What's up guys, welcome back. So today I actually want to talk about something really exciting. And by exciting, I mean something that is frustrating fans far and wide. It's been frustrating fans for at least a couple of years now. And it is the Ticketmaster weight room, or as they like to call it, the smart sheet. What is that? What does it mean? What does it do? Why does it work? Does it work? Is it even relevant? To answers to all of these questions, sort of, and maybe more, let's get into it. All right, so first off, what is the Ticketmaster weight room? Or Ticketmaster smart cue?  What do they say in the Latin? Something easy beating living space. Basically, just putting everyone who wants to buy tickets for that event, when they're about to run sale into one pod, one area, one rating room. And then once the waiting room opens up, it just randomly places people in line. So what does that mean? It basically means that if you're not in the waiting room when the line opens up, you'll be placed automatically at the very end. So if you're within the first 2,000 people, you'll actually have a specific number and you'll see it in your little walking man, it'll be a bar and it'll be moving towards, you know, from 2,000 plus to number one when you're first to go. And so you just kind of see that move along. However, if you're in the 2,000 plus category, then you're kind of in a situation where don't really know what 2,000 plus means. 2,000 plus can mean 2,000 in first place or it can mean 200,000th place. It's essentially all the same thing. It's not a pleasant place to be. And when it happens, I'm not going to say you won't get tickets, but the options available to you once you do get through, if you even make it through all the way, will be limited. So just keep that in mind. Once you get to the front of the line, you get to go in and actually commence the ticket buying process. So obviously best case scenario is you get into the weight room, it opens up and you get placed first or one of the first few people. So you can go ahead and you have the best selection of tickets available for you to go ahead and buy. Yeah, that's the goal anyway. However, the way Ticketmaster has created this process of this waiting room is that it's a random selection. So what does that mean? It means that once you get into the weight room, there's no way of you being able to improve your odds with that specific spot because it's just random. But wait, isn't there a way to improve your odds? And the answer is maybe, maybe, maybe, we'll get into that in a bit. What Ticketmaster has done with this weight room, they used to have an old method where everyone would just get into the ticket buying process at the same time. And then, you know, you click, you know, search for your best available tickets or whatever you're searching for. And then you'll see the spinner spinning, spinning, spinning.  Oh, only five minutes. Oh, you're one minute away. And I said, oh, sorry, you failed. Oh, sorry, didn't work. Oh, sorry, there's no tickets available. Oh, I suggested some other ones for you that you didn't want. All things that we don't really care about and don't really like. And it's just terrible. So they went to this new method and they said, oh, it's so much better. We'll just place you in line for you where you don't get any choice, any possibility to make your own decisions. We'll take that all the way from you. We'll make life easy. That's what they said. In summary, it's basically a process to put everybody in a one little place, EDB to place, so they all wait together and then Ticketmaster decides who goes first, who goes last and who goes in between. Anyway, that's basically what it is. With the waiting room, though, there are a few different variations that they've created. And so let's just dive into them so we can get a better idea of how they all work. So in the standard case, what would happen is, you know, 10, 15 minutes before the event starts, you have to go to the page and it will ask you to log in. You know, okay, fine. Let's go ahead and log in. You log in, you put your credentials in, and then you'll be hit with this next screen, which is the basically the two factor authentication screen. This is their way to prevent bots from being able to get into the waiting rooms. So what do you do? Basically, you'll need to have a cell phone number and what they'll do what Ticketmaster will do is they'll just send a two factor verification code, either by text or by phone, you can make the selection on the next screen. And from there, it'll then send you a code, go ahead, type that six digit code in, and that will then open the option for you to join the waiting room. A lot of steps doesn't take too long. You can probably get it all done in under a minute. Assuming you know your passwords and you have your phone nearby and all that, I would say have that all ready to go. So once you get there, you'll be seeing a big blue box and basically click the big blue box that says join the queue or join the waiting room. I think it says join the queue. Well, I'll see whatever it says. It says something in the little blue box. Click the blue box, and what's going to happen, you'll then go in, it'll load a few for a few moments, and then it'll say, okay, you've now joined the waiting room, please wait here until the countdown timer reaches zero as to when you will then be randomly placed in the line in the smart queue because the queue is smart. Just like your fridge is smart and your oven is smart, your TV is smart. All the smart things just like that. That's how your, that's how the line works. Basically, it's basically how it works. I would say it is exactly how it works. Five, four, three, two, one, zero. They'll say waiting in line, please wait, please wait, please wait. And then the magic blue lullabar will appear. Your walking man will show up and he will be in a line. He will be in a place in line. Fantastic. Just wait for that countdown to go to one and then it'll then get you into the actual ticket buying area. So C is relatively simple. That's because it is not a whole lot you can really do. So basically it's login to factor authentication, join the waiting room, wait for the waiting room to open, get placed in line, get to the front of the line, buy tickets. I think that's a lot of steps. It doesn't take that long. Sometimes it will, sometimes it won't. It depends on the event. Some events, there's not a whole lot of people trying to buy tickets for. If there's a lot of people in line, so just this past week, there were a lot of people trying to buy Harry Styles tickets. And so with those tickets, there were obviously a lot of people trying to buy them. So the wait rooms were rather large. Some people obviously still got in very early. We're in that first 2000 bucket and they moved right to the front. And then there were some people who were in the middle and then there were some people at the end. That's standard room. That's the one that you'll see for a lot of high profile events and even not so high profile events. That's kind of the standard going rate in terms of wait rooms. Now there's a second type of wait room, very similar to the first, however, however, there is no two factor authentication. So what does that mean?  If you do that, you'll then get into the next stage where it says countdown timer, five, four, three, two, one, zero. And then you just wait and you get placed in line. Same process. Then there's the third option. The only difference is that is no two factor authentication and no logging in. Now this is very interesting. So with this, Ticketmaster isn't actually tracking who's logging into that wait room. And so what you can do is you get to the page, click the big blue button, takes you to the wait room, five, four, three, two, one, zero, magic, magic, magic, wait in line, get to the front by tickets. So take a moment, think of those three different types of wait rooms and let your mind kind of churn and get those gears start rolling. I'm not crazy. I swear. If I don't have to log in and I don't need a two factor authentication, does that mean I could have more than one window open at once? Yes, it is yes. It is true. It is 100% true. That is the case. So what am I trying to say? There are definitely some tips and tricks on how to get ahead of the Ticketmaster smart queue. So it basically means you have the opportunity to join the wait room more than once if that's the type of wait room that is available to you. Now you don't get to pick which wait room exists. That is decided by Ticketmaster, the venue and promoter, the artist. They kind of make all those decisions in the background. I'm sure there's different pay structures on what type of wait rooms they want to implement and blah, blah, blah. That's all stuff that we can't control. But what we can control is how to actually log in, get into the wait room once they've already made that selection. So if you're in one of the buckets where there's two factor authentication or just the login portion only, that basically means that account should only be logged into that wait room once, once, once. Just enter the wait room once. Why is that? Because Ticketmaster with their smart queue is basically doing their anti-bot technology algorithm, blah, blah, blah, blah. What they're trying to do is basically say, okay, is someone trying to log in multiple times with the same account with the same information? If they are, oh, let's put them to the very end of the line because I think they are bots. Since we are not bots, we are going to choose to not appear like bots. So if you have a login plus two factor authentication, only enter the wait room once. So if you want to increase your chances of getting tickets in a wait room situation such as this, basically what you want to do is have people who have different accounts all try to log in and go through the process to get into the wait room on different accounts. This way you've increased your odds because now you have more chances of one or more of these people waiting to get a better wait room number. And then also because the account information is all different, Ticketmaster won't view this as bot type activity. With that being said, and with all the options going forward, if you can, if there are multiple people all try to buy tickets in your group, try and be on different networks. What does that mean? If you're all at your house and everyone's trying to buy tickets at 10 o'clock, if you're all using the same Wi-Fi, that is a potential pitfall for you going forward because if Ticketmaster is seeing many different requests coming in from one IP address or one location, it's more likely that you'll be placed further in the back of the line than not because Ticketmaster might view that as bot type activity again. Sometimes you can work around this, sometimes you can't, you've got to work with what you have. If you're all on your mobile phones, maybe all of you can go into data for those couple of minutes when you're trying to get into the wait room and you'll go through the ticket buying process might give you better odds of getting a good number rather than all being on the same network and potentially decreasing your odds. Now, let's go into option number two. So, there's a login but no two-factor authentication. What does that mean? Basically, you're still in the same type of situation. In fact, I would say it is exactly the same.  