I am Shayda. I am a curator at Koch University's Resource Center for Anatolian Civilizations, namely Anamet in Istanbul, Turkey. Our center is an international hub for archaeologists and art historians where they conduct their research when in Turkey. Anamet also has a gallery which is located right in the center of Istanbul and we organize temporary exhibitions in collaboration with international institutions, museums, resource centers, archives and many private collections. In my presentation I will give examples from three exhibitions that I organized in order to discuss the role of collections of archaeological photography in the transfer of knowledge. Photography is a key component of archaeological documentation since the formalization of this discipline in the mid-19th century. Carefully developed documentation of archaeological finds as well as photographic archives of excavations offered the opportunity to provide evidence returning an artifact or a cultural object to its former life. As Peter G. Doral explained, as long as archaeological excavations continuous and as long as artifacts are studied and conserved there will be a need for accurate visual records. In recent years a great number of investments has been made in digitizing photographic collections and excavation documents through initiatives based on museums, libraries and university archives. These digitizing projects brought an unprecedented access to an interpretation of information. Today I will present case studies from photographic collections of international archaeological excavation projects in Turkey. You see the names of the exhibitions on the screen discussing the collection management from a public engagement perspective. These three exhibitions are prepared from the archives of excavation projects and that have been developed with the aim of gaining widespread visibility and enabling new perspectives beyond offering resources for academic research. The first example is from 2014 the exhibition entitled Antioch on the Oran press early explorations in the city of Mosaic. The project has an implementation history that took decades to finalize. The exhibition tells the story of the discovery of the world-renowned mosaics of the Hatay programs in southeast Turkey unearthed by the committee for the excavation of Antioch on the Oran test spearheaded by Princeton University between 1932 and 1939. The mosaics are now in display in Hatay Archaeological Museum. These mosaics are the most prominent testimonials to the cultural and economic belt of Roman and early Byzantine Antiochia. The photographic collection that was subject to our exhibition is housed in Princeton University's Department of Art and Archaeology Research Photographs archive which includes 5700 photographs and negatives from the excavations of the site and its objects. Those photos were taken by the excavation team to document the archaeological work carried out and the mosaics as they first discovered hidden under the roads, squares and gardens of modern day Hatay. So what is the story behind them when they when those significantly precious artifacts were first discovered in situ? Curated by Murat Akar our exhibition intended to show what the sites looked like at the time of the excavations in the 30s. The project initiators Scott Redford, Sherry Kenfield and Hatice Pamir prepared a selection from the Princeton University Research Archive to illustrate the living conditions of the time. In addition this curatorial selection aimed to reconstruct the ambience and appearance of ancient Antiochia by including photographs of public baths, luxurious villas and markers. Those photos are documented the technical level of Antiochia citizens. The exhibition linked the present and the past and showed how they were intermingled during the years of excavations led by Princeton University. Thanks to the realization of the project we also published an exhibition catalogue which is available for those who would like to examine the story of the discovery of Hatay musics in detail. Back in the 1930s discoveries from the city center and Roman villas received worldwide attention from public and academic circles. Yet the story of these early explorations had never been presented altogether in an exhibition context until Anamet Gallery was open. The exhibition project was initially developed in 2003 and could only be implemented as I said until Anamet Gallery was opened in 2012. It took 10 years to realize this exhibition. So imagine like organizing your photography, archaeology photography exhibition in 10 years. It sounds long but I take it as an optimistic evidence that the realization of this project is a very promising example for researchers and archivists who would like to raise awareness and bring their photographic research collections and lights which are waiting in the old shelves of the many archives and libraries today. Coming to the next example in 2005 we organized another archaeological archive exhibition in collaboration with the University of Liverpool. This exhibition was entitled John Garstang's Two Steps Across Anatolia and it was curated by archaeologist Ellen Greaves from the archaeology department of the University of Liverpool. Professor John Garstang, who was the founder of the British Institute of Archaeology at Ankara, was an important figure in the archaeological research in Turkey. Two of his most significant contributions were his 1907 Anatolia survey and his use of photography as a means of recording archaeological discoveries. Garstang's survey of Anatolia and northern Syria established the full extent of the ancient high-tight empire for the first time and effectively laid the foundation of high-tight historical geography as it's known today. The exhibition was a partition of five years of research at the University of Liverpool where a team of technicians using the latest digital technology of that time digitized thousands of images from Garstang archives of delicate glass photographic negatives. Examples of Garstang's photo albums are kept in the archives of the Garstang Museum of Archaeology in Liverpool and in the British Institute at Ankara. What do the excavation photographs kept in the institutional archives tell us about the objects that are preserved in the museum collections? So imagine that Garstang photographs are showing some historical sites in Anatolia and those photographs are kept mostly in Liverpool. So this exhibition and the projects brought them together to have research on the artifacts. These images serve as an important source of primary research data for the academic community. As Ellen Greaves noted in the exhibition catalogue, the digitized images reveal details not only previously visible or studied for evidence of buildings, artifacts, and landscapes that have been irrevocably changed or lost in the intervening centuries since Garstang photographed them. For instance, as Negino's experiments in her article in the exhibition catalogue, the story of Garstang's most iconic discovery in Turkey, the carved stone reliefs of the Palace Gateway at Sakca Gözü, you see from on our exhibition space on the screen, that is now in the Museum of Anatolian Civilizations in Ankara, could also be traced by those photographs showing the initial discovery. So these two archaeological projects were developed from records kept from the excavation or field surveys from about a hundred years ago. They were both the first examples using photography in archaeological excavations for documenting. They are the first examples. So, however, new inferences are now possible with today's archaeological methodologies, modern photographic techniques, and digital applications. So, what is the role of photographic archives in cataloging, storing, preserving, and displaying the archaeological finds? Last year, together with one of the Çatalık Research Project archaeologists, Duygu Tarkan, who is with us today, we opened the exhibition entitled, The Curious Case of Çatalık at Yanamet Gallery in Istanbul. Çatalık is a UNESCO World Heritage List Neolithic Site located in Konya, Central Turkey. Known for its fascinating cutting-edge archaeological research methods and laboratory collaborations, Çatalık is presented through experiment-based digital display methods in our exhibition. Certainly, the image archive was a key source for us in preparing this exhibition. Çatalık Research Project has a very well-documented photography archive, kept by Jason Kinlan, who is a professional photographer experienced in archaeology projects documenting excavations and finds. As part of the exhibition, we invited the media artist Refika Nodol to develop a digital installation by using Çatalık Research Project's database of 250,000 finds. He reassessed about half a million pieces of available data, most of which were images. By employing machine learning algorithms to sort relations among these records, Nodol transformed this knowledge into an immersive media installation. So, Çatalık finds the objects that were discovered in Çatalık are also on display in Anutolian Civilizations Museum in Ankara that I'm going to explain more. Thanks to detailed and ordinated structure of the database, the machine intelligence could have been employed and made it possible to present a complex relationship between these images in a simpler fashion. Nodol ran 10 different trial sessions, scenarios, but my presentation won't allow me to explain all of them, but I would like to address one of them, which discovers the relation between photos and the information that the specialist provided in the database. This one scenario was called object detection, in which algorithms define the objects that are seen in the photos with greater speed and accuracy than any human being. So, it is not visible now here, but the machine intelligence was detecting the objects, naming their periods, showing their time, and their materials in nanoseconds, and the accuracy was more than any human being can define them. So, this artistic integration of an archaeological archive can be considered as an evidence why preserving, cataloging, and storing photographic collections of archaeological research projects are important. If photographic collections are well kept, their image database can also be used to identify objects of some geography, same geography or period, and help researchers to make broader interpretations on the archaeological collections faster than ever. To conclude, these three projects provide examples of different international archaeological research projects held in Turkey. Those research projects were conducted in different years. Although they employed different methodologies, they used the technology of photography for documenting their finds, with the belief that the photographic collections have the potential to tell about the artifacts a lot more than what is seen on the first look at those images. To achieve their documentation goal, they all used the most recent photographic techniques and equipment. As Peter G. Doyle argues in his article, the photographic image has a shorter life than many of the artifacts that they photographed. But the conservation and preservation of photographic images is the future now. By means of those three projects, well-documented photographic archives, they offer the opportunity to reconstruct the stories of the objects that are preserved in museum collections for future generations. Thank you.


