Here in the last couple of weeks, I have been experimenting with another video editor, a free and open source video editor that is not Kaden Live. For years, I have used Kaden Live to edit all of my videos or the YouTube channel. And Kaden Live, well, being fantastic, very feature rich, and certainly I would say the best free and open source video editor out there, one problem with Kaden Live is a little bit buggy, a little bit flaky. It tends to break with every update, new things break. And then the things that broke in a previous version are fixed. But it's always, it's always like moving goalpost, right? You never know what's going to work and what's not going to work in each new version of Kaden Live.  So what I've decided to do was to experiment with a video editor that I had never actually used. And the reason I had never actually used this video editor is because it's not really strictly a video editor. And what I'm talking about is Blender. Blender is actually a 3D animation, a 3D modeling program that does have video editing capabilities built into that. And how good are these video editing capabilities? Well, I wasn't sure until a couple of weeks ago where I decided I was going to make myself start editing at least a few videos in Blender just to see how the experience was. So far, my experience has been mostly positive using the video sequencer, the video editor inside Blender. It's been mostly positive. There's a few negatives. There's some things, some weird quirks, some things it does that are quite a bit different than what most other video editors do. But I'm going to show you all that on camera today. I'm going to open up the video sequencer inside Blender. And let's edit a little video. So let me switch over to my desktop and let me go ahead and launch Blender. Now, again, Blender is mainly for 3D animation and 3D modeling, even though it does have a video editor built into it. It's not really the main focus of this particular program. So when you first launch Blender, it's going to ask you, what do you want to do? 2D animation, sculpting, VFX, video editing, click video editing, and you get this video editor layout here. And by default, you have these three panes at the top and two panes at the bottom. You have your file manager, and then you have your preview window. So if you were scrubbing through the video, this is where you could watch the video. Then you have scene information here. And this is where you can set your resolution. By default, it's set to 1920 by 1080 at 24 frames per second. Now, obviously, if I'm doing 1080p video, most people are going to want to do 60 frames per second. That's what I record in, so that's what I need to render in as well. Some people do 1080p 30 frames per second. 24 frames per second is kind of weird. I don't know why that is set as a default. But once I have 1920 by 1080, 60 frames per second as the format, I'm going to fold that frame range. I don't need to play with that. I do need to play with this section here, output. By default, when you render, your video is going to output to slash TMP. So, you know, the temporary directory in your root directory. Obviously, I want something else here. So what I'm going to do is I'm going to click on the little folder icon to get the file picker.  So that's where I'm going to put my particular outputted file here. File format, by default, it should be set to FFMPigVideo, which is correct. If for some reason it's set to something else, you need to set it to FFMPigVideo because there are some, like, image formats in here, such as JPEG, TIFF, PING. Obviously, that's not going to work for you if you're trying to render a video. And at the bottom, we have the video sequencer here. So this is your timeline. So this is where you would, you know, drag clips down here into the timeline. I'm going to go ahead and make this full screen here. And then over on the right, we have the tool section here. So if I had some videos in the timeline, I could click on a clip and then I could perform various actions on that clip, depending on whether it was audio or video. And let's go back to the file manager because the file manager, let me widen this out if I can so we can see a few more icons here. By default, it is in our home directory. I'm going to go into my videos directory because that's where I save all of my videos. And I'm just going to pick one of my previous video projects. This is a video I did a week or two ago about Vert Manager. And let's just go ahead and play around. So I'm going to drag this particular video clip down here into the timeline. So let me go ahead and get my headphones on. And when I launched Blender for the very first time and decided to edit my first video, there were some really strange things that I noticed right away. One of them is scrubbing through the video. Obviously, I'm scrubbing through the video. I don't get any audio scrubbing, though. Like, how do I turn on the audio while I'm scrubbing? Well, you go to Playback, the menu down here, Playback, and go to Audio and tick on Scrubbing. And now when I scrub through the video, you can see I get the audio. Well, I get the audio. Hopefully, you guys are getting the audio. Let me make sure I have the sources set up so you guys are getting that. Yeah, you guys should be able to hear that on the video. And that's very important to be able to hear the audio when you're scrubbing through the video, because sometimes you want to make really fine cuts. And it's really nice to be able to go frame by frame and to hear exactly when you begin a sentence or when a pause, you know, first happens or ends. So that's a really nice feature to have. Another thing that bugged me compared to other video editors is watch the playhead when I play the video. Now, I'm going to move my head out of the way. Now, to play, you could either hit Spacebar on the keyboard, and that's what I recommend is getting used to Spacebar for play, pause, play, pause. So let me play with the Spacebar and let me move ahead, because I don't want to wait that long. And then I'm going to hit Space again, or I could hit the Play button down here. And it actually started back at the first frame. Ah, this is another interesting thing. You see this section here from here to here, that it is lighter gray instead of the black out here. This is the only section that we're allowed to play, because you see Start, Frame 1, and Frame 250. That's not a very big section to be able to play. So what I've done on every video that I've made so far is I just set this to some huge number, like 100,000 frames, which actually isn't that big. Like if I made a 30, 40 minute video, it might actually get to 100,000 frames, right? But for what we're doing, I'm just giving it a huge number, because I want to be able to play forever. For example, I want to be able to play out here, which was outside that initial range. Do on physical hardware, on your production machine. It makes sense sometimes just to spin up a virtual machine. Now, you see the Playhead, it disappeared on us. The Playhead was still playing, but it's playing off-screen, right? It started over here, and then it moved off-screen, and we're no longer following the Playhead at the current frame. That's annoying. So how do we change that? Well, we go into Playback, and we go to Playback, Follow Current Frame. And now when I hit Play, Virtualization programs installed on my system. It's back here. And now when it gets to the end, so if I start at the end of the timeline here, you will see once it gets to the point where it would be off-camera, basically, for us, it'll actually jump the timeline back toward the beginning. One of my videos is because I know many people that watch my content are when users are ma... Now, let me zoom out a little bit with the scroll wheel on the mouse so I can scroll, because by default, one thing about Blender is you're kind of zoomed way in. These video clips, audio clips, they're stretched way out, which is great if you're making really miniscule fine cuts and something. But for this particular clip, it's about a minute, 15 seconds. You know, there's no real cuts that I was wanting to make. One odd thing is the audio clip. We have a video clip, which is blue, and then the green clip here is the audio clip, but you can't actually see the waveform. So if you actually click on it, you can tell it's highlighted. Over in the Tools section, you have sound. You know, just clicking on it by default on an audio clip, you get sound here. Go to Display Wave Form and also click on Mono, because obviously you want sound to be to both channels, right and left speaker. Otherwise, you could have a situation where your listeners are only going to get their sound through one speaker or through one of their headphones. And obviously you don't want that. So let me put my head back into frame and let me show you some basic editing that I would do. I'm going to zoom back out just a little bit. I zoomed in way too far, probably. And then what I would do here is at the beginning here, there's a lot of silence before I start talking. I don't need that much silence. So what I could do is I could do Control and Click on the mouse. So Control-Click gets me both the audio and the video clip at the beginning selected. And then I could just grab that thick border of either clip and then just adjust, right? And then what I could do is I'll click off to the side. And then I'm just going to do a Shift-Click where I select both of them. And then if I hit G, which is a standard Blender command to move things around. Now, anywhere I move my mouse, I'm dragging that sucker around. And what I want to do is I want to move it to frame zero. You can see I can actually move it to negative frames. But obviously, probably not wanting to do that. So I'm going to get that as close to frame zero as I can. Well, I got it at frame one. And now let me hit the Spacebar to play. So I do a lot with virtual and spacebar to pause. Yeah, I like that. That was the perfect amount of pause before I started speaking, in my opinion. Now, what I would like is I would like a fade from black, right? I want to fade in. Well, what I could do is if I want to fade in on the video, select the video. So just click on it with the mouse. And then if I right click on it, I could go to this menu here, Fade. And I could do a fade in, a fade out, or I could just do a fade in and a fade out on the same clip, which is sometimes what you want to do. But for this, I just need a fade in. So click the fade in and I go back to the beginning and then Spacebar. So I do a lot with virtual, a very nice little fade in effect. Another common thing I do on my videos is I add text to the screen. That's something almost everybody that does YouTube videos. Sometimes you actually have to add text to the screen. Maybe you make a mistake in the video and you want to do an annotation. Hey, I said this, but I really meant that or whatever it happens to be. So what you could do is you could do Shift capital A to get an effects menu here. You could also go up here and just click on Add. That's the same menu, but capital A, go to Add Text. And it's a very, very tiny clip by default. It's just a few frames. I don't know why it's so small by default. But let me go ahead, do the mouse wheel to zoom way back out. So I can actually do something with this very tiny clip. And now if I can actually do anything, I can drag the whole thing. But let me, again, zoom way in.  