of bacteria that have the potential to make us sick are the 99.9% of bacteria that we can coexist with perfectly well. And beyond coexisting with them, we are utterly dependent upon them. Many aspects of our functionality depend upon bacteria. Beginning with our reproduction, human beings cannot effectively reproduce without bacteria and women's bodies produce a glycogen or carbohydrate that supports a population of lactic acid bacteria that create an acidic environment that enables us to effectively reproduce and without those bacteria, we wouldn't be able to do that. And then the trillions of bacteria in our digestive system enable us to effectively digest food and assimilate nutrients from the food that we eat. And they also synthesize certain essential nutrients on our behalf so that we don't have to find them in our food. And we're learning more and more really every year, but what we call our immune function is actually regulated by these trillions of bacteria in our gut. And other aspects of our physiology too, just in the last year or so there's been exciting research looking at how serotonin and other chemical compounds in our bodies that regulate how we feel and how we think are actually regulated by bacteria in our gut. So they're just utterly essential for so many aspects of our functionality. And so there's this sharp contrast between the biological reality and the ideological indoctrination that the age of microbiology has yielded, which is it's this fear of bacteria.  I'm certainly not a professional chef. I love to cook. I always have loved to figure out how to make anything from scratch. 20 years ago I moved from New York City where I grew up to a community in rural Tennessee where I got involved in keeping a garden. And the reasons for that were many, but among them was concern about my health. And in 1991, 22 years ago, I tested HIV positive. And it just made me start thinking about my health and thinking about my life and how I could change my life to support my health. And the idea of sort of moving out of a big, busy, polluted city to a rural area where there was spring water and I could grow my own food just seemed like a healthier way of life.  And when I got involved in keeping a garden, well, I was such a naive city kid that I had never really thought about the idea that like each vegetable would all be ready at the same time. So when my row of cabbages were already at about the same time, I thought to myself, well, I better learn how to make sauerkraut. Now I knew that I loved sauerkraut and even more than sauerkraut, sauer pickles, fermented cucumber, garlic and dill pickles which are really commonly found in New York City. And so I always was like drawn to this flavor of lactic acid, but I had never done it myself. So I mean, I really just opened up a couple of cookbooks and saw the process. It is incredibly, incredibly simple to make sauerkraut. And I chopped up my cabbage, I lightly salted it, I squeezed it and mashed it a little bit to get it all juicy. I stuffed it into an old crock that I found in the barn in the community. And I kind of got obsessed with sauerkraut. I mean, probably at all times since then, I've had some sauerkraut going. And then I started playing around with making yogurt and cheese making and making elderberry wine and blueberry wine and blackberry wine and what we in Tennessee call country wines. And then I started baking with a sourdough starter and then I started investigating some more exotic ferments. I learned how to make miso, I learned how to make tempeh and it just became a sort of all out personal obsession and my friends started calling me Sandor Kraut because I was always showing up with sauerkraut. And then I started getting invited to teach small workshops. I had some friends in Tennessee who were turning their family homestead into a sort of eco-education center and they invited me to teach a sauerkraut making workshop. And the first time I taught a sauerkraut making workshop which was in 1998, 15 years ago. What I learned is that there is, you know, before those of us, you know, raised in the context of the war on bacteria and this idea that bacteria are so dangerous, there's a huge fear that many people have. So, you know, the biggest question that came up that day and that has been sort of repeated to me hundreds of times through the workshops that I've done and through my website, you know, is how can I be sure that I'm getting good bacteria growing and not bad bacteria? You know, what about botulism?    People had to learn how to work with the presence of microorganisms on their food because otherwise it would sort of decompose their food into something that nobody wants to put in their mouths. So, you know, millennia before, you know, we had the tools to identify specific microorganisms, you know, people in every part of the world learned to work with these invisible life forces that are present on all food.  