They now know that your account is, you know, there. They can kind of see you as that same account logged in multiple times, blah, blah, blah, back of the line, bot activity, bot activity, bot, blah, blah, blah, evil. Now, let's get into the third option. No login, no two-factor authentication. What does this mean?  So, what does this mean? It means you now have the potential to enter the wait room more than once. How is this possible?  Then, on your phone, you're not logged into Ticketmaster either, and you'll go to the Ticketmaster webpage, and you'll open up the ticket page, click the big blue button, do the capture, get in the wait room, and now you have a second option of being in the wait room. Yes, so with the third type of option, basically, you have the ability to join the wait room more than once, but again, try and be on different networks and don't be logged into your accounts when you do this because then, if you are logged in, Ticketmaster is able to track your accounts and will flag you as a but and throw you to the back of the line. Now, you may have the question, what if there's two events happening in my city? So, if there's like a Friday show and a Saturday show and they're both going on sale at the same time, what do I do? So, you have a couple options here. Actually, you have two options. So, the first option is there's two events happening. So, what does that mean? It means basically there's two different dates, like a Friday show and a Saturday show happening, same time going on sale. What you could do is use the same account information to log into both, and then this way, you know, kind of give yourself better odds, better chances of potentially getting tickets. Again, Ticketmaster's big data algorithm, they might potentially view this as unfavorable to you. They may not. Basically, if you keep everything in moderation, I would say this generally should be fine. However, there's always a risk that if you kind of show this same type of activity constantly over and over again, you may eventually get flagged as, your account may eventually get flagged as, you know, bought type activity. And if that's the case, then unfortunately, you'll be placed at the back. Basically, the key takeaway here is once you're getting into a weight room, you only want to be logged in once. But if there's no forced login option, then you have the ability to have more than one session open at once. Now, when I say more than one session, I don't mean just opening up 12 tabs on Google Chrome. That's a recipe for disaster. Do not do that. Do not pass code. Do not collect $2. Do not do that. That will result in many, many errors. We don't want errors. Errors are bad. Errors mean you don't get tickets and we don't like not getting tickets because we are about the tickets. So don't do that. When I say multiple sessions, I mean using multiple devices. So if you're on your browser, you have a tab open, go ahead by getting to the weight room there. If you have your phone open, go ahead, same thing, weight room there. If you don't have a phone on you, another option potentially could be to open up a different type of browser. So then you have like a Google Chrome and then you have your Firefox and they're both going at the same time. You can go ahead and do this. It may work out for you. It may not. It might result in some errors. Again, the only proper way of managing not getting the, you know, multiple sessions open at the same time kind of errors is basically to not have multiple sessions open at the same time because then you can't have that error. It's exactly what it sounds like. This isn't one of those things where you can just, you know, fast pass yourself to the front. This isn't Disney. This is the smart queue. You just kind of have to work with what you're given. Sometimes it'll work out for you. Sometimes it won't. Now the very last thing I should mention is that there's also a fourth type of weight room, which is not a weight room. And what happens here is sometimes, very few times, it's, it's very rare now you see it. Every now and then it'll come up, but not always. It'll actually be, there'll be no weight room. So what was happening this past week, there were actually some errors that Ticketmaster was running into. So, you know, like, sorry, unexpected errors occurred. It couldn't get into the weight room. People were complaining, blah, blah, blah, blah, blah. And what Ticketmaster ended up doing is just not having weight rooms at all. What did that mean? It basically meant once you were on the page, you went, go ahead, hit refresh, and then it would just say loading, loading, please wait, please wait, please wait. And then just opened up magic.  It was like the good old days. Basically what happened was, I couldn't tell you actually what happened, Ticketmaster ran into a bunch of technical issues with their weight rooms. And with that, they just couldn't process what was going on.  Basically, if you got in right away, you had great chances. If you were a bit slow to realize what was happening, if you were just kind of waiting for that weight room to work for you and it didn't, it didn't hit refresh. Unfortunately, you missed your chance there. But every now and then, Ticketmaster will run into a situation where they'll just not have a weight room. You'll be able to go in right away. It'll just take a few moments to refresh. And then you'll just get it, just the way it is. But yeah, that's basically how Ticketmaster weight rooms work, what they do, how you can kind of try and game them or beat them if possible. But at the end of the day, it's still a random selection and so it's just, you know, sometimes just luck of the draw. Anyway, hope you guys enjoyed this video. If you did, definitely hit that like button. If you have any questions, be sure to leave them in the comments below. I'll be sure to get back to all of you. Be sure to subscribe because lots of great comments coming up, especially the series I'm going to be doing on how to buy tickets. It's going to cover a lot of great information. So I really want you guys to pay attention and learn lots. It. I'll see you guys next time.


Everybody forced tier ripping 2022 prism football hobby four bucks number eight picker team style got Alexandra's with the Falcons and the Titans Andrew a is the Vikings and Thomas with the Jags Austin K Chargers Brian H Rams Brian F Ravens Carla W with the Jetson Steelers Charles with the Pats Chen Bucks Chen M as the Bucks Chen Z as the Cardinals Courtney Bengalds Daniel has the Eagles Edward P Cowboys Panthers Broncos Eric P Colts Gregory M. Dolphins Hilton T Packers Hung N Washington Josh I Seattle Josh will be Saints Coastal with the Texans Mark M. Lyons Matthew M. Chiefs Matthew G. Bills Michael a Giants Robert R. Bears Valerie with the Raiders Zach O. Browns and Zach B with the Niners. Good luck everybody. Let's go ahead and get started Which Olaf I don't think we haven't had we haven't had a big olavi yet. Have we? You know flashback olavi. I think that was about it A lot of a one of the tougher pulls all day today. We've only seen like four or five of his base cards So elusive orange wave tithing Campbell Jags the 60 31 of 60 Dotson and Stingley how many cases do you guys buy when your product drops? Sometimes it's as many as we can get from our distributors Whatever they'll allocate us I think cause they're in the wire receipts have already Definitely not Garrett Wilson all out cordial Patterson for the Falcons. I would say Elijah Moore is better You should get him to want to play really David McKinney orange. What's what he had 149 for the Giants? Thompson who else do they have there Corey? Is Corey Davis or is he free agent? I'd still take Corey Davis over Silver rookie quay Walker for the Packers Should be okay. I didn't see a disconnection. It's good to me Maybe refresh known rookie silver quay Walker Packers purple ice Michael Pittman jr. Colts of 225 Caribbean Trayvon Walker cops fine.  Like it's it's tough. It's tough Who's the best receiver for agency? He's not even free agent. Yeah, silver firework some hard Jackson Ravens He's like the best available Yeah, green scope CJ Moseley Jets to 75 But you have to get him rather than just signing him Drake London the Cuono Yeah, well, yeah, DJ Moore apparently he's available. He's the best available. Not anymore. He's not anymore silver Robbie Anderson Cardinals Aiden Hutchinson 12 of 99 on the rookie Jersey auto Great hip of the lion. We'll go ahead and mag that one prison RPA for you Alante Taylor Malcolm Rodriguez silver Justin Herbert Chargers Orange Damien Harris Patriots of 249 Haskins and Petrie might be a one looks a little bigger than 100 but Blue ice brilliance Najee Harris, that's cool in card One of 99 for the Steelers a red wave rookie Kyra Elam bills 139 of 149 Chris O'Lave Charles Cross Silver rookie new recruits Malik Willis Titans Blueway James Connor Cardinals to 199 Abner and Garrett Wilson so tired again John Miranda baits dude. Just let me know if he's gonna come back soon I mean, it's just something dude like Make better decisions how about that like that's It's John Miranda. He's like 23 years old like 24 years old love. Yeah 17 of 175 hyper Tristan works bucks Dude, hey, don't do anything dumb Red wave Cortland Sutton to 149 for the Broncos 117 of 149 Khalil Shakir trail on Berks rookie silver quandre digs for the Seahawks a Ray Lewis Silver auto Ravens Sam's boy purple Damien Harris Patriots to 149 We're the 125 excuse me in Hudson Brian Cook All right, mr. Coach sir Hyper Jelani Woods rookie Colts to 175 K9 rookie Jermaine Johnson sometimes this prison pack trees are open Sometimes you do that John Dotson green scope Nico Collins Texans to 75 Breeze Hall base rookie Jelani Woods Red wave Tristan works for the Bucks 115 of 149 Kenny Pickett rookie and a Chris O'Lave rookie Come on. We need some big color It's full of 101 flashback prism Justin Herbert Chargers Yep, still sweet every time I pull it. I still enjoy it. This is much an orange. Isaiah Pacheco to 249 chiefs Mama Mia sounded just like Chris Pratt is Mario right there. It's a me Mario. That's what he says Malcolm Rodriguez Drake London could be worth $50,000 or something Ricky silver emerging Kenneth Walker the third Seahawks Green Scope CD lamb Cowboys number to 75 Trayvon Walker Drake Jackson. That was a joke guys. This is a joke silver Marshall Adam or Saints Hey, and Isaac Bruce auto for the Rams. This one has some peeling on the bottom So I'm gonna send a boxer to the Rams spot. I mean if it was numbered or silver Ken We would have top-loaded it Tray McBride Treson Ebbner and it will get it will get top-loaded if it wasn't Silver Jonathan Taylor Colts You just want to go see if there is one like that Jake number seven purple eyes. Zay Jones at 225 for the Jags Traylon Berks a DC chat Kenny Pickett Prison break there So see like prison break that we're trying to say two one ninety nine rookie blue wave Jalen Taylor for the Vikings Yeah, yeah, if anybody has Pacheco base just sell it But again like we or just wait longer Purple eyes Ricky Sam Howell commanders 225 out of 225 Very nice Sam Howell Pierre strong Roger McCreary Orange DJ more for the Panthers there 183 of 249 Garrett Wilson Evan Neil Silver firework CD lamb for the Cowboys Blue wave Ryan Tannehill Titans number 183 of 199 Petrie Aiden Hutchinson what up Vaughn. How you doing man? First break. We had a red wave party. I've