But now once I'm zoomed in enough where I can grab one of the borders. Now I can stretch this because I want this to be at least a few seconds. Now by default, if I scroll through, you can see text in the center of the screen, right, it's centered horizontally and vertically. Well, what I want is I want something else. Maybe I want to say, by the way, I use Arch Linux exclamation point. If I hit Enter, you can see in real time it changes there in the preview. Now let me move my head. Now let's go ahead and change the font. By default, it's using an open font. I don't know what that is, but I'm going to go into user share fonts. And by default, it's actually going to look for fonts, I believe, in your home directory. Now I have my Blender setup, so it always looks for fonts in user share fonts, which is where it should on a Linux system. But to get this, so it always defaults to that directory, what you need to do is you actually need to go into edit. You need to go into preferences. And there's several preferences that I have changed here. Let me get back into a non full screen mode. One of the things I changed was the interface display resolution skill. I scaled the font up to 1.12. So I increased the font size everywhere in Blender by 12%, essentially. And the reason I did that is by default, the font size in Blender is really small. Most people are going to find it way too small. If I set this back to 1.0, that's really, really tiny font. And it's really, really tiny font, probably for a reason, because if you ever use Blender, there is a lot of stuff going on on the screen, right? And to fit all that stuff on the screen, they probably have to default to a really tiny font. But if you've got old eyes like I do, you're going to want a bigger font. So I found increasing it by 12% is about right for me. Another thing you want to do is go into File Paths and go to Data, and make sure that it looks for fonts and user share file lengths. I also changed the render output to my videos directory and my home directory, because remember, it's going to default to slash temp if you don't change that.  And hopefully Blender remembers them the next time you launch Blender. And those are global settings for Blender. They're not specifically just for the video editor, because the video editor is just part of Blender. So now that it's looking for fonts and user share fonts, I'm just going to go pick a font. Here's one I often use, the Antonio font. And I could adjust the size by default at 60, but we could increase it. I'll just bump it up to about 80. I could add some shadowing behind it.  That's actually a really nice touch. And we could add a box around it, the box by default. I don't really like that color. That is a light color and also has some transparency, 70% alpha. But I could adjust that. Let me go to the hex code. I'm going to make it full black and for the alpha instead of 70% to 80%. Yeah, that looks a little better in my opinion. Now let's do the layout. The location X and Y, you can see it is centered on the X and the Y axis. Well, let's play with that a little bit. So if I adjusted that instead of 0.5 to 0.2, you see I moved that off to the side. That way it's not on top of my head, right? And if I wanted to not have it centered vertically as well, I mean, I could adjust that as well. That way we get it toward the top of the screen. One other thing I want to do is I want to click on this. We'll go into a right click menu and get to fade again and fade in and out on this. And now zoom back out a little bit. Let's go to the beginning space. I do a lot with virtual machines. I install a ton of operating. That was a very nice fade in. Let's move ahead and see how the fade out on the text looks like distributions or sometimes testing out. Very smooth, very clean. And one thing I do love about Blender is the playback is buttery smooth. Unlike almost every other video editor, free and open source video editor that I've tried. I mean, that's just smooth scrubbing. That's just buttery smooth. It's smooth playback, smooth scrubbing. And that's really important. That may be possibly the most important thing with a video editor. And it's one of those things that many video editors don't do a good job of. If you can't scrub through the video cleanly, certainly if playback is not smooth, then your video editor is almost useless to me, in my opinion. So I'm really happy with the playback and the scrubbing inside Blender. So let me go ahead. I'm going to zoom back out a little bit. Move ahead along the timeline here and go ahead and add another clip. So I drag this clip. And one thing you'll notice is the audio. We don't have the waveform. We don't have it's also not set to mono. So every single clip that has a audio that you drag into this, you actually have to take on mono and display waveform. I don't know why that's not a default for a video editor. That should just be a default. There's no reason anybody should have to take that on. If I have to take it on, it should be in settings where I should just set it one time and it should just remember it forever. I should never have to take that. But for right now, at least as far as I know of, I have to take that on every single clip that I import. And let's see where I want to put this clip. Maybe I want to have this on top of this other clip. Maybe I want some kind of transition effect. Well, remember, I could do a control click here at the beginning because I've got some extra space at the beginning of that. And then what I could do is I could do a shift click on both of them. G to move them. And I can move it on top of that. And then if I wanted to script through that, yeah, you can kind of see the transition there. Let's play it. Use vert manager. Vert manager has to be run on a Linux. I've done a previous video about. Now, obviously, that's just an example of how that works, right? Now, instead, if I didn't want one clip on top of another, maybe I wanted just a clean cut and these merged together. What I could do is I could do G again to move this around. But what I need to do is I need to get rid of all this dead space down here. Let me zoom in. Now, I could control click at the end to get both of them together, but that doesn't work. I've noticed the control at the beginning of the clip. That works selecting both. But at the end, it never works. The reason it never works is because when you're actually recording, video and audio together, oftentimes there's a frame difference. They have to be the exact same frame length. So the problem here is that the video is a few frames longer than the audio clip. So I can't actually grab them both together with the control click and adjust like I can at the beginning. Unless I just grab this one clip and try to adjust it to the exact same size and if I can get them exactly the same, then control click should work. But you see, I'm still a couple of frames off. Now, I don't do this. This is tedious trying to line them up just so I can do a control click to cut off the end. What you can do is just do a cut. And this is what I do. I do the shift click to select both. I put the playhead exactly where I want to make the cut and then hit K on the keyboard for cut. And you see, I made a clean cut. Let me move the playhead. You can see that's a clean cut there. I just click on that and hit the delete key. Click on that, hit the delete key. And now shift select these, G to move them and just move them right. You can move them past the end of the next clip. It will always bump them back to being butted up exactly where they need to be. And now let's see how that transition works. Work manager has to be run on a Linux host. Now I've done a previous video about work manager in the past. Now obviously I left a little bit too much space there on this clip here. So what I could do once again, I could do control click and adjust that a little bit and then do the shift click both of them and then G to move them. And then I'll see if that worked out on a Linux host. Now I've done a previous video. Yeah, that's a little cleaner, still a little bit too much space in there but you can see how that's done for demonstration purposes. Now let's add a picture in picture.  