But beyond alcohol, you know, the practical applications of fermentation are food preservation. I mean, for us in the 21st century, we have a warped perspective on food preservation. And we all have a fermentation slowing device in our kitchen. That's what a refrigerator amounts to. But, and, you know, canning, they did have sterilizing food in a can. I mean, you know, that was invented in France in the 1800s by Nicolas Appert. It's called Appertization in France. But really, like, up until then, you know, there were basically, you know, three methods of food preservation known to humanity. You know, one would be drying, one would be heavy salting to, you know, prevent microbial growth, and the third would be fermentation. So, fermentation is just an incredibly important mode of preservation, you know, sauerkraut, the general idea of fermenting vegetables, which really spread all across the Eurasian land mass and many other places. You know, particularly in temperate environments with limited growing seasons, this was how people could have the nutrients, notably vitamin C, that are, you know, primarily found in plant foods that aren't available for much of the year. You know, take a highly perishable food like milk. I mean, it's hard for us to even imagine milk outside of the context of refrigeration. And indeed, fresh milk, you know, what I imagine most of us grew up with is really a phenomenon of the 20th century and the emergence of widespread refrigeration.  Like, that's a very stable form of milk that, you know, we might be used to putting it in our refrigerator, but you don't need to.  So there's a really practical application for, you know, and really not only for preservation.  Fermentation makes foods more digestible and it gives them flavor. Like, if you look around at, you know, gourmet food stores anywhere in the world, you know, the foods that we elevate on this pedestal and celebrate as gourmet foods, really the highest expressions of pretty much every culinary tradition are products of fermentation. So they create extraordinary flavors, not always flavors that everybody can agree on.  You know, okay, so this is a pretty self-selected group. Like, how many people in this room would identify with the idea, you know, the further away I can smell a cheese, the more excited I am to eat it. Okay, but okay, so even for this self-selected group, that is a minority. So, you know, sometimes I'll buy a piece of really stinky cheese and I invite some friends over and like some of my friends will, you know, come into the door and be all excited to eat it and then other people will get to the door, open the door and they'll say, did something die in here? And, you know, and they would never for a minute think about putting it into their mouths.  Last night at dinner I was hearing about some of the traditions of fermenting meat and fish on the Faroe Islands. And it sounds like that's certainly an example of that. When I've tried Swedish surströmming, that's an example of that. Japanese natto, that's an example of that. But in a way, these foods that frequently people outside of the culture find, you know, even repellent, you know, serve to reinforce cultural identity because it is this sort of, you know, shared experience that people who share it recognize that most people outside of their group have a hard time sharing. So there's this disconnect. But increasingly, you know, what I've learned, teaching about fermentation, trying to demystify it and empower people with skills to make these incredibly easy and safe foods, is that people are getting interested in it for the perceived health benefits of fermented foods. And certainly, you know, fermentation transforms foods nutritionally in some dramatic ways. I mean, you know, fermentation can be thought of as predigestion. It breaks down dense compound nutrients into sort of simpler, more elemental forms that it's easier for our bodies to assimilate. It removes certain toxins from foods. It contributes additional nutrients, you know, a few of which, you know, have been investigated and these are like metabolic byproducts of specific microorganisms that have turned out to have extremely beneficial qualities for human beings. But, you know, what I would say is the most profound nutritional benefit of fermented foods is not really found in all fermented foods, but it's in the fermented foods that haven't been cooked after their fermentation and that is the live bacterial cultures themselves. And historically, nobody ever had to think about replenishing or diversifying the bacteria in their gut, but because we're living in the midst of the war on bacteria and more than an ideology, it's chemical warfare. It's, you know, antibiotic drugs. It's antibacterial cleansing products. It's chlorine in the water.  