also hit Damien Pierce colorburst Flashback rookie mojo Kenneth Walker the third a couple of a few numbered pickets actually right a couple blue waves Yeah What blue wave pickets subred to Sean Watson for the Browns There it is There's the there's there's the biggest hit of the day right there so far Spoken into existence force Vaughn Congrats to the Niners. This is going to Zach red wave rookie auto Brock Purdy One of 149 It does have some peel on the bottom. I've seen that on some of these autos That is a monster. We will send a box and wrapper Big time party that is disgusting color match and everything You love to see at first one stamps one of 149 Zach also hit the red wave earlier today, I think you have the Niners and most of today I think all of them by like one or two You see the big ones though Charles Cross and a son Haskins Yeah, someone asked about party right before the first red wave was pulled So it's there's I seem to be a trend here if you guys want to see a card pull I guess just ask about it even though now that the secret's out. That's not how it'll work. So Once once it's no once it's known that that's how that is how it goes. It doesn't work like that anymore. So Feel free to try it though Party of five and Brady one-on-one and same box last night must have been photo. Yeah, photo photo always has Little higher number lower numbered cards though No big olava yet. No, I don't think you've even seen a silver olava Brilliant silver two up with the dolphins red wave quandre digs seahawks 96 of 149 he might be the most elusive rookie that there is in this it seems like Won't you a sticker on it silver christian mccaffrey niners To 75 AJ brown green scope auto eagles It's a pretty nice one color match Uh, yeah, we have honors. I don't not sure what we're gonna do with it yet One is on his release or just just online. He's kind of whenever you get it I think we got it in today. So I guess we'll see what happens with honors Two silver olava so far earlier. Okay Yeah, I was gonna say I can't remember silvers, but yeah, we haven't had any numbered olava Hyper legit areas need to 75 chiefs Walker drake jackson Told you guys it doesn't work and once the secrets out doesn't work. Now. Everyone's doing it silver robber woods for the titans Cordell stewart to 99 on the sensational signature Steelers Slash Slash to 99 99 Charles crosses on haskins silver marshal folk for the rams orange wave tyler conklin jets numbered 58 of 60 There's a kenny picket base for the Steelers and a chrysolavi base I remember I remember that one vaughn. That was good. That was a good time right there We're talking about brady quinn all of a sudden a flawless pleady brady quinn comes out Something else right there jackwon brisker rookie hyper for the bears to 175 137 to 175 Collard Gordon or shot white and hey, if you're gonna hit a brady quinn it may as well be a Notre Dame one game use patch auto hype silver trailance blue wave joe mixon vangals Numbered 40 of 199 berks and thibodeau birdies uh purties at 149 red wave jonathan greenard Texans numbered at 149 17 of 149 Cook Shakir that's gonna be our oh no, that was gonna be a uh, I forget what it's called already I'm gonna hit one first purple Zach Hertz 41 of 125 at the Cardinals Petrie and Hutchinson there wasn't one was there? Good job. Nice. I'm a Holmes prison flashback chiefs. Love these things orange Leroy Kelly Browns 53 of uh, 249 Pierre strong jr. Roger McCurry the only case hit is going to be snake skin peril. That's the only case hit And even then they don't call it a case hit. They just call it super short print silver rookie brian cook for the chiefs purple ice jr. Alexander Packers one of 225 Garrett wilson rookie into nevin neal green scope rookie dany gray for the 49ers to 75 to have 75 Mcbride and ebder Color blasts should be one of every 10 cases stained glass probably one of every five cases Uh, the other short prints, I don't know incident packed We had one incident packed today. Those are also a short print And then what's the other one called Jake? Profiles, I haven't seen one of those either. So yeah, the only the only case hit one a case you're gonna get is uh, Sneaks again. Everything else is short is shorter printed than that. Yep. Manga shorter printed than case it as well Manga pro there's a lot of short prints now silver christian Kirk jags purple ice my homes for the chiefs Nice my homes 83 225. So yeah manga stained glass color blast and profiles Could be to ramp Bailey's happy And it's an impact All shorter printed than one per case So not case hits Blue ice air and donald brilliance for the rams to 99 46 99 hyper rookie isas billard chargers numbered 118 of 175 Like final would be a would be cool thousand case hit, but then you only make like so many cases silver rookie fireworks chrysalovay saints hyper john alway broncos to 175 Kenneth Walker the third and germane johnson silver rookie romeo dobs packers blue wave givante williams broncos numbered 172 of 199 corral and katon hyper mica hide 19 of 175 for the bills back with the bills now silver rookie emergent chrysalovay saints red wave michael pittman jr. Colts 26 of 149 kair elam skymore last stack of packs purple ice rookie romeo dobs packers nice dobs 14 of 225 jelani woods breeze hall purple dalton schultz for the cowboys 99 of 125 carloftus janny gray silver west welker for the patriots franchise legends auto dick butt kiss green scope to 25 bears we'll go bears dick butt kiss orange kevin baird to 249 titans likely and robinson didn't know i was allowed to say that name on a stream yeah that's you silver jesson simons broncos bears again here rookie auto chaylor gordon good bears box ericka zakanma sam williams hit both the autos on the last one chrysalovay emergent there blue ice michael pittman jr 32 and 99 for the colts demian pier staxon hill a rookie prism flashback george pickens steelers maybe like a silver earlier i don't think we've seen a numbered pickens though rookie red wave nick bonito to 149 for the broncos sam howell panel bellinger we've definitely seen base pickens here and there but all right quick recap now we're on to the last daytime break get your spots for tonight everybody um i will be breaking for you tonight all right autos of kyler gordon isaac bruce ray lewis we have hordell stewart to 99 for the steelers aj brown numbered to 75 for the eagles dick budkis to 25 for the bears rpa to 99 adan hutchinson for the lions 12 out of 99 and a red wave rookie autobrock party one of 149 for the 49ers we'll do it there is some peeling on the back Now we will send a box and wrapper with this for congrats again to the niners thanks again everybody one more daytime break coming up next


The Archeological Research Facility is located in Weichen, the ancestral and unceded territory of Chochenyo-speaking Olenii people, successors of the historic and sovereign Verona band of Alameda County. We acknowledge that this land remains of great importance to the Olenii people and that the Arche community inherits a history of archaeological scholarship that has disturbed Olenii ancestors and erased living Olenii people from the present and future of this land. It is therefore our collective responsibility to critically transform our archaeological inheritance in support of Olenii sovereignty and to hold the University of California accountable to the needs of all Native American and indigenous peoples, and I always add by our actions as well as our words. Today we're hosting Derek Popple, whose the title is already up so I'll read it. Derek's a 60-year PhD student affiliated with the Department of Chemistry, and beyond his thesis work with the Zeddy Group in Physics, he's focused on nanomaterials and electron microscopy. Derek is interested in the intersection of the arts and science. In collaboration with Professor Stephanie Zaleski from CSU East Bay, they're using the advanced electron microscopy tools available at the RF and other places in Berkeley to study the nucleation and growth of metal soaps within oil paints. Okay, welcome Derek. Thank you. How's it going everyone? Thank you so much for having me. As I stated in the intro, I'm a 60-year graduate student in the Department of Chemistry, although my thesis work is in the Department of Physics, so I'm well versed in kind of hopping around to different departments and seeing what interesting research I can dig up. So the topic of my talk today is going to be about some of the work that I've done applying the electron microscopy methodologies that were developed at Berkeley Lab to the study of oil paints. Again, this is all in collaboration with Professor Stephanie Zaleski, a conservation scientist and chemist at Cal State East Bay, so sort of eternally grateful for her guidance and the ability to collaborate with her. So artworks such as oil paintings have tremendous cultural and financial value within our society, but unfortunately many of these are suffering degradation, as shown here, and so these blemishes or dimples that have popped up on a variety of oil paintings that were painted anywhere between the 15th to 19th century. And so originally this was thought to be sort of an isolated issue, but further research has found that it actually affects I guess the majority of oil paints with some projections expecting that two-thirds of oil paintings will see a similar type of degradation within their lifetime. And so since this was such a widespread issue that affected collections not only here but around the world, a lot of work went into figuring out what exactly was causing these blemishes. And so what was found is that this is from the formation of what are called metal soaps, and so this is what happens when the metal that's contained in the pigment reacts with the carboxylic acids that are introduced from the oil binder in the oil painting. And so here's an example of a painting published in a work by The Met, and in the bottom right you can see sort of this dimpling or blemishing that's present as a result of this soap formation. So if you actually take a cross-section of this degraded area, what you can see is that this is the scale bar is 40 microns, and so you get these crystalline domains of in this case a lead soap that can range from 100 to 200 microns. And as these grow, what can happen is that they'll start to protrude and disturb the surface of the painting. So that's what's giving rise to the dimpling. But then also if it gets too big it'll cause flaking and a sort of delamination of the top surface of the paint. And so not only are you starting to get defects at the surface, but you're actually getting the paint that's giving the quality of the image that's starting to fall out. And then the other thing to keep in mind is that because you're changing the chemical composition of the metal, typically the leads and zinks that suffer soap formation are tip oxides and so they're commonly used in whites. As they change chemical composition, also something that's also perturbed is the electronic properties. And so these pigments can start to become more and more opaque. And so in some cases you can see features from the canvas or the wood substrate that hosts the painting. So not only is this causing degradation to the pigment, but also it creates transparency as well. So since this was such a widespread issue, a lot of work went into studying what metals were present, what types of binders and oils can give rise to this