You know, let me show you this effect. So let me just pick a clip, any clip here. I will drag this in and I don't need the audio because I won't have the audio playing in this clip. This will just be strictly a video clip. I'm just gonna pick a section out of this. What I'll do is I'll drag the play head to about here. I'm gonna hit K to cut. Now I'll get rid of all this because I just want this video here. So what I'm gonna do is I'm gonna click on the clip here and let me move my head out of the way so you guys can see the effects over here. Go to transform. If you go into transform you have scale X, scale Y they're both set to 1.0. So 100% right meaning it takes up 100% of the screen. Well to have picture in picture I need this top clip to be smaller than the one underneath it. So what I'm gonna do is I'm gonna adjust that to 0.3 and then of course I need to do the same for Y as well. And now you can see we have adjusted the size. I also need to adjust the position in the screen. I'll move it over and I'll move it toward the top a little bit. I think that's a good spot for it. And then by default when we're playing or scrubbing you can see we have the top clip but we do not have the bottom because what we need to do is we need to add some alpha effects to this. So under compositing you see blend. By default it's set to cross. You wanna go and do alpha over. And you see now everything underneath that top clip shows through right? So that is how you get that. And if I actually wanted to add a fade in and a fade out just to be even more fancy I could have a fade in and a fade out on that if I played through that. I got a previous video about Vert Manager in the past on how to install it and set it up on Linux. Today I wanna dive a little deeper and you see I've got the video playing inside the video right? So that is a common effect that a lot of people need to know how to do. Now let's talk a little bit about color correction. So you do have some things you can do as far as color correction inside the video sequencer. So what I'm gonna do is let's take this clip the underneath clip here. So that'll be me here. And you can see it's got a little bit of a orangeish hue to my particular look that I'm using here. Let's go ahead and see if we can, I don't know add some different color effects maybe some different saturation or maybe even a lack of saturation if we wanted to do maybe some black and white effects or something. So let me move my head out of the way and I collapsed compositing and transform we don't want those right now. We want color and you have saturation and multiply. And if I wanted to I could actually you know I could really over saturate myself or I could add no saturation at all if we wanted a black and white effect. I actually kind of good with what the saturation is just how it's recorded on my camera. So I may not wanna adjust with that but I could adjust multiply which multiply it's more of like a compositing effect. You can see we actually add transparency as we decrease it and as we increase it it adds a lot of lightness to it. Yeah I don't really wanna play with that either. I think what I wanna do is I wanna go over here to this modifiers tab. Click on modifiers and if I go to add strip modifier we have things we can add as effects. They're not here by default but if I wanted to I could add color balance. You know and then I get color wheels that I could play with. I scrolled too far down here. Let me go back to modifiers here. Scroll down you see lift, gamma, gain. If I wanted to play with this you know add some blue to that that actually was a nice correction for something kind of random. If I wanted to play around with the gamma oh yeah probably should have left that alone and of course the gain. Yeah let me put that back toward the center there. So that is a little bit of what you can do other modifiers that we could have added we could add strip modifier. We could add curves which is the busier curves. We could add you correct brightness and contrast, mask, white balance and a tone map. That's just a very basic cursory look at the video editing itself inside Blender. Now let's talk a little bit about rendering. How do you render a video? Well you go up here to render and you need to select render animation but if you just select render animation typically it's gonna select whatever range of frames you happen to have selected down in the sequencer itself and remember you could also have an issue where you didn't have the entire selection of frames because remember if I move my head again down here at the bottom right start one frame and then the ending frame is 100,000 that's just what I set. What you need to do is you need to get this exact. So start should always be frame one but end what I would do is I would go to the last frame and I would click on it to select it. Hit E for end and you could actually move this. You can see that the cursor changed where if I could actually drag this around if I wanted to but I don't actually want to move it. What I want to do is I just want to select it, hit E just so I could get that frame. Well I messed it up again, click it, hit E and you can see the ending frame is 5,852. Then I'm gonna hit escape to get out of that. So then I'm gonna go down here, 5,852 for the frame and you can see right there that is our frame range. If I zoom out here what you need to do make sure you put the play head all the way to frame one and you have the ending frame selected. You have start and end correct here then go to render, render animation and it's gonna render this in a separate window. Let me make this full screen. Do not close this window. This window has to remain open.  You could put this on a different monitor which is what I do having a triple monitor setup. I'll just throw this on a different monitor and you can actually see on here we have a percent bar here. You can see 13%, 14%, you can actually see the play head move as well as it's rendering. You want to actually watch the video render you can watch it. Now one thing to notice is the video is clearly rendering slower than it plays in real time which my machine is a beefy machine and in Caden live for example, my videos render faster than they play in real time. Like meaning if I do a 15 minute video typically that sucker all render in 10 minutes or less. You know that's typical. I do a 30 minute video at my tight 15 minutes, right? Well, not the case on Blender. A 10 minute video on Blender I've noticed is gonna take me 15, 20 minutes, right? This is gonna take more than the length of the video so it actually renders a bit slower on my machine and again my machine's kind of a beefy machine. If you're on a machine that is really underpowered then the rendering time could be an issue with Blender because again it's a little slower time in many cases time is money, right? Now for me because it's not a huge difference it's not a problem because it's not like while it's rendering I can't be doing something else because I've got enough RAM and my processor's good and everything where while this is rendering I could actually be making my thumbnail for this video. So those extra few minutes that it takes to render I can be multitasking while it's rendering I can be doing other stuff. So it's not a big deal for me personally but I know some people are not gonna like that slow render time. Now I think our rendering has completed. If I go back this is the render screen you can see it's no longer moving so I can close that. If I go back to the screen you can see yeah there's no percent bar or anything so we got to the 100%. I'm sure the video rendered fine if I wanted to check it out I could open my file manager and actually navigate to where we rendered that and it named it just a random set of numbers here if I click on it. So I do a lot with virtual machines I install a ton of operating systems and you can see it plays just fine. Now one last thing I do wanna just briefly mention it's not something I play around with but I know some people will want to adjust the layout because a lot of people like to have different things on their screen as far as video editing different kind of widgets and things and you can adjust the layout of everything here. On these panes, the separate panes here what you can do is they all have four corners and if you take this bottom corner for example in the preview window here if I can grab it I can just grab it and drag it. Right, oh and magically another pane appears basically a duplicate of the one we were grabbing on, right? But you can then go and change it to whatever it is you wanna change it to, I don't know, non-linear animation. That's probably not even something that's appropriate for the video editor because there's a lot of course 3D animation stuff built into Blender but that's how you would add a new frame basically if you wanted the frame to go away I believe I could just well know that created a new one. Maybe I actually have to go in here and go to if I right click on the title bar, close area. All right, that did it. Of course now we end up still with this area, close area and now I'm back to just having the three panes that I had up top but that's how you do that. You just grab a corner and drag it and I magically a new pane will appear. So that's just a little bit of what you can do with Blender as far as a video editor. The things it does, it does really well. The scrubbing through the video, the playback is all buttery smooth and that's a big thing for me so I was really impressed with that. Also, you know, some of the basic effects like adding text and color correction and things like that. I mean it has a lot of the really basic fundamental features you'd expect a video editor to have, it doesn't have all the whizbang effects right, it's lacking a ton of stuff that a more mature video editor like Kate and live would have but if you don't necessarily need those effects and I can get by without those effects as long as I have something stable that the limited set of features it has will always work without crashes. That's a big deal to me because at this point I just want a video editor without all the heartache, without the pain, without the frustrations and so far, again I have edited five, six videos now with Blender and so far it's been lovely. Now before I go I want to thank a few special people. I want to thank the producers of this episode. I'm talking about Devin Gabe James, Matt Michael Mitchell, Paul Scott West, Hikami Allen, Lennox Ninja Chuck, Mandarangri Kurt, Diokai, David Dillon Gregory, Haiko Kaskali, Max and Mike, Nitrix Suriyan, Allie Xander, Peacarton Fodor, Palletette Raver, Red Prophet, Steven and Willie, these guys. They're my highest tiered patrons over on Patreon without these guys. This quick look at Blender as a video editor would not have been possible. The show is also brought to you by each and every one of these ladies and gentlemen, all these names you're seeing on the screen, this ever growing list of names. These are all my supporters over on Patreon because I don't have any corporate sponsors. It's just me and you guys, the community. If you like my work and you want to see more great videos about free and open source software, please support DistroTube over on Patreon. All right guys, peace. It's crazy that a program that's not a video editor is a better video editor than actual video editors.