Laura says, I'm trying to use forms more often as we all should be. It's great, mostly because of the translate features and it keeps us organized. I like to create the work as an assignment under the Assignment tab in Teams. But is there a way that students can leave the form for a day or two and come back and complete it without losing their work? On this last assignment, I created my assignment in Teams as a forms quiz, and I checked and it seemed to save if you did not finish right away. But we are continuing to work on the activity today, and there is a near revolt in my class because the work they did has now disappeared. The due date that I chose is not past due. I wish I could say yes, but at the moment forms does not allow you to be able to do a save. Not unless you're in the full dynamics and you've got pro and you're in education, so you won't actually have that. You might have to look at a different way if you know that you've got to come and go on something forms is not going to be the solution for you. Absolutely. The only other workaround I can think of is to create it in a SharePoint list and make a PowerApp out of it. Then they would be able to go back and edit their entries, but that would take some development. I don't know if that's worth the investment for one assignment, but that is a workaround if somebody has the need to have somebody be able to start and stop on a submission in a form of some kind. Forms is friendly and helpful, but it's meant to be more of a survey, one-shot tool and not an ongoing. The one thing that I have seen that may answer part of this, is just a different way of looking at building out the forms around this. Because I've seen people that have embedded a single form within a presentation that might have embedded video, use it as a training guide, and then it gets to a certain point, they fill out questions, they answer questions there as part of the form, and it all goes back to one form. But you could create, you could chunk it up, you could break it into pieces that are separate forms. Right, so if you think that you're going to, that you might want to have flexibility in breaking up that content, break it out into logical sections, create a separate form for each one of those, so then you get past the limitation of this version of forms, the non-pro version. Yeah, we should actually ask the question, we should post it to some of our Microsoft folks, Max or somebody who might know the answer, maybe Neil knows as well, whether some of the pro capabilities of forms are going to become an option for the education sector or something, but unfortunately we can't answer that today. Yeah, and again, if you're creating that in multiple forms, it's captured in separate data sources, which could be an Excel spreadsheet, or you can use Power Automate to stamp it into a SharePoint list or Microsoft list and re-consolidate them. So it would be one entry per person, but the way that if you break it up is going to be multiple exports, and you're going to have to re-consolidate them if that's what you need to do for a total score or something. That's why I say it's depending on your approach. If you think this is something where, hey, I want to have more flexibility, then it's probably worth the extra time that it takes to do that setup so that you can deliver it more spread out and not worry about losing data. Just means that you need to finish a section and finish those sub-forms. You need to complete the entire survey before moving on to the next section. Yeah, or quiz because the difference between the form and a quiz is that you can add a right or wrong answer to the quiz as well as a score. So you do have that capability. People forget, you hit the little drop down, it's not just a form, there are quizzes in there too. Yeah, it's actually in the feedback. It's in the feedback portal. I mean, it's something that's been around right back since like 2020. You know, and I know that it keeps getting voted like at the moment, they allow the form respondents to continue to fill it out later. It's got 4,402 votes and 65 comments against it, and it's still open. So it's something that's been around for some time. They really wanted, but yeah, yeah. I'm happy to put the link in and everyone can continue to vote. Add it to the notes, we'll add it.


And to stop Congress from threatening. So in the chat, Z400H37 says, let's trade pseudo censorship with actual censorship. Exactly. I mean, I don't know if it's pseudo censorship with the right term, but let's, let's, let's exchange indirect attempts at censorship, whether they succeed or not is a different question. With actual censorship, let's take them into the real power. I mean, it's nuts to me. It's not. I mean, to, to bring up another very, very controversial topic. It's the same as people who say, we want limited government. We want to shrink the role of government. We're really worried about the militarization of the police. We're really worried about government becoming more and more powerful and intervening in more and more of our lives. But we need to build a wall. We need to militarize the border. We need to, we need to give government as much power as it needs and grow it as big as it needs to be in order to protect us from people coming to work in America. Anyway, that's a side issue, just upset some of you know, if you consistently believe that the government is too big, too intrusive, two rights violating you, the last thing you want to do is give them more power to violate rights. The solution is to fight any attempt, any attempt by government to influence directly or indirectly what social media does. Now the exact opposite is happening around the world. In Australia, Britain, and Canada, and assuming other places as well, government is considering bills that would seriously restrain what social media can do. It will, you know, government there wants to protect us from offensive speech.   It, it, it so reminds me of, of the discussions years ago about offensive music. Do you remember when Al Gore's wife got into this tizzy about offensive music and I think a law was passed that all albums have to have, like a waiting to tell us how offensive the language being expressed on the music is so we don't get offended? Government's job is to protect my rights. My rights are not violated when I'm offended. My rights are not violated when I hear something I don't like. When I hear something I don't agree. Offensive to who by what standard? So, so in Britain, for example, the government has a bill that they say they hope to stamp down on, among other things, this is on social media, death threats. Death threats are illegal. Yeah, that's the one thing government should do is stop death threats. You know, investigate and prosecute people who threaten death, particularly the extent that they're serious about it. Knife sales, I guess in Britain, there are a lot of stabbings. But I think knife sales are legal.  Racist abuse generally is OK. But if it's directed at the football team, that's unacceptable. It's bizarre. I'm reading from an article written about this bill in The Economist. Now, some of these things are already illegal. Too many of them are already illegal. England and almost all of Europe have serious limitations on free speech in a variety of different hate speech bills, as does Canada. But this is ridiculous. What they want to do is they want to force tech companies to announce explicitly which one of these they allow and which one of these they don't. So the tech company would have a list saying racist abuse directed at England's football player. We approve that.  Now, we're against that. We don't allow that. Vaccine skepticism, we're OK with that. Fraudulent advertising, we're not sure. Glamourizing anorexia, we're definitely for that. And assisting people with suicide, no, we ban that. I mean, this is absurd. And how long is this going to be? Is there an end to it? Is there an end to the number of things you can imagine? People can abuse one another through speech. And these companies should have a list. Thumbs up. I mean, I think they should have terms of service that are clear and articulate and objective and make it clear so that when I post something on Twitter, I can say, yeah, I'm not violating those terms of service. I'm pretty sure that this is OK. I'm not sure the terms of service are very clear and objective. I'm all for that. But this is absurd. And Rob says this is secularizing blasphemy laws. Yeah, but it's random blasphemy. It's like blasphemy by whose standards? Well, by the whim of the moment. And how are they going to enforce this? And if the social platform violates this, oh, they're going to be huge fines. And who's going to decide? And how many court cases are going to be filed? I mean, think about this. How many posts they are on social media every day, every second? And of course, they know that human beings are not going to be able to screen these things. So we're going to have algorithms. Well, but what if the algorithm is imperfect? Is it the company's fault that they made a mistake? Are they going to be sued? I mean, how bad of a? It's just. And this is clearly a violation of the property rights of the business, the ability of the business to run its business the way it sees fit. And a violation of the property rights. Sorry, the free speech of the business. What if the business wants Lenny Bruce to perform? And Lenny Bruce has some, I don't know, insensitive jokes that violate one of these lists. Then what? They're supposed to block him, but they wanted to perform.  