degradation. But there is limited work on the mechanism of formation of these defects. So one of the experts in the field, a guy named Joan Hermans, he's out in the Netherlands and his whole thesis studied this work. I think he's now a faculty member, but he's sort of the world expert in studying soap formation and paintings. He was able to do some clever spectroscopic studies to figure out how this degradation process was happening. And so as shown in the top panel, you can see on the left there's a large particle of zinc oxide. So that's actually the pigment. And then these squiggly lines that are present represent the semi-polymerized oil matrix. And so as ions leach away from the zinc oxide particle, what they found in this paper is that it first forms a small complex. These complexes can start to polymerize into a one-dimensional chain, which will eventually convert into a two-dimensional crystalline region. And so that's what we're seeing in this soap formation. And so as I mentioned previously, there's a lot of established literature on what metals or what carboxylic acids can cause this degradation. But this is one of the only works investigating the mechanism of how this is actually occurring. And so the other thing to keep in mind is that because this is spectroscopic study, it's hard to get an imaging component. They can see sort of chemical traces of the compounds that are causing the degradation, these four compounds that are shown here on the bottom. But it's hard to link that spatially and actually get imaging that shows you how not only do these crystals, how do they nucleate, but also how does the crystal grow and is there anything that you can, any insight that you can gain from the structure of the crystal, they can tell you how to, how these materials are forming. And hopefully if you know how they're forming, you can help to treat them and slow their growth. Unfortunately, I think do the energetics of this precipitation process, the reaction is downhill, so I'm not too hopeful that it'll be reversed, but hopefully we can prolong the life of the artworks if nothing else. So in order to study this, like I mentioned, I'm an electron microscopist by training. Most of my work is focusing on nanomaterials for energy applications. But I'm kind of in the know about some of the techniques that were developed up at the National Lab at the National Center for Electron Microscopy. And so I read this paper about 40 STEM being applied to the study of beam-sensitive materials. I thought, huh, I think I'm working on some stuff that's pretty beam-sensitive. Maybe there's something there, some potential overlap. And so just as kind of a brief background to some of these electron microscopy techniques, I'm sure many people that are involved in research of different artifacts for archaeological applications are well-burst with scanning electron microscopy. And so in that technique, you have a focused electron beam that rasters across the surface of your sample, and then you're collecting the backscattered electrons in order to create an image. And by doing that, you can get below the diffraction limit and actually see things that couldn't be resolved with obstacle light. The other common form of electron microscopy is transmission electron microscopy, where instead of collecting the backscattered electrons, you bathe the sample in sort of a collimated or parallel beam of the electrons and collect the electrons that pass through the sample. So you're looking at ultrasound samples, because you tend to use higher accelerating bulges, you can get much smaller resolutions, getting to the point where you can see nanoparticles or even features on a single nanoparticle. So if you put those two techniques together, the scanning component and the transmission component, you get STEM, which is scanning transmission electron microscopy. So instead of a parallel beam, you focus the electron beam down to a nanoscale probe, raster that across the surface of your sample. And so this can actually give you incredibly high resolution. Some of the other projects that I work on using the really fancy microscopes available in STEM, we can resolve individual atoms contained within a carbon nanotube. And so by doing that, we essentially take a picture of the atomic lattice, and that's again possible because you have this highly focused electron beam, which allows you to resolve the column's atoms. And so in a typical image, what you do is as you raster the beam across the surface of the sample, you'd have an annular dark field detector, that's this ring that's shown right here, and that would collect an intensity just based on the number of electrons hitting the detector. And you can get an intensity value for every single pixel, which allows you to create an image, such as what's shown down here in the bottom left. And so this technique is well established. They still use instruments commercially, but what's come about through advances both in instrumentation and things like detectors, but also in software and data processing is a technique known as 4D STEM. So as you raster the electron beam across the surface of the sample, you not only collect intensity information with your HADF detector, but you also have a detector at the bottom that can take a picture of the entire diffraction pattern. And so that's why it's four-dimensional. You have real space X and Y, as well as reciprocal space X and Y. And so electron diffraction works analogously to X-ray diffraction, where you can create diffraction patterns from your sample, which allows techniques for structural elucidation. But the real power of 4D STEM and why people are getting so interested about it is because you have a ton of information because you have the whole diffraction pattern at every single location, every pixel in your image. And so you can do things like you can sort of decide what you want to be imaging after the fact. And so it really adds a lot of power in your post-processing. You don't have to take multiple acquisitions at different focal lengths or with different conditions. Sometimes you can just change your virtual detector and decide what part of the diffraction pattern you want to look at and change the image after the fact. So it's incredibly powerful. I guess, unfortunately, because it's four-dimensionally, you also collect pretty large datasets. So we do relatively small acquisitions of about the scan is about 40 by 40 pixels. And it's 800 megs of data. It's common to do a 500 by 500 pixel scan. So you're getting to 80 or 100 gigabytes for a single image. They have a lot of work that goes on at the National Lab as well. That's just focusing on how to work with that much data. And in some cases, when you work with the nice microscopes, they have a fiber optic cable that goes straight to the supercomputer to help parse the data and make it small enough to work with. But that's not the focus of the talk. We'll get back to the little things. So one way in which this has been applied, here we have a, or I guess in the panel on the top right, we have a conductive organic polymer and scientists were trying to understand how this material crystallized. And so it was known that this organic polymer underwent or stacked via pie stacking to help with the crystallization process. And so what they did with this 47 study is they looked at the relative orientation of features in the diffraction pattern that come from the one-dimensional polymer chains. And one feature of diffraction is as you twist the crystal in real space, you also twist the diffraction pattern as well. And so by looking at the relative angle of the diffraction pattern at each pixel, you could figure out the orientation of this one-dimensional polymer. And so by doing a lot of data processing, you could actually create these color metric maps where the color is linked to the relative angle of these chains. And so in doing this, you're getting a lot more information that couldn't otherwise be gained through standard imaging. And it allows better visualization that helps scientists to tease, tease apart what's going on in the crystallization process. So since we're working with some sensitive, being sensitive materials, we wanted to apply this technique. We wrote a proposal for the molecular foundry up at the National Lab and it got accepted. And so we've been starting to collect some initial data to proceed on this project. So the project has three main phases. The first is just assessing the suitability of the technique. We had a good hope that this would actually be a good technique, but sometimes the materials can be too beam sensitive or you might not have the sort of the correct resolution of the diffraction pattern, like the materials may not scatter strongly enough. And so we weren't even sure if we could get signals. That was the first check. In addition, we were trying to figure out what the ideal conditions were for imaging. And then as we moved from our reference material, we want to start to look at artificial paint samples. So look at a simplified case of the real thing to see if we can see any insights into crystal growth, especially with respect to artificial aging under different conditions, such as variable temperature, variable humidity, trying to figure out what's, what affects this crystallization and how does this perturb the size of the crystals or how they pack, things like that. And then the final phase of this project is moving to the study of real paint fragments. So real oil paints may have different pigments present. They could have different oils. Artists like to do all sorts of weird stuff, like mixed dirt into their paints or things like that. So these would be incredibly heterogeneous samples to study. But we want to see that as, as we transition to the real thing, do we still see these same insights that we gained in the model system and see if the same findings can be applied. So this is sort of my methodology slide. And what I've learned throughout my PhD is that you need really big microscopes to study really small things. And so how this experiment is sort of carried out, I synthesized the reference material in my lab. This is a zinc steering. So I did a small reaction. And then I dispersed this on a TM grid. So this top image is an optical microscopy image of the copper TM grid with a carbon support underneath. So this grid is only three millimeters wide. And then if you zoom in 50x with an optical microscope, you can get to a single gap in the copper mesh. And these crystallites are sub micron, even into the nanometer range, or I guess hundreds of nanometers. And so they're these small sort of flex they're adding a little bit of contrast. And so they're sitting on the carbon support. So then we bring this up to the National Center for electron microscopy and load it into what's, believe it or not, one of their smaller microscopes. And this is capable of doing TM stem and 40 stem all in the same instrument. So this is really a good microscope to use. We don't necessarily need the atomic resolution for what we're looking at because we're looking at these features that are nanometers to getting into the micron range in terms of the domain sizes. So here's a sample of some of the data that we're able to collect. So on the left, we have the HADF image. So that's high angle, annular dark field. And these sort of spider webby filament like structures, that's an amorphous carbon