And when we're ingesting these compounds and really even if you never take antibiotic drugs, we all are ingesting antibiotic drugs because they're accumulating in the water table because of their heavy use. But basically the gut bacteria in all of us are under continual assault and so, you know, in the 21st century, much more than in times past, it's become, you know, important to consciously replenish the bacteria in our gut. And one way people do that is little capsules called probiotics, but because, you know, all of the, you know, greatest delicacies of the world are products of fermentation. There are lots of incredibly delicious, bacterially rich foods and really a variety of bacterially rich foods is a much more effective probiotic than any single strain that somebody manufactures in a capsule. So there's this, like, there's this disconnect. Let me talk about one other disconnection. And that is, you know, it's very exciting for me to be, you know, invited here. You know, I am not a chef. I live in a rural area. I don't have many fine dining opportunities. But it's very exciting to me that, you know, many chefs around the world are getting more interested in practicing fermentation in their restaurants. But I get all this feedback, you know, both from people who are trying to start small local fermentation enterprises, and also from chefs who are, you know, wishing to incorporate fermentation into the practices in their kitchen. Well, that all of the, you know, because the central dogma of food safety in our historical moment is this idea that it's dangerous to eat food that sits sort of out for, you know, more than a few hours at temperatures above refrigeration temperatures. And, you know, well, you know, I can appreciate the general idea that, you know, keeping food under refrigeration as long as possible in general is a healthy practice in a food service situation. If it were intrinsically dangerous to eat food that had sat for more than four hours outside of refrigeration temperatures, we wouldn't be sitting here talking today because our species never could have perpetuated itself because we've only had the ability to keep food at refrigerated temperatures for a couple of generations. And really that, and then only in the most affluent parts of the world. So, you know, many of the people attempting to sort of negotiate with their sort of inspectors who are trying to enforce health codes, you know, this is just a disconnect, you know, because these foods fall outside of sort of the central dogma of food safety and how it is sort of frequently applied by, you know, enforcement agents. So, you know, many food manufacturers trying to get into fermentation have to basically educate their inspectors.  So I think that this is a really interesting disconnect that, you know, as fermented foods become, you know, more popular again and the production of them becomes more mainstreamed and disperses beyond the factories where they have been, you know, taking place in recent decades. You know, I think we have to address this disconnect. So now I just want to talk for a moment about reconnection.  Like I told you all that I tested HIV positive. I wrote on the back of wild fermentation that fermented foods have been important part of my healing. Many people have misinterpreted that and think that I said that, you know, I cured AIDS by eating sauerkraut. And let me be very clear that, like I do not want to, I mean, I think that, you know, there are definitely some snake oil salesmen who are sort of, you know, trying to convince people that, you know, different specific fermented foods, you know, will cure different specific things. You know, there are anti-carcinogenic compounds in sauerkraut.  I don't think so. You know, our health exists in a much broader context. I think, you know, these foods as a group by enabling us to improve digestion, improve nutrient assimilation, improve overall immune functioning, that is huge. And, you know, for someone suffering from a chronic disease process, for someone with a brand new health crisis that they're dealing with, for someone who feels like they're the most strapping specimen walking the earth, for someone who's just feeling the effects of aging, you know, improving digestion and nutrient assimilation and immune functioning is amazing for anyone. So I think that I sincerely believe that fermented foods are part of what keep me, you know, healthy and vibrant. But I think that it's misguided to assume that they're going to be the cure for any specific disease process. Now, I just want to talk for a moment about reconnection.  It's the embodiment of all these different things. Now, the word fermentation comes from Latin ferveri, which means to boil. And it's because the visible action of fermentation in liquids is bubbles, the same as the visible action of boiling. And the word yeast comes from Greek zestos, which also means to boil. So our vocabulary fermentation is all about, sort of, it's analogy to heating food and the bubbles that are created. But there's a metaphorical connotation of the word fermentation. And people talk about cultural ferment, political ferment, social ferment, intellectual ferment, spiritual ferment. And really, this is a metaphorical application of the same idea, like the bubbles, because when people get excited, you know, periods of change, periods of excitement, when people believe in change, when people believe in, you know, ideas that get them excited, they get bubbly. And when you feel bubbly about ideas that are inspiring you and you wanna talk about them, you wanna share them. So, you know, really what I wanna leave you with is the idea that, you know, in addition to being, you know, this amazing mode of food transformation that is used, you know, really in every part of the world, you know, that fermentation is also an important engine of social change. So I thank you today and let's have a great rest of the time.