from New Orleans, Louisiana, at theCUBE, covering .NEXT Conference 2018, brought to you by Nutanix. This is SiliconANGLE Media's production of theCUBE live in New Orleans, Louisiana. I'm Stu Miniman with my co-host, Keith Townsend. Happy to welcome back to the program, fresh off the keynote stage, marching band, floats coming in, Mardi Gras atmosphere, and a slew of new products and updates. Sunil Proti, Chief Product and Development Officer at Nutanix. Sunil, thanks for joining us. Yeah, likewise, Stu, anytime. All right, so a lot that you covered in, so let's get into it. Start with some of the broad company updates. We've been talking about this journey for making everything invisible. I'm waiting that the next time you're going to have the invisible man is, no, no, no, you're putting the person forward. Yeah, you know we talk about that continuum between all the way from mainframes to whatever HCI to now we've got cloud instance, hyperconverged, then cloud, and then there's functions. Then eventually we'll have NAS, which is nothing as a service, right? That's something like that. But our journey, I think, of invisible infrastructure started off with hyperconvergence of computing storage. And essentially it's just increased layers of convergence is how we see it. So if you can converge the networking stack, if you can merge the automation aspects, then we go into invisible data centers, and then eventually if you hyperconverse the clouds, CAPEX and OPEX, public cloud, pirate clouds, distributed clouds, then you get an invisible cloud. So it's essentially, I think that's really how we've sort of professed this conference is invisible infrastructure, evolving to invisible data centers, to evolving to invisible clouds. Yeah, so Sunil, one of the things, if we've been talking to your customers, the question is, who is the Nutanix customer? So when we talked about HCI, even before it was HCI, it was let's get ourselves out of the silos, you're working with the administrators and the architects, as you build some of these things, you've got a new SaaS offering, you've got micro segmentation, you're touching more of the business and sometimes going up the stack too. Yeah, yeah, yeah. Who do you see as a customer? Yeah, I think for us, if we just stayed as a broad HCI platform play, then we'd probably be slowly making up our way of between the server guys and the storage guys and maybe the director of infrastructure and so forth. And a lot of it has been groundswell movement for Nutanix over the last six, seven years, right? But this is what I talk about it to our customers, like when you actually go to cloud on AWS or GCP, there is no storage admin, there is no server admin, there's only a cloud architect. And so I think that's what we've seen over the last few years is this evolution to this one single org called the cloud org with an enterprises. And then you heard me say this before, it's about this eventually, as we move up our value up the stack, as we go from invisible infrastructure to clouds, our relevancy is also growing to the CIO because the CIO can now be the CAO, which is the Chief Amazon Officer, the Chief Alphabet or the Chief Azure Officer, essentially the Chief Cloud Officer where we can help them blur the lines between AWS Insight, which is Nutanix, and then AWS Outside. Yeah, I love that, because when we talk to customers, it's not I'm building out my multi-cloud, hybrid cloud, composite, whatever you want to call it, it's we're figuring out our digital transformation and we've got applications, we've got stuff we're satisfying, there's cool things I built in the public cloud and I've got my data center and the transformation that I'm going through there. So question I have for you is, what is Nutanix's position in the cloud? I didn't hear you going up on stage saying you're going to put five to $10 billion a year into building out data centers and availability zones and all those things there. Some type of people misconstrue some of the journey and things like XI and they're like, oh, it rhymes with what Amazon's doing or even many times similar services to an Amazon there but partnerships with the public cloud providers and please help us set the record straight that you're not standing up a public cloud. We think increasingly the world of the world of clouds is a dispersed world, right? I mean, you had to say that we think about this concept called the core cloud, which is essentially both a private version and a public version that's harmonized together into this one enterprise core cloud but then increasingly we are seeing a cloud-like architecture in a remote office branch office or in a retail store so we call that the spirit cloud and then it's also with IoT especially, it's getting extended all the way to the edge whether it be a one node Nutanix deployment talking to a data center of clusters talking to GCP for machine learning. So we think that the world of clouds is going to emerge as the de facto standard and public cloud just happens to be a big percentage of that. Private cloud will also be a decent percentage of that so will these other clouds. So what we need is I guess one OS to bind them all, right? And that's the end goal for what we are embarking on and so what one of the things that we've recognized is though one of the different kinds of clouds is an extended enterprise cloud where instead of having two primary data centers and two secondary data centers and then having fly cloud availability zones why even be in the secondary business? What if the secondary data centers were subsumed into a cloud as a service but you retain the same operational tooling as your primary data center? And that's really where Xi's footprint comes in is it's to augment what a customer is going through is journey of private cloud or public cloud to this distributed cloud environment that there will be certain use cases that need to be fulfilled using the same cloud architecture. So Neil let's talk about the customer journey alongside Nutanix's journey. You guys are walking, term I heard a lot so far in the conference is Nutanix is our partner. Our partner in this journey in digital transformation. However, the customer today is very much infrastructure to customers. You guys talk to developers, internal customers of your customers. What has been that story and what has been that conversation?  Yeah, I mean, I think it's, look, we genuinely know as I've mentioned on stage today that we're in another decade's worth of journey as we go from invisible infrastructure to invisible clouds. That's not going to happen in six months or so. But what we're finding is that in the last, I would say four to five years the view of what cloud can be used for the why of cloud has changed. Initially it used to be, oh, I need to get past IT by developers. Then it eventually became owner and I need to use it as a way to deliver a better IT. Now it's being used as a way to actually drive my business. And that's why we use the word digital transformation just because it's a direct connotation to driving the top line, right? So when you look at our customers and the journey that we are on, we also want to set expectations of what we are versus what we are not, right? So we're not about enabling the applications to be built in the sense that we're not application software companies. But at the end of the day though, if we can abstract out all the, if I can call it issues below an app and allow IT or the business to focus on a new org that we are calling the CIO and the CTO merged to be the CDO, right? The Chief Digital Officer. That becomes one org. And that's what we're seeing with many of our large customers is many of our customers are their orgs either they were in the CIO organization or the infrastructure organization or the cloud organization. They're all now being merged into the CDO org and the goal then becomes for it to power a digital transformation through various apps. But without, it's essentially leveraging infrastructure as a, in a bot anchor, right? It's more of an accelerator at that point. So there's debate on where that ends. Like, you know, we can talk about it with edge computing, like where does edge start and the core begin. The same thing with infrastructure. You guys made a really interesting announcement around your capability with databases today and being able to, I don't even know the term but to put a prism-like experience to databases. Talk about those areas around what we've considered traditionally infrastructure, storage, network, compute. And as we go on to this middleware layer, what do you think you can help customers simplify their journey? I mean, I think just to recap some of the ways that we have, you know, approached this year is, we think about it as three layers of the cloud stack which is we had compute storage visualization and we sort of completed the IAS stack with our flow product which delivers one-click secure networks. And then for the first time, even though our stack is good for running third-party workloads, just like the public cloud runs a lot of past services, increasingly in enterprises, customers are asking for an opinionated view of a past service. So we do have third-party partnerships with cloud.  Customers said, look, if you can you provide a one plus one equals three kind of solution for the world of databases. And that's what Nutanix Error is and that sort of becomes a sort of cornerstone of our first past service where we are trying to simplify database operations, including things like Oracle Rack and that's what we demonstrated was to actually provision Oracle Rack in minutes make loans, create dev instances and democratize databases for the rest of developers using APIs. So that's the sort of evolution up the stack for us with Nutanix Error. And then we didn't stop there. We also sort of, if I can call it, innovated with our first Nutanix SaaS service with this product called Beam with the acquisition of Minjar, which essentially says, look, multicloud needs to start with visibility. And then obviously you enable control and then you add operational automation and then visibility and so forth, right? So with Beam there, it sort of sets the stage for the fact that we can now add more to the multicloud portfolio. Sunil, Beam's an interesting one, which are your first SaaS offering. Keith and I were talking before this. There are lots of companies out there that are trying to tackle this challenge with that have every single platform company out there is trying to tackle this and then there's lots of independence. There's a lot that goes into maintaining, advising, the whole consultancy world has spent decades doing this. How do you balance product development efforts there versus your core platform? This be an indication that you're going to build out a SaaS portfolio in the future? You know what I mean? Got it, got it. I know it's a great question. So I think just to take a step back, Minjar was an interesting company because Netsil, the other acquisition is also