They don't get to hear the speech that they want and have contracted for because the government doesn't allow it. It's going to be arbitrary. It's going to be emotional. It's going to be ever growing, ever growing. So they were going to be limited. You know, not that long ago, the most offensive speech you could make in Britain and a lot of other places was against Muslims. That now is changing. Now, the biggest issue, the biggest offense you can make is to say something negative about trans, particularly in England. England, the trans issue in England is much bigger than it is even in the United States. But there's no end to how many people who gets offended by whom, which intersectional group, which oppressed group next, is going to demand to be treated with the utmost respect.  Students are not allowed to hear offensive things. In Australia, under this new act that they want to pass, social media users can make a complaint to Australia's independent regulator for online safety, the E-Safety Commission. If a reasonable person would conclude the material in a post, would cause serious harm to an Australian adult or have a serious effect on an Australian child so anybody can complain about anything. And what's the standard of evaluation? A quote, reasonable person, who's that, thinks that it could cause serious harm. What kind of harm? Nobody's punching. There's no physical damage. So is this emotional harm, spiritual harm, ideological harm? Maybe the guy's being converted to capitalism. Whoa, that is real harm. The acting coverage is proactive action and behavior by establishing a wide range set of basic online safety expectations. Safety. Safety from what? From ideas. Safety from what? From language. Safety from what? From expression. This is exactly what free speech is here to protect us from. The government determined what is harmful speech. The government determining what is acceptable. The government determining what is truth. This is the misinformation. I mean, the government determining what is truth. The government, the source of so much misinformation. But the government is possessing itself as a Catholic church determining what is OK, what is blasphemous, what is not blasphemous, and how private individuals should be able to behave or not behave in their own private spaces. Canada has a similar bill, online proposes to regulate also for safety. It's all about safety, protect people from speech the government doesn't like or a reasonable person. So while many of us don't like what Twitter does or don't like what Facebook does, the thing we should resist more than anything is government involvement. The thing we should resist more than anything is the government getting involved in what can and cannot be said. What is acceptable and what is not. What is harmful and what is not. What should be blocked and what is not. Because that's the end of debate. That is the end of controversy. And that's the end of radicalism. That's the end of changing the world. There's no way to change the world unless we can speak. There's no way to make the world a better place unless we can speak. The whole purpose is to silence opposition. And at the end of the day, just from a selfish perspective, the biggest opposition is us, is capitalists. Thank you for listening or watching The Iran Book Show. If you'd like to support the show, we make it as easy as possible for you to trade with me. You get value from listening. You get value from watching. Show your appreciation. You can do that by going to iranbrookshow.com slash support by going to Patreon, subscribe star, locals, and just making an appropriate contribution on any one of those channels. Also, if you'd like to see The Iran Book Show grow, please consider sharing our content. And of course, subscribe. Press that little bell button right down there on YouTube so that you get an announcement when we go live. And for those of you who are already subscribers and those of you who are already supporters of the show, thank you. I very much appreciate it.


So we could see some of the best racing of the night now as the track conditions are improving so semi-final number one on It's way Martin Vashlik coming through with eight points. He's got the dreaded gate to number three You're gonna need a minor miracle there if you're gonna make the final They've got a warning for Jason Dolf for the movement on the inside gate earlier on in the evening So he will go from the outside this time So a good-looking line-up always is of course at this time of the night This is when it comes down to Want to make the final don't you don't want to dip out now top two going through Still good points on the line here, of course in the semi-finals But you want to make the final if you call the tool possible on the inside in red Then is Mikkel Mickelson made the final here last year on the rostrum Robert Lambert hasn't won a Grand Prix Will it be his night? He's had a gate number two in blue gate number three and wide is Martin Vashlik and off the outside the Australian Jason Doyle in the yellow helmet color He's loving it out there. He's won two races this evening From the outside gate And didn't it did not hesitate did he just went straight for it very happy with that? He was indeed Robert Lambert has backed himself to come out of gate two You are a little bit vulnerable in this state of the night if that man on the inside makes a really good one You could be in problems going into the first corner tense times Grand Prix Speedway back on our screens and we're delighted to bring it to you tonight As I said earlier, it's been a difficult night, but I've got to say there's been plenty of result from everybody concerned Here we go then First semi-final of the year Away we go even break to the first corner what a star from Doyle Doyle across there Here comes Robert Lambert through on the gate number two. It's just about paid off for him Mikkelson Doyle is looking it there, but they're clear they're away Lambert looking threatening in second place but Jason Doyle in the outside start working well again Yeah, the top two especially a little bit of a gap, but you can never be too sure Lambert will just be happy to tuck in take the second place behind Jason Doyle at this stage I would suggest but having a little sneak you look up the inside They have it starts in second place door just running a little wide there Lost a bit of momentum, but as they approach the last lap here One lap to go to make the final Doyle out in front looking good hits the dirt powers away That's better from doll this time where what Lambert comfortably in second place there through to the final First semi of the year, Doyle through in the final Lambert as well Mikkelson misses out this year having made the final last year and Martin Vassalic out of the Graveyard that is gate to number three misses out Doyle out in front. He's in the final Lambert in second place joins him Mikkel Mikkelson missing out this time in third place and Martin Vassalic back in fourth Tough work, but they won't be in the final for that man Jason Doyle Delighted and looking good some of the decisions clearly working well Here this evening looking good. Yeah, he didn't make the best jump The first meter off the start was maybe not as good as possibly all three of the other riders But boy did he make the bike work to the corner and got straight across there He collects a whole early part of the corner that forces him to turn the bike really hard gets a gets himself in a bit Of a muddle look like Lambert might be able to make the cutback But he doesn't make it work for him and he's think he's happy After about the second third lap just to follow him round and make the semi final But Jason Doyle will be very happy with that. Do you know when you see that in slow motion Chris? It looks really quite untidy and he was having to use a lot of upper body strength there to hang on to the motorbike But doles a tough customer. He's super fit clearly delighted to be in the final