But without this stillness, Christ is not. The stillness is the fundamental backbone to Christ, to God. And then from there is the wrath against injustice and the excitement for new earth. This is not rocket science. It is so simple. It's already there. It's already listening to this voice. What is listening to the voice is stillness. It's already stillness listening to this voice. You just believe it to be a separate self, but it's not. It's stillness. It's the entire universe listening to this voice. And then from that stillness that doesn't have any attributes. It doesn't have any ideas. It's open. It's spacious. It's loving. It's unified from that place, from that place without a name, without a location, without identity, without any of those things from that place, from that place, then is the wrath against all injustice and the warrior for new world from that place, from that place. It's obvious. God is playing a game with himself, which is you playing a game with yourself, which includes the appearance of these satanic programs that are anti-holism, their anti-nature, their anti-human, their pro-greed, pro-corruption, pro-selfishness, pro-ego, and all of those are to be destroyed with the fiery breath of God. And all of these blueprints for the new world systems of energy abundance, housing abundance, food, water abundance, all those blueprints are to be actualized. Again, with God's excitement for celebration and prosperity for generations to come for a beautiful unification and harmony with nature.


Hey Chuck Alley here with the Cube. I want to show you something for the amazing. Follow me. And this is where we have our video village. This is where all the hard work happened. This is where they put the whole show together. The switcher, the tricaster. There's our producer down there, Andrew. Talking to our host up on stage. Come on with me. Hey, we got a great setup here. A huge stage. Six cameras. It's wall-to-wall. Four days of coverage here at AWS 2021.


Hey there friends. Thanks for checking in. We see firearms come and go all the time especially rifles Most of that has to do with what is chambered in the ammo may not be mass produced Hard to find therefore it decreases the desire to own that rifle And if you get it you most likely pay a lot of money for the ammo Let's look at the most in the gun the most in used to be purchased for right around $70 a Local hardware store now you're looking to find one for under $300 but I'm not talking about a mose in the gun I'm talking about a rifle that I purchased back in 2015 and I wish I bought more because these have skyrocketed and cost They're very scarce. They're hard to find if you find one. That's typically priced between 1,300 and $1,500. Is it worth that? Personally, I don't think so. I think there are other options But I'm happy to have this because it looks like an AK it fires the same round as an AK But it's not an AK. Do you know what it is? I have it right here I said back in 2015 this thing is really gonna be worth something and here it is It's a vz. 58 also known as a vz. 2008 or 2008 This is this was imported by Sentry Arms. This has a folding stock right you hit this button here and it folds to the right side a Woodstock or wood forend and a wood grip the mags are different. Let's talk about the the differences This is an aluminum mag. It has a lip right there, which means it's not interchangeable with a K mags holds the same Capacity it uses a short stroke gas piston system So that's a bit different and check out where the thumb safety is located right on the right side It's a lever instead of the long lever that the AK uses for the safety It's a nice rifle. It has a 16 inch barrel the rear sights right here positioned the same as an AK and a hooded Adjustable front sight. It's a very nice rifle chambered 762 by 39 but For a rifle that was once purchased that I purchased for under $400 is now selling for a ton of money So the rifle itself has somewhat died off the aftermarket support is very good There are parts and you see these accessorized With parts that are available to this day for this rifle I can't believe they're selling very many because I decided to keep it stock. I think it looks cool I don't necessarily want to accessorize it up. I think it holds its value Even though you keep the original parts and put them back on it's very easy to disassemble it's smooth shooting It's a striker fired rifle that Is different than an AK because an AK is a hammer fired rifle and it also has a milled steel receiver Which in most cases that is different than your standard AKM. So the VZ 58 Was imported by Century Arms. It was very available and it has become very Unavailable and what does that mean whenever anything is Hard to find scarce It raises the cost big time On average $1400 for this rifle as I mentioned I think you could do better with that kind of money But if you're into collecting and you want something with a pretty heavy round 762 by 39 This would be a good choice and I like to make capacity. I like everything that it offers even came with a sling to uh That came attached to it or I can't remember if it came attached But I said this thing's going to be worth a bundle and it is and it's called the VZ 58 or VZ 2008. It's a nice shooting rifle. I've never had a problem with it It's very reliable as I mentioned easy to disassemble and I certainly have enjoyed owning it throughout the years I don't shoot it that much. Perhaps I I should do another range review on it It's pretty pretty darn accurate for iron sights to no desire to Accessorize it to get a rail on there to put a dot or anything else. But this is what I'm talking about popular at one time often overlooked during that time, but Many of those overlookers most likely wished that they picked one up because right now it's worth a bundle If you like videos like this, please subscribe and share I always appreciate thumbs up button. Thanks for watching and you guys be safe