support that's helping to catch the crystals. The crystals themselves of this ink stirrate are these chunks in here. There's also one on the bottom left. And we take an acquisition within the box that's indicated in red on the HADF image. And so in the data processing using some Python code that's been developed up the hill, what you can do is you can take the maximum intensity at every location within the diffraction pattern and sum that into a single image. And so by looking at the maximum diffraction pattern, you can see all of the diffraction peaks that you have at any point in your sample. And so peaks that are spread sort of equidistant from the undefracted beam, this very bright spot, are going to be the same diffraction spots, but they may be at different orientations again due to the rotation of the crystal. And so in this Python code, what you can do is you can arbitrarily define an artificial detector and say, okay, now I want to back out another microscopy image only using signal from those specific peaks. And so by doing that, you can start to create virtual images. So here you can see some cuts in the crystal right in here where you're seeing the black, which represents the vacuum. So that's no sample. That's just unscattered electrons. And then you have similar black regions in here and in here. And you can see that those same features are recovered in the virtual image. But other features that you can see based on the varying intensity, in certain regions we have more scattering. And so that could be either a thicker crystal or potentially just a denser region of the crystalite that's causing stronger diffraction. And so what we're hoping to do is locate some of these zinc soaps in an oil paint and then acquire a higher res 4D stem scan and start to correlate using the diffraction. So we can figure out, okay, this is actually the material that we're interested in, but then also start to gain insight into the orientation or how there's changes across the scale of a single crystal. Something else that you can do is, and so this was again collected on the same region as the same data set, you can artificially define an aperture and see what regions of the sample were giving rise to that specific diffraction peak. And so here I've selected just one small set of peaks and we can see that it's coming from the upper left portion of the crystal. What I just indicated was a little bit thicker, more strongly diffracting. So that's suggesting that this region of the crystal has a particular orientation, whereas other parts of the crystal may be twisted or oriented differently. And so you can imagine using some of the code, you might be able to carry this out for all of the range of angles from plus or minus 90 degrees and create a similar colorometric map to what I had showed earlier as an example and start to understand how these crystals are oriented and gain some insight into how these materials are actually crystallizing. And so in terms of what's been accomplished and next steps for this project, the first step was just identifying diffraction peaks, making sure that we are looking at what we think we look at. We tend to image these at liquid nitrogen temperatures in order to prevent beam damage. And for about two sessions, we're like, oh no, are we just looking at ice that's formed on the sample? But then we heated it back up to room temperature and there shouldn't be ice at room temperature. So that gave us pretty good indication that it's actual sample. And then other things like determining ideal imaging conditions to maximize signal to noise so that when we switch the real samples, we know what conditions we should go in with. And so we've started some work with model samples. And we're transitioning to zinc soaps embedded in these, it's moving from the reference samples to zinc soaps embedded in these oil paint matrices to help understand are these samples going to be too thick, making sure that there's not going to be any challenges to the actual imaging. And so again, the long term goal is to start to look at age and unaged samples, see if there's differences in the crystallinity, and then start to move to actual oil paints to see what insights we can get from a sample that's actually flaked off and fallen from an oil paint, a real painting. And so the other sort of half of this talk, something that I'm not going to go into too much detail, but I'd like to mention briefly, is the work that I've been doing with Professor Stephanie Zaleski to start the various first conservation science collaboration. And so these sorts of labs are present at places like the Getty in LA, the Met, in New York, and Northwestern Chicago. But right now there's, there isn't a formal research group that does this type of work anywhere in the Bay Area, which is insane, considering we have museums, we have some of the strongest universities, we have two national labs, there's all of the right conditions to set this up. And there's been some initial work to help scope this by some consultants employed by the Getty, but we kind of need some central people to help catalyze this and make sure that this, what starts as an idea doesn't just lose steam and slide back to the position where we're at right now. So the goal of this is to unite some of the fine arts museums as well as local universities and national labs to create a formal research group. And so again, I'm super grateful for Professor Stephanie Zaleski's guidance. She's done a number of high profile postdocs at places like the Met, Northwestern, Library of Congress. And so she's really the residing expert in this collaboration in terms of the art and conservation science world. And so right now we're putting together a white paper and we've assembled a budget, so we're trying to apply for funding. But if you're interested in learning more about this project or potentially getting involved, this could be a great opportunity beyond just conducting research between material science and conservation science. Major goal of the center is actually to provide teaching and training opportunities for underrepresented students, which is a major plus of her working at Cal State East Bay. So we're hoping to not only get more people into the field of conservation science, but also diversify the field as well. And that's it for the talk. I'm happy to take any questions. So thank you again for your attention. Go for it. Well, we're just a national lab. We've got the SCN lab we've got reporting to.  Have you worked on any examples or paintings that this technique that you've been working on with looking at how the knowledge. Yeah, so for those joining remotely, the first question is, where is this electron microscopy facility located? So it's at Lawrence Berkeley National Lab, which is just up the hill from campus. And so as part of their user facility called Molecular Foundry, they have a separate building that's electron microscopy facilities. They have five or 10 of these instruments at price tags ranging from one to 10 million. So incredible resources that we have here that are unmatched in a lot of areas. And then the second question is the abstracting which had paintings in it. Have we actually looked at any paintings? So not yet, but that's the ultimate goal. Right now, we've just been looking at reference materials. And then sort of in the next couple of sessions, we're going to hopefully load some paint fragments into the microscope and see what we can find. But right now, we're just making sure that the Yeah, exactly. You've got to be careful what we're shooting an electron beam at, you know, you don't want to degrade it. Oh, what's your Derek? Is water required for initial ionization of the metal pigment for the soap reaction to advance? The implication of that question is that holding a moisture equilibrium in the paint layer can help arrest the process. So that's a good question. I think there's been some initial findings that have suggested that humidity can help to advance the or I guess accelerate the aging process. So I need to look more into sort of the role of the of humidity and of water in the actual mechanism. But yeah, that's that's a good question, something that we're keeping an eye on. Another question. So the question is, what's the role of the oil based paint in the oil painting and in this degradation process? So this has actually been interesting projects for me to work on to kind of get up to speed on the art side of it as well. And I'm a screen printer kind of on the side, but don't do any oil painting myself. So I'm like, Oh, well, I have to learn all about how, you know, how people make these oil paintings and the formulations the pigment. And so my understanding is that you have the pigment particles, which are typically inorganic. And then you grind them in the oil. And so the oil helps to not only disperse the pigment particles, but it also creates this matrix that helps to support them as well. And so that's known as the binder in oil painting. And so what's typically used is like a linseed oil. And that's a mix of several different long chain carboxylic acid. There's like stearic acid or palmitic acid. But there are some like trace components and trace carboxylic acids as well. And then there was a comment in the chat, not all cross linked oils have free fatty acids, the source of the steroids is the huge question. Yeah, so that's that's something that's interesting as well. There's some amount of cross linking in the the oil from what I understand. That's what's helping to make this matrix. And so yeah, it is a good question of if you have something that's covalently bound and semi polymerized, how is that actually kind of leaching out and helping this precipitation process with the inorganics? And so the other question is sort of with connections to the oil paintings or what? No, I'm really pulling stuff out of thin air or with the cave paintings. I mean, um, so this has been noticed mostly in lead and zinx. That's those are kind of the main suspects in terms of the metal ions. But then there's also some evidence of other metals like aluminum soaps forming, although the I would suspect the energetics that reaction arm is, it's not as downhill for the reaction proceed. And so it may happen to a lesser extent. But yeah, it'd be interesting to see who knows, maybe these cave paintings were like a van Gogh or something and now integrated into what we see today. Yes. Yeah, I would think of actually two questions that you mentioned already and one relates to looking at these. Like, have you done any work or has anyone done any work at looking at how particular, you know, recipes would either be encouraged or inhibit the creation of the mineral soaps? Yeah. And whether it would be comparatively, or colors that show that. And the other question I wanted to ask was, so you talk a little bit about looking at different conditions for energy by raising them lower in temperature in particular. And I was just wondering, what have been done, like that seems like the most relevant in terms of if you can't reverse the process, but if you can inhibit it, understanding the conditions, you know, more certain temperature conditions under which the soaps form, if there's been work done on knowing what those conditions are, or it seems like a good place to experiment. Yeah, definitely. So the two parts of the question were what works been done on the actual artist formulations