We are now in day two of Bemidji's hockey day weekend and while the concept of the event celebrates the outdoor roots of the sport there's still much more to experience. Josh Peterson is live in Bemidji's hockey day village where fans are still celebrating despite the cold. Josh? All right thank you very much Dennis. When it was announced a year ago that Bemidji was selected to host Hockey Day Minnesota the entire community came together to make sure Bemidji's hockey day experience stands out from all the rest. Minnesota the land of 10,000 rinks so when hosting a hockey event in the state of hockey you have to set the bar high and one way Bemidji did that was by the expansion of the hockey village. Hockey's the center point of the festivities but it's not the only thing going on as a matter of fact you know we got a huge hockey village it's a festival atmosphere out here it reminds me a lot of dragon boats about 70 degrees colder. After the inaugural year of the hockey village in St. Cloud last year organizers in Bemidji knew they had to make it their own and did so by adding the northwood's touch. A hockey is a byproduct of this event and I think that's a really good way to look at this. The hockey game is a really fun part of it but there's so much fun in the tents in the hockey village around the fire pits we've got cornhole lots of things to do. Another way the committee enhanced the experience was by bringing in a variety of food. You don't need to be a cake eater to eat a brownie and for hockey mom brownies they say they are excited to be part of Bemidji's event. At the end of the day everybody's excited about hockey in Minnesota so I'm looking forward to you know having everybody hang out and and enjoy brownie. But the event expands beyond the perimeter of the hockey day site and on to Lake Bemidji where a partnership with the Bemidji JC's will welcome everyone to take the Burr-Midji plunge. The air is going to be colder than the water the water is going to be warm compared to tomorrow so we're very excited we're all pumped we just hope to have people there even though it's freezing cold. But as Bemidji's hockey day draws to a close tomorrow night it's about the community that came together to make it all happen. It has taken hundreds of volunteers hundreds of businesses has stepped up to the plate whether that's sponsorship dollars services whatever it might be. So whether it's the live music the bonding around the fire the food or the love of the sport fans of all ages are sure to enjoy every aspect of the hockey day experience. All right now many of the items you see here in the hockey village are actually up for auction at the end of the day tomorrow now all that money will go to help fund an outdoor hockey program here in Bemidji but as for many of the people out here it's the key is just trying to find a way to stay warm and one of the ways people are doing that is by trying a variety of the hot food out here and what I have here is the buttercream swirl brownie from hockey mom's brownies and it's actually a great way to stay warm. Reporting live here in Bemidji at hockey day Minnesota Josh Peterson Lakeland News. All right thank you very much Josh the festivities continue with a full day of action tomorrow during the official hockey day games are at 931 and 430. If you enjoyed this segment of Lakeland News please consider making a tax-deductible contribution to Lakeland PBS.


Okay, welcome back everyone to the splunkconference.conference 2013 live in Las Vegas. This is SiliconANGLE and Wikibon's The Cube. This is our flagship program. We go out to the events, extract the signal from the noise. I'm John Furrier, the founder of SiliconANGLE. I'm joined by my co-host. Hi everybody, I'm Dave Vellante, Wikibon.org. Steve Solmaris here, he's the CMO of Splunk. And Steve, I got to tell you, I love it when I'm in a keynote and people are clapping and some of these keynotes are like, you know the applause sign is on this morning? We heard passionate customers, hooping and hollering. It was really fantastic. Oh thanks, it was very exciting. We have listened to our customers over the last year and we had four major announcements which really delighted the audience. So why don't we kick it off with the dot-com. We were here last year with The Cube. This is our second year. You guys have been going for a while. Tell us about, give us the overview of what's going on this year at dot-com. You know the numbers, the objectives, the messaging. Talk about it a little bit. I'd be happy to. This year we have twice as many attendees as last year. 1,850 customers and partners, about 2,100 people total. People from 44 different countries, over 1,000 different companies represented here. Very exciting group, technology partners from virtually every part of our ecosystem. Steve, so I got to ask you about the slogan, no limits, listen to your data at a big sign at the airport which I always love coming in to see that.  But talk about the tagline, no limits and where did you guys come with the? Obviously big day is a great opportunity for many. Is that more for you guys internally and your customers or both? It's got a double entendre, just like our t-shirts. No limits in terms of the innovation that we're coming to market with but also we're encouraging our customers to take the innovation and apply it internally and have no limits to what they can do with their data and their organizations. You guys have transformed really radically in a great way from machine data, log files now to full on, I call it moving up to the value stack, really C level value proposition. You guys are talking about analytics, doing about the cloud, doing about mobile. This is a really, really high end value proposition. So tell us what it took to get there and how would you guys navigate those waters because you have a core base audience with your customers, your ecosystem's growing, it's a little bit of a blend. You've got super geeks on one hand and then now you have business customers. How do you balance that and how do you market and keep everything kind of stable there? There's been a major transformation of the company over the last five years, someone I've been at Splunk. Five years ago, the person using Splunk was absolutely a power user in the trenches. It was assist admins, security analysts, network managers, people like that and they knew and they loved Splunk and it helped them do the basic root cause analysis, troubleshooting, security investigations. Over the last several years, we've added a lot of powerful visualizations and dashboards. We've added real time and many other capabilities, including today, we announced capabilities that make it easy for non-technical people to do all the analytics in Splunk. So there's been a transformation from the power users to a much broader set of users and from people in the trenches running their IT architectures and infrastructure to people doing actual customer analytics, digital marketing, integrated customer views and things like that that the CEO cares for. As Dave Vellante was saying on the intro, some conferences they have the applause sign on so you know when people are applauding. Your key know is a much different. People were really, really excited. You have a huge passionate customer base and if you look at all the successful companies in the big data space, the customers are like almost part of the brand themselves. So obviously it makes your job a little bit easier but also harder because you now have hardcore fans. So talk about the dynamic and what it's like working with such a fan base like that. Well, it all comes from the software. I've actually been told Splunk is the only software company where marketing undermarkets the software. I've never heard that before. Our users clearly love the software and it all came from our founders.  It didn't solve their problems and they committed to building software that people in the trenches would love to use. It would make their jobs better and it would make their personal lives better. And from the very beginning with the free download of valuable free software, they've created a fan following and an evangelical type of group of adopters. So what you've said in this keynote, Steve, that you got feedback from last year's keynote, can you please compress the time between good morning and getting to the products? So I wonder if we could talk a little bit about what we heard today what you guys announced. I mean Splunk Enterprise, talk more about Hunk, the cloud platform, bug sense. Give us the rundown here. Yeah, we do things a little differently at Splunk. First of all, in the general session, there wasn't a single marketing person on stage. That's intentional. It was all people in the products organization, developers, product managers. We also felt we had a lot of content and we didn't need to do a lot of introductory commentary about it. I've been to a lot of key notes where for the first hour is just general industry knowledge. Today we had four major messages. The brand new release of Splunk 6, which delivers fast analytics for anyone. We developed a great strategy around cloud. We're offering Splunk Enterprise as a cloud-based service providing the full power of Splunk as a cloud service and enabling you to do hybrid views of on-prem and cloud. We discussed the recent acquisition we did last week of bug sense, which is a really cool mobile analytics application tool set which will integrate into Splunk. And then the fourth major piece, we introduced Hunk, which is in beta still. And Hunk applies all the powerful exploration, visualization and analytics in Splunk. It applies it to massive data at rest inside Hadoop. So let's unpack some of those. So let's talk about Enterprise Splunk, version six, right? So what really is new there? We're talking about more robust capabilities, better security, more enterprise-like qualities. Talk about that a little bit. Splunk comes with a really powerful ability to do virtually any type of analytics. It's called the search processing language and you can do very simple searches with very little skill. To do more complicated analytics, you need to be a bit more of an expert. What we've added now are fundamental data models and pivots all built on top of high-performance analytics stores which enable non-technical people who don't know the search language to do what is in effect seven, eight, nine lines of code, basically drag and drop to do the kind of analytics and visualizations they want to do and do it extremely quickly. So now I got to ask you, so pivots is a marketing word we heard this morning. It was a Devani who said, the internal