born in the cloud SaaS service that will integrate for a hybrid visibility into networking, but also standalone application operations. But Minjar had this interesting history where it was originally a high-end advisory service for AWS. It was in the top five service partners for AWS and they actually had dozens of customers that they still operate and manage and provide, get a lot of learnings from helping customers sort of, they're like the Navy SEALs of AWS and so forth. And then when they built this product, which is now called as BEAM, what we think about it is that, look, that particular capability is a feature of a platform. It's not a standalone product category. What people are going to be looking forward to is a multi-cloud operational fabric that has an app store in a marketplace where I can go in and consume services, whether it be on-prem or off-prem, have a single pane of glass for visibility, again on-prem or off-prem, and then do one click automation or orchestration. And so the fact that this single pane of glass has to cut over on-prem as well as public clouds is the reason why we believe Nutanix has a play here to kind of make it a core feature because we at least own one pillar of it, which is the on-prem stack. And to the extent that we can do a honest job of extending it to do a deep job on AWS and GCP and others, then I think there's value at it. How do you get closer to the application? When I look at this space, Oracle, IBM and Microsoft, I've all been talking some similar messages on this and the cloud strategies that they've gone through have that operational model and they own these applications. So why Nutanix? Yeah, I mean, I think it's a, it's another interesting question. So look, I think the world of apps, and I would say the power shift is happening, obviously. We know that with IBM, but even with Oracle as a mainstream enterprise app, if you really look at say a public cloud conference, especially AWS' conference, if anything the only vendor that they take part charts at is Oracle, because they see it as low-hanging fruit in the enterprise from a complexity side, right? And I think with the advent of cloud, the first time that customers have seen a real alternative to move away from this SQL engine on Oracle to a potential Postgres or other alternatives. But to do that, you need abstractions. I need to be able to simplify my current environment of Oracle at the same time, doing it a way that I can actually harmonize the API so that, oh, at some point, can I actually create another instance but it's on Postgres, right? And the more I can provide that abstracted API is the more flexibility that's there for the customers to actually move from this legacy apps to the next generation apps. So I think, I guess the simple answer to your question is, look, for us, even if you're not in the app business, if anything, it's an asset and a liability because then we can be completely neutral to the transformation from the old to the new. We have no skin in the game of keeping you in the old architecture. So if a customer says, look, I need to manage my old but I need an accelerated way to get to the new cloud native apps, then we're all for it. So, Sunil, one of the, I think, I would call this one of the first principles of new technology is this ideal of one click, provisioning the ability to simplify really complex, really hard things. You guys did it with HCI. The database management piece is another example. You're talking about it now with HCS and cloud. Let's talk about what happens when you zig in the case of going with Docker, the leading solution at the time, see if you might the right approach to go. Now you guys are zagging.  Yeah, and I think do your first question there, Keith. I think, look, in this era now, it doesn't matter which business you're in, the time to succeed obviously is accelerated but the time to fail is also accelerated, right? We just have to internalize that in our DNA I would say of any high growth company is to just be honest about failing fast. And yeah, I mean, I think Docker was a thing a year and a half ago and we were early to market. It was, and in fact, I would say it was our ACs and a couple of guys in Europe who actually recognized that look, why are we focusing on all this when every customer that I talked to is testing out Kubernetes. And sure, we were standing in Silicon Valley and Kubernetes was just coming up and so forth. And so I think it's two things. One, the internalization that, look, we have to fail fast in a high growth business like us. And then two, having these sensors that give us indications of are we in the right course or not is also important. And so the other thing that I would say that has worked well with this company and my prior companies is the fact that it's, while it is hierarchical for scale, it is one is to end from a communications perspective. Whether it's things like Slack, things like the communication mechanism, allow us to have that real-time touch with the guys that focus on the customers and so forth. So for example, once the clarity was there around ACs to kind of zag on Kubernetes, the whole system was able to lean in because the why of doing that was clear. The what and the how followed. And that's really how we keep it going. All right, Sunil, before we let you go, want to bring back to the infrastructure side. You've had a few of the solutions that are growing really fast. I know you've highlighted the AFS, the Acropolis file services. I've got the new object service that just got announced. At core platform, what are the areas that are catching wildfire? Yeah, I think that's a great question. So on the core platform, which is still a bread and butter, to some extent our core focus has been about it becoming like the OS for the enterprise, period. And there's no workloads left as an island. And right now, three years ago, we were talking about workloads that we're good for. Nowadays I talk about workloads that we're not good for. So if I'm a scale up database that requires certification, I can tell you about some of those that we are short of getting certified, but once that happens, there should be no workload that we're not good for. And that's where AFS comes in, that's where object services come in, is these are all requirements in the core OS that are needed to solve for those kinds of workloads. And one thing though, to Keith's earlier point, that we've tried to keep honest, and that's why some of these take longer to come out, is that they still have to hold the bar of instant upgrades. Start small, start quickly, pay as you grow. They all have to follow the same ground rules, right? And that is what is keeping us honest, frankly, in the overall design. Want to give you the final word, Keith said, your customers consider Nutanix a partner? As they leave Nutanix.NEXT 2018, how should they be considering Nutanix? No, I think leaving Nutanix, they should recognize us as a company that obviously continues to be hungry, continues to have a bold vision. We, in our core values, we'll make mistakes, we are vulnerable, but we're hopefully transparent about it. So that's the end of the day, the core essence of a partnership is that level of transparency between two people, right? So, and that's what we're hoping that customers will take away from the conference. All right, well, Sunil, it's always been a pleasure to document everything going at, since the inaugural, next back in Miami, and we'll look forward to seeing you at the next show, where we'll make sure to pin you on, you know, how we've gone first. So, Sunil Bodhi and Keith Townsend, I'm Stu Miniman, be back with lots more coverage. Thanks for watching theCUBE.


Today I'm talking about laser light synths, so laser light synths is a project I did where I made some, well I'll show you in a minute, but really the core idea behind it is that everyone I think can be a musician or at least if you can enjoy music then I think you understand music, right? In a way that isn't probably conscious. Yeah, like the stuff that's going on in your brain to hear music, to hear a melody, to understand it, to appreciate the harmony, the chord structure your brain is doing an insane amount of processing just for you to be able to enjoy it as music, right? And I think well you've got that amazing brain power going off in your brain, then you should be able to be a musician, right? Obviously there are a few practical issues with being a musician. First of all, let's see are there any musicians in the audience today? Yeah, a few of you. Okay, so let's see who's ever wanted to learn a musical instrument? Come on, let's have a look.  So why didn't you? Atone down. Yes, go on then. Yeah, so I mean that's a really good point, isn't it? Because it gives any, even given adults a violin for the very first time, it's not going to sound good, right? And it's not just because of the horrible, awkward screeching of the bow passing along the string, because really that's what a violin does, right? That is a violin sound, is that screech?  Not only do you have to get like the right notes, but there's an infinite number of notes in between where your fingers are meant to be as well. So there's an infinite number of wrong notes on a violin. A violin is a really good example. So that's the first reason you probably haven't learned an instrument is because there's a lot of notes and most of them are wrong, which is kind of annoying. And the second one is there's a sort of technical skill in playing an instrument in time. So anyway, I'll come to all of that later. Before that, I'm going to introduce some of my projects, a very brief overview to me. Who was there yesterday on the Festival Day? Okay, so probably over half once. That's fine. There isn't much over that, but there might be a tiny bit of overlap. So this is a project called Luna Trails, where I built a massive hanging plotter and also an arcade machine, a flat pack. You know, you can get arcades, cabinets, flat pack. It's great, like Ikea. So I made a version of Luna Lander from the 70s. And while you play the game, the path that you take in the game is plotted on the wall. Let me just turn this down a bit. Oh, I can't turn it down. What's going on? Oh, wrong output. Hold on, hold on. I don't know why it seems to be going to the HDMI output. That's what I want. Okay. Not that you need to hear that music, really. There you go. That's better. Okay. So you can see that I built this big-hanging drawing machine based on the open-source Polograph. I'm sure some of you probably know that project, right? It's a really great project, and I was totally inspired and built on that project, scaled it up to about three meters wide. Yeah. So as people come and play the game, and they move through the trajectory in the game, the idea is to land your craft on the moon. I'm sure lots of you have seen it. But as you take the trajectory, it's plotted on the wall, and over time, it builds up a really nice art project, a really beautiful work of art, so I say. But I can say that because I didn't make it. All the players made it, right? So it's really nice offloading the responsibility for your artwork onto the general public. I'd recommend it. Most of my work is like that. Another project that I briefly mentioned yesterday, now my clicker isn't working. I mean, so many technical problems today. Even my keyboard isn't working. Oh, there you go. So this is a project I mentioned briefly yesterday for a collaboration with Dominic Wilcox, a crazy, brilliant inventor, slash artist, and it was a robot spoon, and I worked on the electronics for that. So I've been doing more and more electronics over the past few years. Another big project of mine, I talked about a bit more in detail yesterday as a large interactive fireworks display called PixelPyrus, projected onto a 20-meter wide screen.  