to sort of accelerate or inhibit the growth of these degraded regions. And then also has what work has been done on things like temperature and humidity. So, there has been some work when people were looking at these, especially across a variety of different paintings. People started to be interested in what metal ions would cause them this or what potential oils. I'm coming at this more from the, as the microscopist, so I'd have to defer that to my collaborator, she would be able to tell you both the art side and then how it starts to feed into the material science aspect of it. That's a good question. And then, yeah, these conditions such as like temperature and humidity, in general, a few cool things down, chemical kinetics, slow down. So I'm sure if you had these paintings cryogenically frozen or something like that, that would be excellent, but you're not going to, yeah, not very practical. So that's kind of the whole thing when you're thinking about degradation is what can actually be done because these paintings, if it's in a collection or on display, it may belong to the public or may belong to the collection and they generate revenue and keep the facility alive by showing it to the public. So it's like, how do you keep these in the best state possible, but sort of in a reasonable way as well. But yeah, I think the role of temperature, so artificial aging of these in the presence or in absence of humidity would be our sort of interesting directions that we're hoping to probe and with our reference materials. Yeah. So I'm excited about the kind of sampling forever. So you're talking about paint chips, for example. What other types of materials does quality stem provide? For example, if I understood in a way that stone is damaged by wildfire, and I want to quantify that, that's a respectful change from that. Is that the kind of thing that a sample of a better off order set to you as a tangible chip could be, you know, evaluated through quality stem? Because I don't know how to do that with XRB, but I don't know how to do it with quality stem. And I'm curious what would be the better part taken of the amount of damage to such a thing or something like this. Yeah. So the question is commenting on sampling and sort of what's the power of 40 stem beyond studying these metal soaps. So with any TM sample, it has to be ultra thin. If you get above 100, 150 nanometers in thickness, it's too thick, like you won't get the, it's not transparent to the electron beams, you don't get signal. And so what we do is we'll, for the reference materials, I use a sonicator to disperse them in alcohol, and then I drop cast them on the sample. So they're these really small crystallites. But then what my collaborators done for her initial studies, when she was just doing imaging via stem was you can take these sections, embed them in a resin, and then use a microtone to slice ultra thin samples. But then you're like, okay, well, you have this resin and then you have ultra soft material. And so it can be hard to cut. So with respect to stone, some things that are interesting that you can do with 40 stem is math lattice distortions. So you can actually look at the atomic lattice and start to figure out where you have strain or things like that. And so you might be able to see over sort of say several crystalline domains, like if you got say oxidation of your inorganic materials due to the elevated temperatures, that may cause changes to the lattice and that might be able to be picked up via 40 stem. Yeah, exactly. You kind of need like two different samples or because the samples are so small, you'd either need to, it's kind of hard to see changes to it over say like millimeter scale. So you'd have to take two different samples and compare it. It's a cool technique. I think with any technique, you have to be careful not to over apply or you know, people get into their specialty and think it'll be the best technique for everything. It's still a lot less destructive and a lot more applicable to the broader range of material dynamics are me, which I had to grind everything up and compress it. It's down like at least as far as conservation is thinking about, you know, travel conservation efforts on precious and different places, you think about the minimal amount of handling, you're giving me some sort of qualification of the damage, but I hear the fire regimes would be useful. Question right there? Are modern, the real things subject to this kind of degradation? And there's also an interesting comment on the chat that I didn't quite get. Um, yeah. So the comment was, aluminum stearate was added to commercial paints as a dispersing agent starting in the 1920s. It's almost all 20th century paintings will develop soaps, while aluminum stearate is still used today. They're used in much smaller proportions than in 1920 to 1950. Thank you for the comment, Dale. Wait, next time we'll have you coming up and giving the talk. You're obviously an expert on the form, sort of the formulations and that, that sort of thing. So, yeah, I mean, if you have the, like, so say for the reference materials, I started with, I think like zinc nitrate, and then I added in the steric acid. And if you stir it and heat it, you form these precipitates. And so if you have these metal ions that are particularly susceptible to it, like a zinc or a lead, and you have the right carboxylic acid, the reaction is downhill. And so that's why you see this precipitation process happening spontaneously. So, yeah, if you're not careful about your materials, that will start to be an issue. But the sort of the goal of a lot of the conservation science work is to help inform conservators, but also inform materials, or artist material manufacturers, so that you can reveal sources of degradation that people didn't know about. And hopefully paintings that are created with new materials moving forward will be more archival and less susceptible to this form of degradation. Yes. Thank you so much for the talk, it was really interesting. Apart from the painting itself, too, I would be interested to hear you think about the airplay of varnishes along with this effect, especially to these varnishes have fallen in and out of style throughout the screen. I've been made of so many different things, anything from climbers and official acts, and now we work in vetic varnishes. I would just carry it to see how that kind of looks to effect the painting. So the question is, what's the role of varnishes in this sort of degradation? So from the literature, people are like, they think this degradation can come whether or not, like it's from the binder or from the, like if you're using a linseed oil or something like that to help varnish the painting or as a protective coating, it might not be as protective as one would hope. So really, if you have the metal ions and any form of these carboxylic acids, the conformance type of degradation present, you're going to see the crystalline soap start to form. So yeah, you have to be careful, but then it's a balancing act. Maybe if there is a strong role of humidity and you can keep humidity out or something like that, you might be able to slow the process, but again, you don't want to trade one problem for another, introduce it through another material. Here's a question over here. Sorry, this is not the most insightful, but I think here is, since you're getting a different amount of resolution, how many places can actually compare those samples that have that kind of white property power and how much of an active talk that you've done, for example? Yeah, luckily our stuff's supported by taxpayer dollars, because it's done at the National Lab, so we don't pay any instrument fees, which is nice. And so if you're just looking at the reference materials, sonication and dispersion, and isopropyl alcohol is fairly standard, so that's a common procedure anywhere you're doing TEM. The ability to do 40 stem is becoming more popular, but it is restricted to certain facilities. So there's big groups in UCLA that do this, the National Lab in Berkeley does it. But it's sort of key at strong microscopy schools, but even if you're at an R1, but it's not strong microscopy, you may not have the right detectors to conduct these studies. But luckily, there's a lot of user facilities where people can gain access to this and with a couple sessions, you can get some good insight. In terms of the price tag and actual analysis, I mean the machines that we're using are probably like a million dollar machines, they're pretty nice. I just hosted a professor who does this stuff from UCLA, and when he was launching his lab, he was interested in doing this type of work. And he placed some interesting bets on like, you know, maybe you don't need the super fast detector to do, so he kind of like optimized his machine and bought things secondhand in order to drive the price down. But unfortunately, it's all TEM, so driving the price down is like, oh, it's only a half million dollars, not a million or 10 million or that sort of thing. Yeah. Yeah, so I was just thinking with the varnish question.  So you might still have the reactions. Oh, from the back. Yeah. But have you ever done any work on looking at layering? Like I was just thinking, you know, many of you, well, if we can layer on there, we need to go over. So I wonder if anyone's done any work on between layers, are more or less susceptible to this kind of formation on the vague or on the elixir? Yeah, that's interesting. I'm not familiar with anything off the top of my head, but yeah, definitely. Yeah, some of my sort of non conservation science work is working with Palmer scientists and studying interfacial activity of different materials. So I guess that's an interesting question because it feeds into something that I think about for sort of my main thesis research. But yeah, the energies of surfaces at different interfaces is completely different. Like if you're looking at an oil-air interface versus an oil-oil interface, you can see a completely different sort of migration or movement of materials just based on the relative energies or say like surface tensions between the two. Yeah. Yeah, that's interesting. And then something that comes to mind is like if you had sort of a poor combination of two materials that were really susceptible to this, you might get migration of these or formation of these metal soaps at the interface and that interface may be more mechanically weak and therefore more prone to sort of disastrous flaking. Whereas like if these things form but they're embedded in material, maybe that won't have the same mechanical effects on the painting as if it was at an interface where you have poor adhesion or poor binding between two different pigments. So yeah, that's really interesting to consider. Any other questions? Check the chat one last time. One last comment from Dale. He had mentioned that rapeseed oil was also added to commercially primed canvases in Europe since the 19th century to keep rolled canvas flexible at the art stores and that and it's nothing but free fatty acids. And so even the you know maybe the canvas manufacturers are undercutting the artist to some degree without realizing it. So sweet. But linseed is commonly used as a varnish or as a binder. So thanks again for everyone's attention and for all the simulating questions. I really appreciate the opportunity to present this work to a broader audience.