name is pivotsizzle or something, or pivotizzle? Pivotal, yeah, yeah. So that's good. Okay, now let's talk about cloud a little bit. So you've had Storm, but Storm is really targeted toward the development community. So what's new about the cloud announcement that you guys are making here? So, yeah, last year we announced Splunk Storm, targeted specifically for cloud-based developers. We've had very good market traction, both with free users and paid users, but we started seeing a lot of demand from our customers and prospects for a full production solution, something that could scale to terabytes of data per day, something that offered the full API, the full performance, the full customization, the full app ecosystem that Splunk Enterprise offers. And that was the big news today, offering Splunk Enterprise as a cloud service for any companies that want to use Splunk, but don't want to run it on-prem themselves. And then, of course, BugSense, a recent acquisition, it's all about mobile, give us a few words on that. So we have a lot of customers using Splunk for mobile app management. Companies like ADP are doing tremendous troubleshooting and app analytics where they're getting views of what's going on primarily from the server side. BugSense is one of the leaders in looking at mobile device data, being able to take the data directly from your handset, your smartphone, and correlating it with all the other data that's part of your mobile application and infrastructure management problem. So now we can do comprehensive end-to-end user analytics and app analytics by incorporating BugSense with Splunk. And then, Hunk, I want to come back to that because I said this, John, earlier, to me it's the holy grail of big data. Everybody's trying to kindergarten proof big data. I was tweeting that out today. People said it's impossible, it can't be done. Your value proposition is essentially you're laying Splunk on top of Hadoop clusters. It is doing all the matte-produced stuff in the background for you and just allowing non-technical users to really interact with Hadoop data number one. And number two, you're keeping the data in place. It's where it is, you're not moving the data. You're not having to ETL it or move it out of the cloud and into on-premise or vice versa. Talk about that a little bit. We have customers who love Splunk. We've talked about that before. But they also have these big data storage. Hadoop is really good for cheap batch storage. And we have customers who have said we wish we dream of taking the Splunk analytics, Splunk visualizations, and putting it on top of Hadoop.  But we had engineers such as Wedy and Bettenka who came up with a concept called virtual indexing. And it enables people to use the UI of Splunk and do powerful analytics on Hadoop. And we now have partnerships with the leading Hadoop distributions because they've seen a lot of customers fail in terms of getting value from Hadoop. Six, 12 month projects with no value. And now customers in 30 minutes or an hour can get value from these massive data stores that are locked up in Hadoop. Steve, I want to ask you kind of a personal question. You've been with Splunk about five years.  And obviously, it's, you know, you go back to the origination when I was talking to some of the venture capitalists and early investors. And Splunk was, you know, early on, great technology that founders were in there. As you said, the product was kick butt and then it had great traction and right out of the gate. But that big data movement wasn't happening really. And they got in the front end of it, but still that growth came in the past five years. So I want to get your personal perspective of the growth machine called Splunk. Evolution of the product to customers. What are the biggest surprises? What would it be to learn? What can you share? Give us some color into the past five years, if you could. That's a great question. I'd love to talk about that over a few beers and a couple hours. I was here tonight. Yeah, I'd say one of the biggest changes, one of the biggest surprises, is when I joined Splunk, I knew from previous jobs that it was really great technology. It was a great tool. And I could see people getting value from it, whether you're managing apps or IT infrastructure security. What I didn't foresee back then was that Splunk would turn into a platform. A platform where you could develop, you could create apps, whether it be an ecosystem of 430 partners. And where people like me, marketing people, web intelligence people, would be using Splunk to get business value and not just troubleshooting their infrastructure. So basically, I'll translate that. You realize you're in a rocket ship and you're holding on as tight as you can, having some fun, right? Yep, yep, we're keeping up as fast as we can. Steve, thanks for coming inside theCUBE. I know you're super busy, got an amazing event here. You guys have done a first class job. Thanks for having us here. Again, success on the ecosystem, great endorsement from some of the big names, startups as well as established companies here in the partner pavilion. Keynote was great. You guys are doing great. And the customer act was just like, congratulations. This is Cubes year two at splunkconference.converse2013. We'll be right back with our next guest after this short break. Stay tuned for two days of live coverage of dot-conference2013. And the hashtag is Splunk, C-O-N-F, SplunkConf tweet. We're watching the Twitter stream and we'll respond to any questions you have. John and Dave are here to answer them for you, checking to see them from the noise. We'll be right back after this short break. Great, thank you guys.


Growing up means extracting the beliefs that were placed in your head by others. Most people never grow up. Not really. Growing up means maturing. It means becoming independent.  Few people really do this. Because few people ever get around to extracting all the beliefs that were placed in their heads by other people. Most people have similar beliefs to their parents about life, society, politics, and religion. If it's not their parents, it's other influential figures in their lives like friends, teachers, or the media pundits they follow.  The average person goes from cradle to grave without ever seriously examining their beliefs about who they are, what they're like, or any of the other ideas about themselves that get inserted into their minds by the verbal and non-verbal communications of the people around them. For most people, a huge amount of their personality is pretty much locked into place in early childhood by the life experiences they have with other people during that time. They're still essentially who they were when they were kids, but we call them grown-ups just because they're a certain age and can have kids of their own.  It means really excavating our beliefs about ourselves, about life, and about our world, all the way down to the old subconscious beliefs that are buried so deep inside us that we don't even normally notice them. This isn't easy. It takes work. It takes dedication. And it takes courage, because truly relinquishing long-held core beliefs is like a kind of death. But unless we've done it, we can't really say we have matured as human beings, because we're still existing in more or less the same state we were in when we were children, sponge-like imitators who soak up whatever was placed in our minds by trusted authorities. And to make things even harder, it turns out that there's a whole other category of people who've been placing beliefs in our minds, and they're complete strangers. It turns out that powerful people have been pouring massive amounts of wealth and effort into manipulating the way the public thinks, speaks, and behaves in order to manufacture consent for agendas and status quo policies which benefit them. It's obnoxiously unfair, if you think about it.  Just as you put down your shovel and got ready to relax, you've got to pick it back up and get right back to shoveling. But hell, that's the job. That's what it takes to become a mature human being.  This doesn't mean that you can't have beliefs, or that you can't have beliefs that came from other people. Humanity has been full of brilliant minds with great ideas, and the world is full of true and helpful information. The difference is that you are consciously choosing as a mature adult to take on board whatever you take on board for however long you find it useful rather than mindlessly ingesting it into your worldview because someone told you to. And you can't do that until you've cleared everything out.  From there you can consciously construct your own worldview based on what you have independently found to be true. Again, this isn't something most people tend to do, including the powerful people who are destroying our world and driving us toward disaster and annihilation. Our world is being steered by confused psychological infants who have not done the work of becoming true adults, and it's going about as well as it sounds like it would go. Humanity needs to mature if we are to avert disaster and begin creating a healthy world. We are each singularly responsible for our own role in that maturing process. Every mature human brings humanity as a whole that much closer to maturity and provides one more voice that can help orient the world toward truth. The work starts here and now beneath our own feet.