So every single one of them, every single firework is triggered by a member of the public. Again, offloading the responsibility to produce a nice show onto the public. Again, highly recommended. So if you were there yesterday, you know that I love lasers, and recently one of my projects has kind of exploded on the internet. I talked about it in great detail yesterday, which is this NES laser gun. Yeah, it's kind of crazy all over the internet. I put a smoke machine in a Nintendo's Apple gun and made this cool animation when you fire it. Let's just... I can't fast-forward it. Can I get a can to here? Anyway, fast-forward to the end. Oh, damn it. No good technical issues today. Honestly, what an amateur. Oh, that's not it. It's there in the middle, isn't it? Right, there you go. So there you can see it in action there. Oh, I love these guys.  I absolutely love it. I didn't even pay them to look that excited. So you can see that as the laser's fired, it's tracked by my camera, and I'm projecting a laser asteroids game onto the projector. It's pretty fun, but yeah, I talked loads about that yesterday, so I'm not going to date. But instead, I'm going to talk a bit more in detail about how I work with lasers. These are scanning lasers with galvanometers. So one of the mirrors is... Two mirrors attached to galvanometers. Galvanometers are the things in the U needles, you know, the meter things, and they're essentially like a coil that, you know, move a needle in response to electricity. So two mirrors, one which rotates one way and moves the laser up and down, and the other one rotates another way and moves the laser left and right. So if you move those fast enough, you can draw shapes, and if you turn the laser off at times, then you can draw lots of separate shapes. So here, you can see I was just... This is the first time I bought my own laser, a one-watt laser, and I was just experimenting to see how many dots I could make. That's one laser making all of those dots, and then in the next one, you can see the path of the laser because I left it on, so you can see where that laser's going in between drawing all the dots. I love the aesthetic lasers, and this was the first time I tried a really big one at my laser suppliers' LAM in eSpawn. This is an 11-watt laser we're just projecting onto their office wall, and the sound is muted on this video because if it wasn't, you'd hear me going, oh my god, it's so bright, it's amazing. You can't really get an impression of it, trust me, it's retina blindingly, amazingly bright. So yeah, this is... Oh, I probably can't show you too much of this actually. This is PixelPyrus. I'm going to skip it and move to Laser Arcade, which is a game I did with Nerf guns and laser-projected targets. So you can kind of see the aesthetic of lasers. I really, really love it. It's a really beautiful, bright vector line. Yeah, and it's much brighter than standard projectors. Very difficult to control. I spent probably a year, and I'm still working on it, on laser control code. You can get open source libraries to make the signal that standard laser projectors need, called the EtherDream. Sorry, the EtherDream is the open source box that makes the standard, and there's some open source libraries to send data to the laser, but the difficult bit is working out the data, point by point, where that laser moves and the most optimal path to take to draw all the shapes that you're trying to draw. Oh, so this is another project I showed yesterday. So at a conference, I did a big opening animation, and often it's just on the screen, but a short way through, we decide to break out of the screen and project onto the whole building with our big 11 watt laser that we rented. So you can see that way, that with a single laser, you can just fill massive areas. I've showed this in more detail yesterday, but I don't have time today, so I'm going to skip it. Watch it on the internet. It's really fun. So laser light synths, musical instruments. I just wanted to make some musical instruments that anyone could play, but I just had this idea in my head that they should be completely covered in super bright LEDs. So this is what I did, but of course getting to that stage is a long, long journey. It took me probably three months in the summer of 2014. My first step was just figuring out what size and general shape should they be. So I just made a test one, and I knew I wanted to base them on Neopixels or WS2812B to this audience. So I bought some strips that were 74 pixels per meter, just to see the spacing. So I thought for each note, I could use one four pixels wide and one pixel in between each note. So I just tried that to see how many notes I get, how big the keyboard would be, what it felt like.  So let's start experimenting with capacitive touch. So I stuck down loads of copper tape and soldered. I couldn't figure out how to solder onto them. So I did it really messily the first two times there. And then later on, I think I got a bit neater. But I was just like, oh, it's the best way to do this. I didn't really know how capacitive touch worked that much at the time. So I was totally winging it. If you're interested, I used the CAP 1188 capacitive touch chips on the Adafruit breakout board. Really nice module. It has loads of little LEDs built in. So it's really good for debugging. Oh, there it is, a bit embarrassing. Terrible soldering. I'm much better at soldering now. Oh, so this was me testing it out. Is there sound? Oh, I'm sure there's. Oh, no, maybe I'm just testing the lights. That's probably it. Later on this sound, I expect. Let's see. So that's it. This was my prototype lump of very unattractive MDF with a load of copper tape and a single strip of LEDs just to test it out. But I tried it out like the first time down the hackspace just with a simple setup. It actually sounded all right. But let's just pause that there because I'm going to talk a bit about how I make sure that the synths always sound good. Yeah, so I'm using Ableton Live, which is a music program. It's quite popular amongst I suppose live electronic musicians. It's designed for electronic musicians to be able to do a live performance in a kind of meaningful way. So it's quite good for this sort of stuff. There's lots of, you know, there's lots of it's just designed for live performance. So it kind of works. Right. So for this, I'm going to need a willing volunteer from the audience. But I should specify that I need someone with zero musical talent whatsoever. So if I could, oh, yeah, are you up for that? Come on then. So come down to the front. Let's give him a round of applause. Come on. He's got to go all the way up there. So make it a long, keep it going. Keep it going. Keep it going. Come on. It'll be embarrassing otherwise. Come on. You could run. You could try a bit harder. Come on. Keep it going. Yes, excellent. Oh, it's you from earlier. I'm sorry. I've forgotten your name. Andrew. Andrew. Excellent. All right. Now, this is your musical instrument. And so this is the analog for the laser lights in today. Just hit a key. Make sure I've turned it on. Yeah. Okay. Right. Good. That's good. It's working. Okay. So this is the analog for the laser lights and it's obviously just a cheap MIDI keyboard. It's nothing too special. Now, um, sorry, what's your name? Andrew. I'm not having a good night day. I'm really sorry, Andrew. I didn't get enough sleep. Right.  Oh, no. See, hang on. Whoa, whoa, wait. Andrew, Andrew, Andrew. I said zero musical talent. That's probably point one musical talent. Okay. Just, just mash some notes, right? Just, right. Okay. So it sounds kind of what I sounded quite cool, but it sort of also didn't sound very cool. So the first thing I can do to make it sound cooler is take away all the wrong notes. Right. Um, and obviously that, you know, that's a slightly flippant way to say it. But if you listen to like a guitar solo, someone's soloing on a guitar, they're often just going up and down a scale called the pentatonic scale, which is just all the notes kind of sound good. And if you hear wind chimes, they're often just tuned to a pentatonic scale. So that's five notes across the octave that always kind of sound good together. And there's a major one and there's a minor one. The minor one is slightly cooler sounding. And you'll know the minor pentatonic scale if you just play all the black notes on a keyboard, they always sound good. But what I can do is rather than make Andrew, I remember, just play the black notes, I can lock down. I wrote a custom sort of patch that locks it into the pentatonic scale. So now just play anything, Andrew. Yeah. Yeah, not bad. That's pretty good, isn't it? Okay. So that's step one. Now the other thing you can do, which is kind of fun, is, is called arpeggiation.  So it stops second, right? So it goes up and down the octave. Now if you play like two or three notes at once, yeah, right? It can kind of play this nice chord. Sometimes arpeggiation steps from note to note if you play multiple chords. But this time I've got this sort of set up where it sort of bounces along the entire chord. And it's quite nice. And also the great thing about arpeggiation in this case is it locks it into time. So if I give Andrew a beat, and now you, if you play some notes, yeah, let's get into it now, guys. Go for it. Keep going. Play a few notes at once and see how that sounds. Yeah, right. Jean-Michel, all right, excellent. So let's, let's stop that. Now let's look at some of the other instruments because I also wanted a bass sound in my laser light synth set up because each, each keyboard was a different sound. Now bass is slightly different because I couldn't really do arpeggiation on a bass. I mean you could, but it's not really a bass line then. So all I could really do with the bass is, well, obviously I stuck against the pentatonic scale. Give it a go. Right? The notes sound good, but they're not in time yet. So what I had to do is actually live quantize the notes with another patch. So now hopefully, Andrew, when you play, right, let's turn the other one on as well. Keep going. I'm just going to leave this going for the rest of my talk. Big finish, Andrew. Come on, let's hear it. Let's hear it for Andrew out of the basin. Thank you so much. Thank you. So it just so happened that I kind of hit upon that cheeky technique quite early on. And you can see if we go back to my keynote here, that's the performance there. Pretty much working as I just showed you, but with my MDF keyboard setup. This is a much longer talk than I have time for. Let's skip it on. Right, so LEDs. So I talked about the WS2812B, 74 per meter. I think there are nine rows of them. This is me testing out some touch sensors. So I wanted really nice touch sensors, and I actually just tried some copper wire, and it's just going behind this sheet of what I'm just using for diffusion. You can see I'm testing it. I'm going to test it away from that as well. And it sort of seems to be working through that material. I wasn't 100% sure whether I wanted some sort of diffusion or not yet.  