Welcome to Nursing School Explained and today's video on chlomerular nephritis. If we look at the word again, chlomerular pertains to the chlomerulus of the kidney, nephro refers to the kidney itself, and then hiatus is inflammation or infection. So now this pertains to inflammation of the chlomerulus of the kidney. Let's look at how this happens. The most common cause for this condition is an infection of group A beta hemolytic strep, which is usually an acute infection and acute strep throat. And the symptoms of chlomerular nephritis start about one to two weeks after the strep throat infection, where an antigen antibody complex forms and because this is a large complex, it gets deposited and kind of clogs up the kidney. And because of this, the position of these complexes, the kidney gets inflamed and therefore it leads to this condition. Other conditions or causes that can cause chlomerular nephritis is infective endocarditis as well as a multitude of viral infections and then autoimmune disorders such as lupus and scleroderma. Now whatever we think about something that has to do with the kidney, this can be really significant and we always have to think about volume when we think about the kidney and those are signs and symptoms that the patient will be displaying. So first of all, initially the patient may present with periorbital edema, so just some minor swelling around the eyes, but eventually as the condition progresses, it leads to generalized edema because of the decrease in chlomerular filtration and the rate because of everything is clogged up. Now the decrease of the filtration rate leads to the accumulation of fluid in the patient's system which can then lead to hypertension because of this fluid volume excess. Also therefore because the filtration is decreased, there is going to be oliguria, so decrease in urine output because we are retaining so much fluid. And then there is hematuria and typically the color of the urine will be either tea colored, cola or bright red. So any kind of a reddish black or kind of a rusty tea colored kind of color. In addition, because of the chlomerular filtration that membrane being damaged, there can be protein that's spilled in the urine. And then the patient obviously will not be overall feeling well, so they'll have some anorexia and decreased appetite as well as all this edema with the hypertension can possibly lead to pulmonary edema. So you can see this is a pretty serious condition here. As for diagnostic tests, when we suspect that the patient has gloveronophritis, we're going to want to see if they have strep in their body. So we want to do an ASO which is an anti-streptolycin O-tider test. It's a blood test. And I also take a throat culture to detect if there's any strep throat in this patient. We certainly want to check the urine which will be positive for protein, blood and then hyaline casts which are some of these like sloughing off of the membrane. And then we're going to want to check a complete blood count and a comprehensive metabolic panel that most likely will show that the BUN and creatinine are increased as the filtration decreases and the kidney takes a toll. And then there will be some signs of inflammation or infection with an elevation in white count. H and H can be low because whenever the kidney is affected that can be something that happens. We have hemodilution because of the fluid volume excess that we're dealing with here. And then there will be low of human because we're spilling all that protein in the urine. ESR so inflammation will be increased and then certainly hyperkalemia can occur as we know can happen whenever there's damage to the kidney. So when the kidney is under aniburis. And then certainly we want to also check an ultrasound and a biopsy to see if there are any other causes of this condition and to maybe see what exactly is going on and determine any other reasons for this. In terms of treatment and nursing care, so these patients like I said they can be pretty significantly ill and that fluid volume excess is really the most significant causative agent so we need to check the vital signs very frequently and keep the blood pressure under control. In addition we always want to check their lung sounds because as we know with fluid volume excess it can lead to this pulmonary edema so we want to keep an eye on that probably more than once a shift maybe listen to them every four hours or so. The patient will need some rest to kind of get over this episode. In terms of the diet there will be decreased protein, decreased sodium and decreased fluid in their diet so there will be a fluid restriction to combat that problem with the fluid volume excess. For medications they'll need anti-hypertensives to keep the blood pressure within normal limits or within the defined parameters as well as diuretics to eliminate some of this extra fluid. And then the best practice however is that we teach our patients whenever they get prescribed a course of antibiotics to make sure that they finish the entire course because many times the patient even for a simple strep throat they feel better after three to five days when the course of the antibiotic was supposed to be ten days so they stop taking it after five days but that doesn't eliminate all the strep out of their system and some of that strep hangs around and then can cause this antigen antibody complex here to form leading to this complication of glomerular nephritis. So the most important part is that we teach our patients finish the full course of the antibiotics as it was prescribed even if you do feel better after a few days to make sure that all of the bacteria are eliminated out of their system. And then for complications, glomerular nephritis this acute post-infectious inflammation of the kidney can lead to chronic glomerular nephritis which then in turn can lead to end stage renal disease, chronic renal failure and our patients might end up on dialysis if it gets really severe. Now as you can see I have again highlighted here the most important things so glomerular nephritis caused mostly by group A beta hemolytic strep the edema is one of those real tell-tale signs that starts periorbital and then moves into generalized edema. The urine color T colored colo are bright red and that is in comparison to nephrodic syndrome which is a different condition that also affects the kidney and you can watch my separate video on that. And then the best practice to make sure that the patients finish their full course of the antibiotics. So thank you so much for watching this video on glomerular nephritis please also see the other video on nephrodic syndrome and the other renal disorders in the appropriate playlist. Give me a thumbs up if you enjoyed the video and I'll see you soon right here on Nursing School Explained. Thanks for watching.