I feel better doing an MRI today, I went in for the results on that. But shoulder feels better today, just like normal sore from just pitching the day. Do you anticipate getting those tomorrow morning or when do you expect to get those results? Hopefully I get them tomorrow morning or later on tonight. Yeah, spend them together tomorrow. Leaves you encouraged, because when we spoke earlier, you said you're pretty optimistic that it wasn't that bad. What makes you feel that way? Like, today when I wake up, I thought it was going to be worse, but it was just like normal soreness from pitching. So that's why I'm feeling like that, like it's nothing crazy. Did you get any treatment on it, any special different treatment for today? Just tried to go to my normal routine, like day one, the day after I pitch. Just the only different idea was just went into the MRI. Your fast ball velocity was down a little bit last night. Did you notice that as well? Did you feel it at all? I wasn't really looking at the rally gun. Yeah, I mean, probably. But I think part of that was just sitting down for the long innings and trying to go back out there and trying to get more and more and back again. How is this different than what you had in July with Oakland? Well, like I said, today I wake up and just feel no more soreness, nothing crazy. So based on how you feel now, you think it's a decent shot that you'll be able to make your next start? Probably.


Hello, I'm Eli Stacey and today I'd like to show you how to create more complex and engaging replays in the B-Box All-in-One mode to better fit your production and sport. We'll start with the different ways of creating replays in clips, then how to play them out either individually or in a playlist, and finish with using the Shuttle Express as a hardware controller. Let's get started. There are two ways of creating replays within the B-Box, either with clips or with cues. The difference being that clips have a defined in and out point, they can be tagged with keyword metadata and can be individually exported, while cues are just a raffle's point in time that don't have a fixed output. Let's start by making a clip. To make a clip it's very simple, we just go to the bottom right, at any point we press mark in, wait for any action to occur, such as I'm trying to make that shot, let's mark out, and then when we hit save, we'll see the clip number at the bottom right where the save button is, and we'll also see the clip properties window pop up. From here we can add keywords, so in this case there was a pushing and there was a foul, and was applied to all the camera angles, and then we can see in their clips window in the asset management at the top left, I have every single camera angle of that clip, so not just my cameras, but also my outputs as well, if I have graphics on top of that. Let's make another clip. So one of the things to note is when you're creating clip it's not based on the live multi viewer, it's instead based on the replay multi viewer, so that means while your live production is going, I can jog back with the jog pad here, now I can do that just with one finger, scrubbing back to fine tune exactly where I want that point to be, or I can use two fingers and scrub back much faster, so that allows me to scrub through a large amount of data, maybe I missed this free throw. Another option is to use this minus button here, now this number is configurable, but I can go from here and just do minus three seconds, minus three seconds, and quickly jump back in time. So let's go and let's find a good angle for this shot, we can mark it in, then we can scrub to whatever we want to finish right around here, mark out and save, again we have that window pop up, this time it's a free throw, you can apply it, then I can see that my clip was added here. If you ever want to go in and check what keywords are associated with any clip, or if you want to add any keywords, what you can do is go to select, select any of the clips that you want to edit, then press edit, and you can see this window pop up again where we can add different keywords, or we can manually type in a name for the clip, and then we can apply it to just the angle that we selected, or every angle within that clip. Now let's create a cue, if we go to the bottom right, under mark, when I press mark, at that point in time, if I go to my cues bin, I can see that it creates a thumbnail there that I can jump back to. Now again, that is actually referring to the point in time of my replay multi viewer, if I press mark here, but say I'm in the middle of creating a clip, or creating a replay, and something happens on the live multi viewer, we also have a live cue button, that will then refer to our live multi viewer instead of our replay multi viewer. Another quick way to create a cue is actually to go to our replay multi viewer, find the orange section under any video, and tap on it, and we can see that it creates a cue point. Now that we've created a few basic clips and cues, let's use those to make more complex replays for the program output. We'll start with clips, let's find one of our clips, and if we tap on the green section, it'll send it to preview, so let's just do this clip, often making the free throw. Once it's on the preview window, if we want to just play it out, we're happy with the clip, we can just tap on it, and it'll play it out on the program output. But as we'll see, maybe the clip ends right there, maybe that's too short. So let's bring the clip back onto preview, let's go back to a live camera program, and then once it's here, we can actually edit some of the properties of it. So if we go to the bottom right, I have my jog pad here, and it's green, which means it's now controlling preview. I can switch between controlling preview and the replay lots of your just by tapping on this window to switch between them. See now I'm controlling replay lots of your back to live there and go into preview. Then I can see where the out point is, and I can actually go past that. So it says out, it says plus one second, or if I go past and goes out plus two seconds, that's fine. I actually can now press out and change that output so that that's now the new output of this clip. So if I were to play that again, it would now go to that out point instead of the other one. Now another thing that I can do, because I don't just want one angle of this replay, I want multi-camera replay. So if I go to the bottom here, I can see the button sync to preview. So first thing to do actually is to go back to the beginning of the clip. One way to do this is go to the bottom right here, and where it says go to, and it pops up this window where typically we can jump between the different time codes. But actually while go to is there, I can press in and then it'll go to the beginning of my clip here. Perfect. So now let's go down to sync to preview. And what this will do is it'll sync my preview multi viewer to the exact same time code as my preview in here. Then from this, I now have every angle of that replay. So if I were to now play this out, it's going to play it out. This is still at the beginning. So now I can do a different camera replay just by tapping on it to bring it to program. There's another angle. Let's tap on that again and we can get a third angle. So from this one clip, we have all the different angles that we can then export later. But really if we go to our multi-viewer, it's very easy for us to create multi-camera replays of this. And another thing is when going to the replay multi-viewer, because it's not referencing the clip directly, it's really just jumping the record train back to that point in time. There isn't going to be a hard output that'll mean that the video will stop at this point. Instead, the video will continue. So seeing this is obviously pass wherever that out point is, but we'll never have a frozen video on frame because we wait to the record train as opposed to the clip. But then whenever you're done, you can go live here, but that doesn't mean it's live on the program output. Instead, I have to tap on a live source to go back to it. Now let's create a replay using just cues. So as you can see here at the top, instead of having every camera angle for an action, we actually just have one button, which is blue, which means it'll send it to our replay multi-viewer, not our preview window. So if we tap on that, we can see that we immediately jump back in time to that cue point to go back to live, because there's actually a few ways that you can go to that cue point. The other way is if you tap on the blue section of the window, that'll recall the most recent cue. I tap on that and we jump right back to that point in time, just as we did before. Then actually from here, we have additional control. So at the bottom right, we can see that we can jump between different cue points. I can do previous cue and I'll jump to the last one to previous cue again, and I jump back even one more. But if I ever want to go to any specific one, I can also just tap at the top. Then from here, I'm going to do something a little bit different than last time. First, let's cue up when the action is about to take place. And what I'm actually going to do is instead of having these frozen at the beginning of the action, I'm actually going to follow the action in slow motion. So let's see how to do that. So let's first start off with this wide angle. I'll just send that to program. Then while the video is playing, if I do seat to program, my multi-viewer jumps to that point in time and plays out at the same speed. So now I can do a multi-camera cut in slow motion. So we want to follow the action. This is a great way to do that. And then whenever you're done, tap on a live source to go back to live. And our replay multi-viewer will automatically jump back to being in sync with our live. Now, one of the things you might have noticed is while we're creating these replays, we actually have new windows popping up in our cues bin. That's because the system knows that if you're taking a clip or you're taking a certain angle to program, it's probably pretty important. So it actually records all that information that you can refer back to later. So that replay that we just did, we actually go up here and we see this window with a plus on it. And when we press the plus button, we see that all of the windows expand out. And these are all of the different camera angles that we use during that replay. Now, when we're building a playlist, we'll be