African drums are talking. The white man listening shivers to the booming rhythm. Atavistic memories taunt him. The drums of his druid ancestors take up the beat again in his subconsciousness after a thousand years of silence. This is a land of mysterious rites of devil dances and witchcraft. Out of the jungle comes a story of Africa. Professor Anton Edwards, in Africa with his daughter, his assistant and Ulguru, a huge native prince, is searching for a remnant of the lost Atlantean race. Following the directions of a preserved human head that taunt, they descended into an extinct volcano and found an old civilization where they were condemned to death by the high priest. With the help of the queen, the professor caused the people to revolt and overthrow the priests. The talking head was discovered to be the invention of a madman who sought their destruction and followed them in all their travels.  With the riddle of the talking head solved, Professor Edwards decides to gain the outside world by braving the dangers of a dark passage that leads through the high cliffs which surround this sunken kingdom. It is early morning as our friends walk their horses over a knoll that will bring them in sight of the cave known as the Passage of the Rock.  No, sir. And Goro has it. What do you hope for, Father? Yes, one of the most useful things to have, my dear, when going into a known country. Never be without a rope in Africa, and you will save yourself a lot of... Hold everyone! Pull up! Well, what in the world can you beat that? What? The whole army had drawn up at the foot of the cliff. Looks more like the whole population. I wonder if the city was so quiet when we left it this morning. What did all four? It was at least send off for us. I thought we were going to slip away quietly. That's why I wanted all goodbyes said yesterday. I must have had secret orders to meet out here. We didn't hear any marching last night. They expect to show, I suppose. We'll have to gallop up in a proved style and... You'd offer a few rounds, sir? No, better not do that. They don't take kindly to firearms. Besides, we must conserve what ammunition we have. Might need it all. Buona. N'Guro, no, have Snake Woman. Oh, shall they pull up? No, N'Guro. I think I miss that huge spear of yours as much as you do. You'll have to rely on my war club from now on, old fellow. What's N'Guro sounding so sad about? He hasn't his huge spear for the big parade. Buona. Now, O'na. Snake Woman. What's that? That will for Pete's sake. He's carrying the bent spearhead with him. So you did go after it, you old sinner, eh? Plenty good medicine, Buona. But it's all twisted by the explosion. Nevertheless, it's still good medicine, Lorna. I somehow thought he'd dig it out from under the ruins. That spearhead has a peculiar history. Well, they're waiting for us down there. What of the orders, sir?  All set? Right. Here we go. This mount, Queen's waiting for us. Thy intention has gathered to bid thee a fitting farewell. You do us great honor, madam, more than we deserve. Thou hast freed my people from a rule of blood and fear. Thou hast given back to me the kingdom that was taken from my ancestors. Thou hast endangered thyself and hundred times, and yet asked no reward. To see happiness in the faces of your people is reward enough for us, madam. Thou art a man, and the great God of my ancestors hath a reward in store for thee. Thou hast set thy face toward the dark passage of the rock from whence no traveler hath ever returned. This is thy final decision? It is, great Queen. Then shall I pick God of my soldiers and accompany thee into the darkness of the unknown? She's offering us a guard, Jack. Your father will never take it. See, there is refusing the offer. The Queen doesn't seem to like it. That's father. He thinks there's any danger he won't drag anyone else in unless it's necessary. Is that opening in the clips, the passage of the rock, as they call it? Yes. It doesn't look very inviting, does it? It does not. But it gives me the creeps to look at it. I wonder how far we'll have to travel once we get in before we reach daylight again. Heavens only knows. But we've plenty of torches. Your father's expecting to us. Jack. Lana. Her Majesty wishes to say something to you both. My children. For thou art children to me. Brave children. My people and I have no words of sufficient weight to bespeak our gratitude. We can only bow to thy wishes