I really do like that. Although strictly speaking, you should be a bit careful. Just like everything. All my work can potentially cause retinal damage. That's just part of it. That's totally fine. So you can see here I've got some copper wires running along the top. So I was just testing that out. And you can see here on an early prototype, I'm just kind of trying that out and seeing how good it was. And it was quite good. But it wasn't 100% ... Oh, it's shish. Someone in my video talking. It wasn't 100% reliable because it was ... Sometimes you could put your finger in between two of the copper wires and it wouldn't trigger very well. There's lots of adjustments that you can do with the Kappa 1188. And for me, I wanted it to be very responsive because I wanted it to feel like you were playing the instrument because I'm a musician. I didn't want it to dumb down too much. So there's lots of adjustments I had to do to the Kappa 1188 to make it feel right and be the right sensitivity. So yeah, you can see that I think sometimes he puts it in between the copper wire and it doesn't always trigger. So I wanted to experiment with other kind of conductive layers. And here's some bare conductive paint, which is a fun experimental thing to do. But obviously, if you're trying to do something really nice looking, you can screen print it. Screen print it and it comes out quite well, but I was just sort of trying it. It sort of works kind of a bit, but it was pretty nasty. In the end, I decided to go completely for copper foil. So I did some tests just by cutting it out with a scalpel initially, just testing out. And the two on the end here are just like conductive film, which is quite nice because it's quite invisible, but it's also really expensive. So I didn't want to exactly use that. In the end, I found the copper foil works pretty well. Although there was quite a lot of interference. I made a sort of little capacitance oscilloscope just with an Arduino and processing. I don't have a proper scope. I must get one. And you can see the sort of noise levels, the interference. I think it was just from the electricity going through the LEDs quite strong. There's a lot of noise there. So I had to sort of experiment with different settings. But I found this one with the sort of zigzag going up and down to have the lowest noise. So it's quite a strong signal. I guess as long as there's enough difference between that and that, the Kappa 1188 sort of just handles it. That's quite good. Oh, the best thing was, I mean, I started using a vinyl cutter for this project. And a vinyl cutter, I just fell in love with it. Look at this. Oh, was that not a video? Was it meant to be a video? No. Yeah, it was. Look at this. I figured out you could cut copper foil on a vinyl cutter if you're careful about the settings. So I designed this sort of squiggly line. And I made it so it goes in and out kind of around the LEDs. Because when they're just straight lines, there's a chance you could put your finger in between some. But with this wiggly line, it's almost certain that you'll hit a bit of the copper wherever you touch. I just love that. I mean, that's so cool. It took ages to sort of unpick it to weed out all the bits you didn't want. And actually, it was really critical getting exactly the right position on the synth. Because if it was even slightly out, it would slightly obscure the LEDs. Like you can see this one, my first attempt is actually a little bit too high. Can you see? It's sort of just obscuring. Some of the LEDs are really frustrating. I think by these two, I'd kind of sussed it. But it was really millimeter precise. So LEDs. So I discovered, I wanted the LEDs to be spaced out as neatly as possible. So I was just using the vinyl cutter for everything, including cutting out these guides, right? Which I could just stick to the end of each end of my acrylic sheets, which was also cut to order. Yeah. So vinyl cut spaces were just really brilliant for me to get those in exactly the right places. Yeah. A lot of sticking down and hand soldering. Drilling. So this is, you know, you probably know this, right? Because sometimes you just have a tool that you really love, right? You know what I'm talking about, don't you? Like a screwdriver that's exactly the right weight or some wire cutters that are just perfectly springy. Like for me, this press drill, it's actually a jeweler's tool. I learned to make jewelry a few years ago. And it's just, and I don't make jewelry anymore, but I've still got this drill. It's a very, very beautiful drill. Really good for just drilling tiny little holes very precisely. I don't have a very big studio, so I can't have much big, you know, I can't have like a bench drill or anything. Yeah. Lots of wiring. I don't need to tell you about that necessarily. Oh, this is the first time that I turned on all the LEDs at once. I was working with some friends at Lighthouse in Brighton, and we just thought, okay, let's see what these LEDs look like. All right, can you just see how dark the camera goes, right? It's just like the sensors shutting down. It's kind of crazy. Yeah. So there's some terrible wiring. Let's skip past that. So this is the first time I set up all the LEDs. So building it together, the physical build, it was, so you could see I had some acrylic, three mil acrylic on the back, and I had some three mil acrylic edges. Can you just about see that there? So that's a sort of spacer that goes around the edge. I just sent it all. I do have access to a laser cutter, but these were quite long, so I sent it to a plastic laser cutter in Portslade near Brighton where I live. So yeah, those spacers were cut again, three mils on top of that glued them in with some acrylic cement, you know, stuff that melts the acrylic slightly and bonds it really well. Oh, that's my dremel. That's not my good job. But this is quite good because I had to drill holes to get the wires from the copper foil through to the back of the acrylic sheet. And again, using some vinyl cut spacers there for me to know where to put each little tiny hole. And then subsequently, that helped me kind of put the copper wire in the right place. But there are tiny holes there that I drilled through all the way through the plastic, through to the back, which is how I wired up all those classes. They're my favorite drill again. Bit of view of it at that time. That's nice. There you can see a close-up of the tiny little hole for the copper wire to go through to connect from the back to the front. So there's the copper foil stuck in place. Ah, yes, I was thinking for ages, how do I get them? I was just putting copper wire from the top through to the bottom and soldering it in, but it was really fragile. It was just kind of hanging onto the copper foil. And if you tugged it, it could tear the copper foil, right? Because it was so fragile. And I thought, I had in my mind copper pins. And I couldn't remember why. I think maybe from when my sister used to make lace or something like that. But I knew in crafting or beading or something like that, I'd seen copper pins that were very bendy. And of course, I googled it and discovered it was for making bead stuff. Second, of course, is that there were like two bead chops in Brighton, and one of which was like 100 meters away from where I was. So I went and bought these copper pins, which were perfect. And then some copper kind of sequins, which, so the copper pins were slightly recessed, sort of clung onto the foil really well, soldered that. And then from underneath, I put one of those sequins and soldered it on the bottom as well. So it was really locked in. So you could pull that pin around from underneath and it wouldn't damage the foil. So much geeky detail. You're the right audience for that though, right? But isn't it funny how sometimes the solutions to your problems aren't technological? They're just a vague recollection about lace making. Lots of crimp connectors. So these were the wires that connected all the touch-capacitant foil areas from the front to the back into the boxes, which held the cap 1188. So you can see they're quite finished. So as well as the acrylic boards that I showed you, the frames were just made out of extruded aluminium. So I should say at this point that I had some help from a mechanical engineer called Paul Strotton, who also worked with me on the Lunar Trails hanging plotter. And we've been collaborating for a few years now that he loves this extruded aluminium, very cheap and easy to buy, and they'll cut it to length. So really these parts of aluminium just arrived and I could just kind of screw them together and they're perfectly measured to fit the acrylic inside. So you can see there's the groove there and that's the back plate of acrylic 3 mils. And then these are the spaces that you saw. So all the LEDs go in this space here, that cavity there, and then some 5 mil clear acrylic on the top. So that was the top surface of the synth. This was done in Fusion 360, which I love by the way. So coming back to the electronics, I haven't really talked about the electronics, but it's a tinsy. Just like in my laser gun, it's a little tinsy there. I love tinsies. I had some help from my friend Jason Hodgkiss, who makes lots of midi things and they're all on tindi. You should definitely look at it, look it up. But he helped me figure out how to make midi interface, which is ridiculously easy. Absolutely so easy to make a midi interface out of an Arduino or a tinsy. So you can see midi inputs and outputs there. There's a logic level shifter there and an opto isolator for the midi input, which you kind of need, but you don't strictly need. It's fine, you should do it. So that was my prototype. And then there's some I2C, I2C lines coming out for the CAP 1188 chips. That was my first kind of strip board effort, but then subsequently, Paul helped me design a PCB. He's really good at CNC milling, so he milled me out of board. And yeah, subsequent revision. So that's the CAP 1188 breakout board as well. Wiring was the hardest thing with this. Our loads of really nice shots of all the components laid out. That's all the PCBs milled. I should say that now I design