able to select them and send it over. But at any point, I can jump to these points in time as you see the replay and multi-viewer jumping back there so that I can refer to them. Now, another thing to note with these windows is how you can use each of these, you know, the program preview and the replay multi-viewer has totally independent time codes. So for instance, let's send this video to program. We'll notice that this is frozen and I have independent control from the program rundown. But also rules, I can send this clip to preview. And then if I switch to my preview control at the bottom right here, I have independent control here. So I really have a lot of options for queuing up a lot of different things. Now, where this is especially useful is say I scroll through here and I find maybe a really good reaction shot of the crowd or the audience. They're cheering right after a goal. I could bank that at the beginning so I can, you know, cut between all of the different clips in or different angles in my replay. And then right as I'm done, I can finish with the reaction shot. And then after that, I'm safe to go back to a live camera angle. Now that we've created a few cues and clips, let's look at the different ways that we can add them to our playlist. The first thing to do is if we were to just have a marked cue point, no in or out points, if I were to select that by tapping on the orange section and doing add to playlist, we'll see that it's 10 seconds in length. That's because if we go to our preference bin and on page four, we see that clipping duration before manual cue point is five seconds and clipping duration after manual cue point is also five seconds, allowing us to have that 10 second clip with the marked point right in the middle. Then if we were to go to a replay that we've previously done by tapping on any one with the plus on it, I can go through and select these three camera angles and I could do add to playlist. So that's how we can add some cues, but now let's go into our clips. I can again do the same thing, tap on the orange section if I want and do add to playlist and it'll put it right to the end and it'll also remember the order that I tap them in. But what if I don't want to add it just to the end of my playlist? What I can actually do is if I want to add it somewhere in the middle, I can tap on say 125D, I were to put a clip before that. Once it's here, I can just tap on any of my clips. Let's do two of them.  Now once I've added a few of them, I can tap on the green section of this playlist to send it to preview. I can scrub through it with the jog pad at the bottom right. I can go back to the top just by pressing the green button at the top left there or I can go down to the bottom left and play it out from this controller. And from here, I can adjust the speed from different presets or from the slider to like to play or if I just want to go back up to the top. Another option that I have is if I go in here and press select on one of the clips and then press edit, it opens up the playlist item properties window. And here we actually have a lot more control over what the playlist will look like. From here, I can choose what transition it's gonna be. You know, for instance, I could go between one clip to the next, it'll be a cut or it can be a mix and you could decide how many frames that's gonna be. And then I can change the play out speed of the clip as well. So you have a lot of different controllers here. You can apply it to all the cameras or you can go through and manually change these settings for each one of them. So let's just hit apply. Perfect. So I can go through my playlist and see. So this one, I don't really like the camera angle. You know, perhaps the content of the clip is fine but I can change the camera angle just by putting it into preview. I press change angle and now I replay multiple, we'll jump back to that point in time just to switch out to a different angle. So I can press this one. See now, this looks much more interesting than the one we had before. This one's also a 10 second clip. So that's quite a bit of time. What I can go through is I can either scrub to the very beginning and say, you know what, maybe we just missed it. If I press extend, I can actually go past where that endpoint was and I can select a new endpoint. See, but now the clip's 16 seconds. So let's go through. All right, it looked like there was a foul right there that knocked it out. I then will mark the new output. So now we have a five second clip, much more manageable. Then once we're ready to play it out, we can go back to the top and then simply just tap on the preview window and it'll send it to program. Once it's playing out, I see that the red bar is going down each of the clips that I've added. I also see the number clip that we're on. So in this case, I have three out of eight and I also get a kill down. So for this single clip, it's just finishing. Now this one has five seconds left but my whole playlist has around 25 seconds left in the playlist and I'll be able to use that to know when to switch back to a live camera. At any point, I can also skip a clip just by putting it into preview by then going to it and this playlist will automatically update and continue playing out for where it is. And then I'm on my last clip. I see it has a few seconds left. I'm just gonna tap on the live source to go back to live. Great, now that we've created a simple playlist, what we can actually do is use these same assets to create more playlists. So one of the things that I can do is I can go through and select a few angles. I can copy it. And now it's in this clipboard here. Then if I were to go to this new one, I can select the elements that I have copied and then I can add it to this playlist. Perfect, so now I have a playlist with just those items and you can use those to shuffle things around within the playlist or as I mentioned, creating a new playlist from those elements. Another thing that you can do that's pretty cool is if I were to mark in, mark it out, and instead of pressing save, I do insert. What I can do is I can actually select one of my camera angles to immediately add to my playlist without having to create a clip, then send it over. I can, in the middle of building a playlist, add another element to it very quickly. Let's do that again. In, out, and this time I'm gonna add. I select which camera angle. Let's get a wide on that. Let's do B and perfect. So 127B was just added to my playlist. So now I have my playlist and I could just play it out. Go through and then again, the same thing, I have the countdown for the old playlist and the clips and the number that I'm on. When I'm done, go back to lives. Finally, let's use the Shuttle Express as our hard-working chore for creating replays. To see what the default values for GD settings are, go to setup and in preferences on page five, we'll see what the outer buttons are set to. In this case, we have button one is set to toggle control. So that's toggling between either my replayed little tab viewer or my preview window. You know what window I'm gonna be controlling at that point. Then I have mark in, mark out, and save for creating clips with these inner three buttons. And then my fifth button is setting whatever window I have control over back to live. And then I have two other bits of settings here. So I have the outer ring that has different jog speeds. So the further I turn the outer ring, the faster it'll go through the video, faster it'll scrub through video. So this is good for going through a large amount of video if I need to go back very quickly. And then the inner ring is more for fine tuning where the end point is going to be in each tick only goes through one frame at a time. So let's hit apply, exit, and let's create a clip. So perfectly just made a shot. I can control one window I'm controlling by pressing the left button here. And as we can see at the bottom right of the preview window, I'm switching between now to replay. And so now let's jog back. Now it's a bit back in time. So I'm actually gonna use the outer ring. And as you see the more I turn it the faster I go through the video. Let's go back, back, back. Let's go to that shot right around there. And so now let's use the inner ring to fine tune that end point. Perfect. Let's use this one right here, mark in. I go through perfect. He makes a shot, mark out and then save. It opens up the clip properties window. And then I'm gonna say that's a three point and then hit apply. So great. Now I have my clip, but I want to set my replay multiviewer back to live. Perfect. I'm still controlling the replay multiviewer. I just press the fifth button to set it. Now let's go in and create some custom settings for the shuttle express because maybe making clips is useful, but I really want to have more personalized control for my operating style. So I really like having toggle control. I like keeping it there. But in this case, I'm going to be using cues instead of clips. So I'm gonna set my three buttons to be previous cue, next cue, instead of save, I'm gonna do mark. So I'll be creating a bunch of cue points and then being able to quickly jolt through them. And then I'm gonna keep my fifth button as live as well. I have to hit apply and then exit. And so now on my multiviewer, let's wait for any sort of action to take place. Looks like he's gonna try to make a shot. Oh, he doesn't, but let's create a clip of that. So let's go back. And now at this point, I'm gonna press the fourth button, which is mark. And we see it creates a new cue point. And if I want to go back to live or press the fifth button, and so now at any point, if I wanna go to that cue, I just press this button to go to my previous cue. If I wanna go back again, maybe I wanna cycle through all the different cues that I have available. I can just go through there. All right, go back one more. All right, but let's go to the one that we just created. So next cue, next cue, and I can't go back any further. So this is the most recent one. And then I just tap on any of my camera angles and I send that to live from where I replay. Then whenever I'm done on my replay multi viewer, I can set that to live. And from my program window, I tap on a live source to set that to live. I hope this has taught you a few new ways to create more complex and engaging replays for your production. If you'd like to learn more about the auto and application or the Bebots platform, there's information on our website. Thank you.