Alrighty, let's watch this in full first actually. I like that the last little thing Quite make huge amount of sense in terms of the second push. I think it could be cute For this Although I don't know if the chair allows you to put the back I can rotate the back But I would probably lessen this by maybe half, but it's kind of a fun thing. I like it And you would have a little bit of a wobble in there in the legs, too Now I think this has an issue where even though it says spline I still see a lot of hiccup moments That are unfortunately kind of a remnant of the Stepped Approach so you can see this here if you look at I would look at the root and The upper body area and not worry too much about the rest just yet because the root is going to change everything else So if you look at how we are translating if you just look at left right to left You can see How here suddenly the spacing gets a lot smaller, which is fine You can come in and slow down a bit to take that step But then from here to here That's quite the big move and I feel like you have too many keys in there I suspect that in your graph editor. You have a couple keys and then suddenly this happens Right over one frame you set another key and the translate suddenly goes way over And here's the opposite where we're staying So it goes and then suddenly we're flattening almost where we have too many keys like this key here key here key here so that step over At that point that route would be already further to the left But here we see another really strong key to the left and then it really pops Into a stop where we still have that pivot over the leg which I mentioned before where I will continue that translate forward So and this continues throughout so you just left a lot of hiccups Be things where it stops and goes and stops and goes gets better towards the end with that rotation From here up which I really like And then the same thing in the legs you can see this here when this leg goes up and then suddenly stops goes Straight up instead of to the left So what I would do for your next pass is it's a clean up Because I do like if I if I kind of skip my eyes and kind of ignore the pops step step hold down With the extra little thing at the end. She'll like it. I think it will work. So in your graph editor Again, you're gonna have you have a lot of stuff like that happening a lot of single keys and I would you might even go crazy and set a key here on the route and Maybe set a key here Delete everything in between and then you can set a key on moments like this and kind of tweak the tangent So that would be a little bit of step slowdown step slowdown, but But you will have a cleaner version where you will have more peaks and valleys because there's a key There's a key. It's mostly through tangents versus key key key key key key a lot of pops because of this You just have to clean up the curves to reduce The amount of translates let me know if that makes sense And if not I can I can look at your Maya scene, but I suspect that you have just too many keys Where they pop over one frame and you know if you have something like this and they continue somewhere else delete this key And you will have a nice to curve like that Because that will give us better a better view of the final timing again. I feel like it's gonna be okay But clean up and making sure those stopping goes You know in terms of timing wise that needs to be addressed and I will also reframe the camera So we're just down here. You don't need that all the extra space. You can take the mask off as well So we're basically just looking Yeah, can I zoom I can If I make all of this bigger That makes no sense Something like that. Hold on. I'm trying to grab the edge of my screen On my thing. There you go. Like that could be your framing And that way we can see a bit more of the detail in the fingers. Are you gonna have these go around because I feel like None of the section but it's definitely sliding around here. You want that grip to be firm. I Think that's gonna be all detail stuff that I wouldn't worry too much about like I wouldn't bring up the toe Just yet too floppy and it's a bit Exaggerated but your feet are sliding here. So they need to be locked That's better here. I like that. There's a pivot on the heel. I think that's great So to me, it's mostly clean up which will tell us a bit more about the timing just final Final timing for that and then once you have that I feel like we'll have to adjust this here Where instead of when you go down to me feel like the head would be lower And then as you go forward the head will go up instead of now you do the opposite You go down with the head. It's kind of the drag overlap Would have to be worked on a little bit All right I'll leave it at that. So let me know if that makes sense about the translate and that's going to be this way But also side-to-side you have to make sure that when you have a passing pose here That we're actually leaning to the side so the character from the backside wouldn't be straight with a bent leg It would be over here hip like this Bent leg then you could have your shoulder. I'm exaggerating like that But you're gonna have a side-to-side sway with the body and a change in the hips So make sure you don't just add me to this camera, but you also look from the back or from whatever to adjust that Alrighty, thank you Alright, there's an email you can sign up you can start whenever you want you can submit whatever you want You get 16 submissions either way a like and subscribe would be awesome. All right. Thank you


Hello everybody welcome back to another mid-journey tutorial and this one gonna show you how to achieve excellent photo realism. Some people call it hyper realism, some people call it ultra realism, photo realistic. I'm gonna show you how to do it and it's really just one prompt with a few things that you need to maybe mess around with. And to show you that I can cook and do what I say I can do here's an example of a shot I just did up here of this Viking looking lady and I've got a whole bunch of other ones here we've got some redo's up here like here's a little girl here the Viking girl pretty realistic if you ask me and then not only that now let's see another one here this one's pretty good I'm gonna even show you how to make it even more realistic inside Photoshop it takes about 30 seconds once you're done so the trick to the prompt is really just this forward slash imagine and then you type in the subject so in this case portrait of a Viking man in this case we're gonna do a Viking man then it's colon one that means prompt weight or text weight of one we're assigning it a one this isn't quite necessary but once you start playing and tooling around with it you'll want to have these weights in here hit spacebar natural lighting oops if I could just spell lighting colon colon one okay good hopefully you're following along with me now we want to do a descriptor are they smiling are they angry are they frowning in this case we're going to go smiling colon colon one these are all weighted at one of course and then I'm just going to keep going natural features colon colon one we just want them to look natural we don't want anything you know fancy going on with their face now we're going to determine the lens in most cases I like to use a 35 millimeter lens so it's space 35 mm lens space lens colon colon one and then we're going to global illumination colon colon one so we want the light to be sort of applied all over the shot not just on any particular area of the shot we're going to do an uplight for those of you that are photographers you'll understand this one we want uplight colon colon one and then we're going to go space dof that means depth of field so we want some blur in there in the background so we want the the the foreground in the background to have a little bit of a definition and a little bit of blur in the background and then I'm going to go dof and then I'm going to go space space ar space 16 colon nine so we're doing a 16 nine aspect ratio that's what ar stands for and then I'm going to go dash dash q space two for we're going to do the highest quality we can and then you just hit enter and we're going to have our little thing go on here now this is going to come out quite nice but keep in mind that it doesn't always get it right the first time so you do have these options where you can make variations you can upscale it you can beta upscale it this one here is pretty close to perfect but you know what so be it let's see here what are we getting where are we zero percent okay so while that just cooks that one up I'm going to right click on this one and I'm going to save the image and I'm just going to save it to my desktop and I'm just going to not change the name and while it cooks up whoa it missed the whole portrait of a viking man part there on one or two of these here but whatever it ain't perfect like I said I'm going to go to my finder I'm going to go to my desktop I'm going to grab that image and I'm going to put it into Photoshop and what I'm doing the reason why I'm doing this is because sometimes mid-journey has one real issue and the issue is for for the photography it comes out really really sharp and what I mean by that if you look at these eyes in this case it's quite good but a lot of cases it almost looks like it's too like I don't know it's almost like it's cartoony because the colors are so saturated and they're so kind of shiny so what you can do and this is purely optional if you have Photoshop you just go up to you just drop it into Photoshop and then you go to filter and then we're going to go down here to where is it it is under blur and then we're going to go to the lens blur so we're just going to add a very small lens blur on this so watch this I'm going to go ahead and I'm going to change the radius to about six well actually we're going to go to about five or six on this one and then I'm just going to go ahead and I'm going to go ahead and just change that's it I'm going to go ahead and just change this to one and watch this it's a very subtle but we've just gone ahead and added in a slight blur on it so if I hit command Z you'll see the slight difference command shift Z very subtle but it's there so that is purely optional but that does get rid of some of the synthetic look that some images get anyways let's go back to we're going back here into mid journey and here's what we got so we got some really really good shots here holy smokes okay so this bottom right one is pretty good I mean actually they're all quite good if I'm being honest so I would just go on U1 U2 I would create NU4 I don't think the third one is very good and basically we're just upscaling or up sampling the first second and fourth one and that's it if you need to make changes you'll notice here that we put prompt weights in or text weights in all of them so if you want to change the natural lighting and you wanted it to be you know instead of a value of one maybe you want it to be of 1.2 because you want some more lighting or you think there should be more illumination or you think there should be less but really that's it I'm going to put the whole thing in the description below let me know what you think and thanks for watching


When you pull it up, it just takes it all the way around. A little tab. Sometimes you don't just tape, press down on the side here. You don't have to press down all the way. I wouldn't, just because then that way, if you need to, you could grab it from this side. And then it's not as hard to take off because the whole tape isn't on the board. It's just a helpful little thing to make it easier to take the tape off. And always remember to put your tape out of any resin way because if the resin gets on here, you ruin your tape. Completely ruined. It'll always, when you take the tape off, it sticks to it and then it tears. So you have a whole ruined thing of tape.  These are Montana black. This chrome gold is beautiful. And I put this in some hot water before because it was a little chilly today. Real thin on three levels. Looks good. Is that a little higher than three? You like to put down a random pattern of clear if it's going to be the majority of the color that the background is. So you have a white background. And then when you make a white, excuse me, white to put on top of it, it lets it flow a little bit. And then it lets the white resin sink into the paint and it stays, I guess you could say, a little more solid. And then when the white goes over the clear, it floats and gets a little bit marbly. You could definitely see the difference because these two whites are different whites. I try not to get over the whole thing, leave a couple little patches open. Let's mix some white. I'd like to leave a little clear just for a different taste. Mix your white into the resin. Now you can feel it getting hot. I have a roller that we use for resin, and it's super stiff. Like it's really hard, so hopefully it doesn't, I mean it shouldn't soak up the resin. This one just soaks it up and it takes it away. So I'm going to try to use this one to make the veins. Let's see how this works. It looks like it just picks it up. Still picks it up? Like it picks all the gold up. Do the veins real light, right? You turn it, and it gets all of the paint. The gold is separating, it's not doing that. Shake it up super, super well. I didn't. I'm pretty sure that's why I'm not going to think about it. It's already like said, if I started this before you took it, I mean right when you took them out, this will be fine. I mean, it still looks great. You don't want to light the landing on top? Because it's already on top, and it looks great. I figured it was lighted on top. That's what this is, that real light stuff? Yeah. I think it'll be fine though. What? It's gonna work. That stuff just does something different that Montana didn't do. See how it spreads more? It just does better. What? What's wrong? I thought you were about to put the resin end in your mouth. It did. Yeah, this stuff is, it even like, that's what I like about that. Yeah, it stays together kind of. Oh yeah. We use two different types of gold, and resin tastes like this. Two. Yeah, don't put the wrong end of your straw on there. It's like going back together.