my own PCBs and I've just had my first PCB back from Ragworm, who are amazing, by the way. I really love them. But at that time, I was still milling them. Actually, there's something very beautiful about milled PCBs, aren't there? I really love them. So that's all of them for the four synths. So for each synth, we have one main board for the tinsy and two of these CAP 1188 breakouts. Each CAP 1188 can handle eight inputs. So there's 16 keys on the whole thing. There you go. There they are. Almost finished just being held together with tape. That's my original MDF prototype there. So boxes, of course, left to the last minute, but I just quickly designed some laser cut boxes to hold everything in and they kind of screwed in. Everything kind of screwed into the aluminium extrusion, which was quite nice. So you can see the bolt there at the end and there's this box at the end with all the midi interface connectors and the power switch and everything as a reset button as well at the front. So that went in that control panel. I don't have any pictures of that finish because the first time I installed it, none of that was really in it. I just kind of plugged wires in. But now I've finished them all properly. I should take some more pictures. So that's the finished lights synth. Again, I'm quite finished. The tape around the top on the edge, that's designed to be filled in with silicone just so it's a bit more waterproof because this is generally an outdoor event. There you go. There's the four synths in their mostly finished stage. Stage is pretty fun. And this is my friend Andre Michel. He's German and he's a brilliant programmer and he's also a kind of electronic musician. And he was really going for it. Let's see if we've got any audio. So it's quite nice to have an actual musician have a go because I wanted... Schiff said, I wanted actual musicians to enjoy it as well. That skill. That's kind of cool, isn't it? So you might have, if you saw my talk yesterday, you see that animation is really, really important to me. Particularly with the laser gun that I made. There's some super bright LEDs down the side that really animate and give that sense of energy and make the... It looks like the laser's coming from the gun. The LEDs sort of flash and then the laser comes out at the end and then another laser projects the thing. It's exactly the same for this project.  But you can't really maintain that full brightness because it's so bright, it will really hurt your eyes. But you don't need it to be there all time. You can just have it as a flash and then it just fades back a little because that's what your eyes would see if there was a sudden bright light anyway as your iris is closed. So I'm sort of recreating the effect of a really bright lingering light. But you can see it happen right there and then it sort of fades back to the pink background, to the magenta background behind. But it's that animation, that dynamism of animation that's critical. So this was my previous that I did. I had to do loads of press obviously. So I did the mock that up in Photoshop which is kind of fun. I just quickly drew some silhouettes of people. It kind of almost works. And this is actually what it looked like. So it's kind of close, isn't it? It's not too bad.  Oh, and some laser cut end plates. So we got those made by a company special. I can't remember who was saying earlier about, I think it was another Andrew McEwen. Is that your first name? Adrian. Sorry, Adrian. I was pretty close though. I wasn't bad, right? I was saying that you go to these big industrial places and they're set up to do like thousands and you're like, can I have five of these? Thankfully, they were super nice and managed to squeeze it in between jobs. So we got some nice laser cut end plates. They're really proper solid. I think aluminium, I can't remember. We got some nice close ups. And there's the laser that we used. That was an 11 watts. I always forget the name of that one. We often use an RTIP code but this is a different one. I forget the name. Laser geeks everywhere. Super disappointed in me. But it's a really, really, it's quite an old laser now. I say old. It's probably only five or eight years old. It's so heavy compared to new ones. It takes two people to carry that. It's insane. But that's kind of cooler in a way, right? Modern, really powerful lasers you can just sort of. It's like, well, that doesn't look very cool and powerful, does it? But no, it does. It is. But this one is so heavy and really bright. So that's double cool. So yeah, there we go. I run the project and there's the laser coming out. It's quite good because I don't need any projectors in this project. Pixel pyros is really expensive because the projectors are so expensive. With pixel pyros, I use two massive projectors and the lasers kind of pick out the bright points. But with laser license, just lasers. So what you see going up the building is just a single laser. And then of course, I mean, the expensive part in this was making sense, right? It took me months. And you know what it's like developing a project. You just buy all the parts and it's like, no, that's no good. That's no good. And then you order the wrong thing from RS. Every time I order the wrong thing from RS, I think probably 50% hit rate on my orders from RS. Just so confusing somehow. I always get the wrong thing, the wrong size or whatever. Anyway, they've got a good stock, I suppose. I'd give them that. I would really love some sponsorship. I love you RS. I just want better pictures. That's all. That's all. Apart from that, I love RS. So let's have a look at the video. So this is some fairly unedited footage that I just stuck on the internet. So you can see there people are playing. And as they play, the notes are represented by the laser lights flying up. Kids love it. Kids tend to love my projects. In a way, it's kind of easy to get kids to interact with your stuff. So I don't necessarily measure that as a measure of success because I sort of think, give kids something to touch and they're just going to love it anyway. So I always measure my success on whether the teenagers play with it. Because teenagers are way too cool. So if teenagers are into it, then you know you've done something right. Thankfully, teenagers and young adults have always been into it. At any age, really. It's completely, completely accessible. So I'd give people the odd solo. Here's someone who's an artist. Oh, you missed her now. An artist in Brian. She was doing some amazing solos. And I caught her afterwards and was like, wow, you must be a musician. I know. I've never played in my life. And then at one point, there was like a bass solo that just blew me away. I couldn't really see the people playing it from where I was running it in my control room. Control room. That sounds really grand. It was literally a cheap 10-quid gazebo from Argos, right? But yeah, I call it my control room. So I couldn't really see who it was playing the solo. And it was only later when I looked back at the footage, I realized it was a three-year-old girl, you know, playing this astonishing bass solo. And at the end, everyone applauded and she freaked out. I got really shy and went to hug her mum. So it was just, yeah, really sweet. So yeah, I guess, yeah, that's kind of it. So it's, it hasn't really, yeah, showmanship, right? Okay. Brilliant. Black screen. I suppose this is where you focus on me. Yeah, I meant for this to happen. Yeah, so that's kind of it. The project is all finished. I've brought it out a couple of times. So not that scale. I'm hoping to do it again next year. I've done a bit more work on them. But really, there's so much that I need to do still in terms of documenting and releasing plans and stuff. But I hope you've enjoyed it. I mean, it was a really nice project for me today. I really loved it. And actually, even more than, although PixelPyrus is probably bigger and grander and more expensive, laser license is a much more kind of sophisticated interaction. Like people really do kind of give it their full focus. And there's always cues as well. So by the time you get to the end, you sort of really energized and excited about it. I think you saw in the videos, some people were really excited about it. So for me, it was a really fun project and a kind of continuation of this work that I've been doing where the public are the project really, it's not about me, my skills, it's about giving that agency and, you know, power to an audience, ordinary members of the public. So yeah, you've enjoyed it. Thank you very much.


Hello and welcome to the session. I am Deepika here. Let's discuss a question which says Determine probability of E upon F Two coins are tossed once where part one is I event tail appears on one coin and F is I event One coin shows hut in part two Is I event no tail appears and F is I event no hut appears Now we know that the conditional probability of the event E given that F has occurred that is probability of E upon F is equal to probability of E Intersection F upon probability of F Provided probability of F is not equal to zero So this is a key idea behind that question We will use this formula to solve the above question So let's start the solution now according to the question two coins are tossed once so let S be the simple space of the experiment of tossing two coins once so S is equal to HT that is head on the first coin and tail on the second coin TH Tail on the first coin and F on the second coin HH and TT So S has four elements Now in part one it is given that E is the event that tail appears on one coin So obviously on the second coin there will be a hat so the elements of ER HT and F is the event that one coin shows hat if there is head on one coin Obviously there will be tail on the another coin So the elements of FR HT now E and F have the same elements. So E intersection F is equal to HT and TH now probability of E is equal to 2 upon 4 which is equal to 1 upon 2 and probability of F is also equal to 2 upon 4 which is equal to 1 upon 2 again the probability of E intersection F is equal to 2 upon 4 Which is equal to 1 upon 2 now according to our key idea we have probability of E upon F is equal to probability of E intersection F upon probability of F So this is equal to 1 upon 2 into 2 upon 1 Which is equal to 1 Hence the answer for this part is 1 now in part 2 we are given E is the event no tail appears on any coin and F is the event that no head appears on any coin So obviously E has only one element which is HH and and F also has only one element which is TT So E intersection F is equal to 5 now probability of E is equal to 1 upon 4 and probability of F is also 1 upon 4 But probability of E intersection F is equal to 0 So according to our key idea we have probability of E upon F is equal to probability of E intersection F Which is 0 upon probability of F which is 1 over 4 and This is again equal to 0 Hence the answer for this part is 0 So this completes our session. I hope the solution is clear to you. Bye and have a nice day