In this video, we will show you how to create a classroom environment rich in mathematical opportunities for numeracy. We will review each element step by step to help you create your unique environment that nurtures numeracy. These elemental components are absolutely essential to creating a nurturing risk-free environment where mathematicians are able to make meaning of real-world mathematics. As a consultant, when I'm working with teachers, it's very evident when I walk into a classroom that is literacy is definitely happening. But it's really important that our environments support the mathematical instruction as well. We need to think about the physical space. We need to think about our walls being that extra teacher that supports our students for their learning to optimize learning. So some of the things that we really need to think about is we need to take a look at our physical environment. So when we talk about a guided math classroom, we need to have an area where whole group instruction can occur. We need to have an area where we can pull small groups of students so we can have intentional math lessons with them. And we need to have areas in our rooms that support stations and learning where groups of children, you know, four or five can get together to really work together on a center or a station. How you physically arrange your classroom is important. Set up the furniture arrangement by designing work areas to support individual, collaborative, or whole group learning. When planning this physical arrangement of your room, consider creating a whole group meeting area. This is an area where the whole class can gather to engage in math talks involving new vocabulary, introduce new math stations, and participate in opening and closing activities. In this area, make sure you have access to resources such as chart paper, markers, sticky notes, a smart board, and large versions of math manipulatives. Next, create another area where a small group of students can meet for a guided math lesson. Often it is your kidney-shaped guided reading table, but it can be at the carpet or anywhere you can engage in targeted math instruction for a select group of students. Workshop stations or centers are areas of your classroom where small independent groups meet to work on games, activities, and or technology, while a small group of students are meeting with you, the teacher. It can be a cluster of desks moved together or a small table. In these areas, be sure to have access to manipulatives and spaces where students can move around freely and comfortably. When mathematicians decide to do three C, that's not a unit. That's not like three meters or three kilometers where we would normally see a letter. It means multiplied by. So when I have three C... Mathematics has its own language. If students don't understand the math language used in a math vocabulary term word, they can't use it to build future understanding. A math word wall is a powerful tool that promotes independence, develops vocabulary, and supports reading and writing in mathematics. Math communication is more than just words. When you display a math vocabulary word, include a picture or diagram to go along with it. This greatly supports our English language learners and low cognitive students. Your math word wall is an important scaffold for students. If they're working on writing their thoughts and can't spell a word, they can find it on the wall. If they can't remember how to draw a bar graph, they can find an example on the wall. These walls need to be a living part of your classroom, interactive and ever-changing. They grow and adapt to meet your students' needs. Refer to the word wall often in your math lessons and routinely play games and activities such as be a mind reader, bingo, or pictionary. So the students frequently utilize the math words. This word wall must become a part of their daily math communication. What we're seeing here is the lesson I was doing today was extending the learning from 2D shapes, moving it to 3D objects. So in previous lessons what I have is the word wall which was built on vocabulary and basics of the 2D shapes. So today what we did then is we added the terminology and vocabulary needed for them to solidify their understandings in the 3D unit. So what this does for the students is it's interactive in the sense that they now can come up and it becomes the visual cue. They can come up and actually manipulate and use the actual wording, vocabulary, diagrams in their learning as a tool to further and deepen their understandings. Creating a literature and math connection from fiction and nonfiction stories helps to extend students' thinking. During oral read-alouds, ask your students to share where they see math in a story or use a picture book as an opening activity to introduce a new math concept or topic. So now I have four of how many I need. The use of manipulatives are a powerful tool to gain a deep understanding of mathematics. Students make connections between concrete manipulatives and abstract mathematical ideas. You can tell me something that you will vote 2D shapes. Math anchor charts are visual resources that support instruction and anchor student thinking, reasoning, and problem solving. When you're a teacher and you're doing your planning a course, one of the things is you always want to make the connection between how numeracy and literacy connects to the real world. So when we're doing anchor charts, and specific this one, it's kind of beautiful for that, is I purposely left the real connection to the end part of the lesson. So that often I will do it at the beginning part, which I referenced to a lesson we did before, but in this case I ended with such that they understand that what they're needing to learn and to cover and what have has that real world connection. And because I use their voice, again that just anchors the importance of why we need to be innumerates in society. And so for me, that's why I asked them if they would, I could take ownership of what they put here so that it just connected their learning to the real world. It's important to have anchor charts throughout your classroom so a child has easy access and can refer to them quickly. Anchor charts can serve different purposes. They can focus on a mathematical skill, concept, or strategy. Often written on chart paper, anchor charts can function to provide support for socialization cues when working in a group, reviewing key vocabulary, highlighting a process for a math operation, or ways of thinking about a topic. Remember, anchor charts should be co-constructed with students, reflect recent math lessons needing scaffolding and support, support the development of math language, be organized and accurate, often containing more visual images than text and stay up during the entire unit of study for easy reference. Anchor charts cue thinking about students prior learning, helping to remember specific strategies, procedures and concepts, fostering independence and building new confidence in mathematics. Show me one way to solve two times five using equal groups. Math talks are an extremely valuable component of all numerous classrooms. When meaningful mathematical conversations happen, students construct knowledge, communicate what they know, and make stronger mathematical connections. Teachers no longer become the sole bearers of knowledge, but instead they help support and guide students to a deeper level of understanding. When we encourage students to be actively involved, meaningful learning occurs. Students move from being passive listeners to actively engaged participants, eager to ask questions, articulate and defend ideas, and analyze the reasoning of others. In the next video, we're going to take a look at how you as stewards of your own classroom can get started with small group guided math. See you next time, and thanks for watching.


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