and pray for thy safety. May I hold each of thy hands in mine for a moment. Of course. There. May the God of my ancestors go with thee always. And now, the great black warrior who himself is a prince. Thou art a great and mighty fighter. In saving my life, thou didst sacrifice a weapon that was dear to thy heart. Therefore shalt thou carry a sword that hath been handed down to me from ancestor to ancestor. Thy mighty hand shall wield it to further victory. A crusader's sword. A huge thing. Within this pommel of iron, lyreth, and holy relic, placed there in reverence many hundreds of years past, thy fighting heart will keep the quality of its tradition. I gird its trappings about thee. So take it. Use it in good call and it will never fail thee. Ah. Asante sana. Un guru gives you his thanks, your majesty. He is a man of few words and many deeds. He's taking it out of the scabbard.  But isn't it too big to use in a side gel? Well, not an ordinary man, yes. But not for un guru. Watch him test the balance and swing. Wow, I'd hate to be in the path of that. Buona, it is good. Un guru, make woman say asante. Your majesty, this sword, fashioned for a mighty arm, could find no better champion in the cause of right. The prince has looked upon it and finds it good. He says both his dead spear and himself give you thanks. An arrow. Someone shooting arrows from the cliff, sir. That arrow was meant for you, your majesty. Evidently there are some followers of the priests left. Another one. Madam, please stand this part of the horse. It will protect you. Nay, I hide from no man. They're getting nearer. Buona, no, no. He means that bush sticking out of the cliff face, way up there. I thought I saw a movement there, too. Use your glasses, sir. Yes, there is someone there. I can make out a... I see him. Look out, there's another coming. The glass that was close. Give me your small rifle there, Lana. The tiger's perched very precariously up there. I think I can bring him down. What do you make the range, Jack? It's deceiving, sir. Those arrows come from a height. Yeah, that's why he's able to get so much distance. He's shooting out and dropping them. Well, here goes.  He's falling. I'm afraid he won't have any more murderous intentions now. Oh, that is horrible, great man. This to me is magic. If thou have assured me it is but an invention of the outside world. It is, madam. Could thou not teach my people the secret of this weapon that killed through space as I depart? Your Majesty, I have thought on that subject at great length and have concluded that such an action would only increase your troubles. How can that be? Is it not of great value? In the country from whence I come are many who, because of this invention, must live in constant hiding. It has made killing too easy. In the hands of an angry man it is more dangerous than the sword. For the subject of his anger has no means of protection. Sight is of no avail. And those who live by crime and thievery are prospered to its uses. Need I say more, Your Majesty? Nay, it is sufficient. Thou art a just and honest man, go thy ways. And if there be an outlet to the passage of the rock, then do I pray that thou shalt find it speedily. I bid thee all farewell, and the God of my ancestors, go with thee. Thank you, Your Majesty. Farewell. All set, people? All set, sir? Then let's go. It's footwork from now on. Well, why so quiet, Lorna? Think I'm a little sad, Jack. Sad to be leaving that lovely woman. She seemed to be so lonely. But she has her own people. They all seem devoted to her. Yes, I suppose so. Maybe I'm silly to think that way. Heaven, doesn't that awful yawning cave look forbidding? Yeah, what do you make of the rock formations around the cave mouth, Jack? Basalt, principally, isn't it? Yeah, it's very coarse. There's some rhyolite and spongy-looking stuff. It's quite a lot of rock that's new to me. See the end of sight? We're at least three miles down from the surface of the earth, as we know it. Notice some of the straighter lines running vertically over the opening, eh? Yes, they level out at the sides. Sort of a sunburst effect. Well, that's how the cliffs fell into place when this land sank out of sight. Well, here we are. Better turn around and salute the queen before we enter the cave.  Already? Salute. Rather sorry to leave them.  And the queen is... Well, better get along. Like one of the torches, Jack. Right. All okay, sir? Yeah. Well, keep going together now, and don't lag. Well, no. M'guro smellum plenty death. Death? Oh, and guru would have to say something like that. I've got the creeps already. Oh, look at that. Just a pile of bones, my dear. Yes, I know. Don't worry about those things, Warner. Keep your eyes straight ahead. Well, there must be an outlet somewhere, Jack. Those great apes coming through here every so often proven. Warner, no or not. Oh, ho! What did you see, M'guro? Man, him stand to wall. No or not. Yes, I see. There's someone standing close against the wall of the passage, right ahead. You see, Jack? Yes, sir. But it's barely an outline to me. Who's there? We're friends. No movement. Well, no. Him dead. Do you think so? Oh, oh. Keep your guns ready. We'll go forward and see.