So, storyboarding is very important in any kind of filmmaking and most of you know that, but how many people know exactly when do you, how do you do the storyboard? Storyboard I have told you many times, there are some people who have done lots of films and they must be knowing it, but some people who have you have just started editing and especially, if we are editing some e-learning in which we do not have a storyboard, the faculty who is speaking to us, we get a direct video and we do not have a choice. So, we have to just cut at places and do it. I am talking about a situation where we will be in a situation where we have to create some other film which will require some kind of a storyboarding. So, if we have to do storyboarding, what is the point you feel that we need to do a storyboard? What is the typical process? What you can imagine? Can somebody answer this question that what is the process you would like to follow?  From shooting to the last rendering, aapki process kya ho sakti, so anybody wants to try for that, we will just start writing down somebody's answer. Pahale shooting ho jayega. Pahale shooting ho jayega. Shooting. Okay. Badme. Capture. Capture. Badme. Edit. Badme. Render. Render. Okay. Somebody does not agree with this process, somebody wants to change. First of all, we prepare a storyboard. May be script. Yeh, shooting ke pehale. Storyboard and script. Yes. Uske baat sab tike hai. Yes, ab karekte. Yes. Okay. Anybody wants to add on this? Hamara viewership kone hai? So that, yeh agar malum ho gaaame, tabhi humlog storyboard or script liksate. This is something what we should know before. Wo poind nahi puch raho. Yeh sab, supot malume hame. Yeh sab malume. Kone giske le banare, kitna budget hai, kone hero hai, kone heroine. Wasab malume supot. Uske baat hum kya kareenge? That was the question. Anybody differs with this? Anybody wants to add something? Shootin ke pehale? Location. Location hunting. Okay. Or kuch? Sir, sab se pehale, storyboard se pehale agar aap hai. Mere issab se toh ho hain. Understanding the subject. Yeh. Jo subject hum ne chuna hain, yeh liya hain. Usko pehale... Yeh, that is, let us take that as a given thing. Ham sab log samajda rahe. Ham sab log samajne hain ki kya. Yeh, leki uska todah sab, yeh studi chahi hai na. Yeh, aise hi hoon. Yeh, yeh, yeh. So, that is a valid point.  Ki kya kya ho rahe baafi? Or kuch? Sir, rahachar chi scene se, ho pehale. Jo bhi rao, putte jo pehale dekhne baat. Chalata dekhne. So, the capture ke baat, usko... kya karna hai? Capture ke baat? Capture ke baat, just... Jo bhi putte jaye hoin baat, dekhne kya hai? Kya kya dekhna hai? Sir, rahachar capture ke tampein nahi hai toh. That is fine. But that cannot be a step, right, in the production. You cannot allocate time for that. Ki main aaj sir, putte je dekhne jaar hoon. So, aise nahi ho sakta hai. Add graphics. Okay. Or are we done? Right? So, we have the study first. Then we have the story board. Then we have location hunting. Then we have shooting. Then we have capture. Then we have edit. Then we have graphic addition. And then we have render. Right? Voice over. Okay. So, we have a voice over here. Somewhere here, in between. Right? Edit plus voice over. Dono ek saat rakte hai. So, that we will have it. Okay. Music kap sochenge iske baan? Film mein music raiya nahi raiha. Kab aayega uska thought kab aayega? Graphics ke baan? Graphics ke baan? Graphics ke paan. Graphics ke time pe. Okay. Or, humlog ye kabhi kisi ko aisa sample screening karengi ke aosko dikhani ke liye ki ye aata kaaya hai uska feedback. Is a feedback wala kuch hona chahi? A render ke baat sita ekhi baan dikhainge of field corrections. So, can we do that somewhere, we like render ke baad, testing and then final render, okay so now we have like a 10 point agenda aage hain hain maa rapaas ki kaisa karne e film. So, this is the production process, thoda baad, idhar udhar change kar ke we can follow the process, right. What we are going to talk about is this area today, right now and in this the most important thing what I have been following and I have been taught by some of the best film makers from who are my teachers is the concept of creating a timeline of a film. So, wherein you have a particular timeline, so based on the requirement of the film we decided a timeline in advance, one of my teachers told me a long time that the two tables where the film is created are the script writers table and the editors table. So, I am really happy that we are all on the other table that the editing table we have. So, we definitely play an very important role in the making or a breaking of a film and now how it is done. So, we will understand that by going to the script writers table for some time. Editing table ka hum log sube se suni rei ke editing me ye karna chhe, wo karna chhe. Agen agar scripti gadbaad hai toh kya kar sakte ahum log, ye typical editors ka kena hota hai. So, to see what is missing where, we will just go back to somewhere before this. So, ye jya hum ne abhi process likhi thi. So, uske andar hum log we will just try and see about storyboarding and scripting. So, I was quoting the example of some lab sessions or some toy making videos or some educational videos what we will be creating. So, typically agar koi aisa video hai jisme ke ek toy banana hai. So, what do you assume will be the steps involved in that. So, wo film agar hogi, supose koi ek toy banane ke ek film hogi. So, aap ke isaap se wo usme kya kya hoga, wo film kese chalu hogi, kese beach me aegi aur kese khatam hogi. So, what will be the kind of process, what will be the kind of steps in that. So, you start telling me I will start writing it down. Introduction to the person who is making, introduction of the presenter, topic of what are you making? The material used, importance of what? Importance of the topic or product, topic is a toy, the process of making it, where it is used. So, process the kaage am log, process dikhadi, reaction of the product, use of the, reaction of the users. Am log a naam naane chae naa aid me kaine koi, credits, copyright. So, supposingly ye saap sai ye, we are not going to debate on this kya kyi, har film me in me se ek aaddo chud sakte, ek aaddo add ho sakte, but more or less this will be there. Now, let us see, roughly am log uska order bhi laga lete. So, first ho sakta hai topic of the toy, sabse pehle, fair introduction of the presenter, fair material used, fair actually, fair say pehle application, so we will have this as 3, then material used is 4, process is 5, reaction is 6, credits is 7, copyright is 8. Supposedly ye process amari is format michal re ye. What am coming to is, what is the importance in terms of percentage you will allot these 8 points. So, for example, the total duration of the film is 10 minutes. Now, how do you decide kyi in 10 minutes me, kyi shis ko kitna importance dena hai, kitna duration dena hai. So, sabse jada time duration, kyi shis ko deni chahi hame, process ko, kitni deni chahi, 4 minute anybody differs in the timing, 3 minutes, 6 minutes, 8 minutes, so 3, 4 minutes 6, 8. So, I have a series of videos called how it is made, kyi wo, how it is made me ek bada boing plane se leke, sui banane takke sare videos hai, kyi wo, har ek video ki duration same hai, kyi boing bhi 5 minute me dikhahi hame, ono ne or sui bhi 5 minute me dikhahi. So, now how do you decide that, but 5 minute kyi andar ono ne process or in sabka weight is same hai. So, imagining that it is a average product, do not, do not try to attempt a very extreme case, a extreme case ka nahi chal rai, both regular cases ka chal rai, extreme cases will be exceptions, do not worry about that, but for a normal case, in a given 10 minutes lot of a film, what would you ideally expect for the process to be given. So, let us take a mean of all this, let us take 5, 5 minutes, so 3 se 8 takka mean lele te or 5 minute kyi decide karte.  So, 5 minutes for process, then inter of the topic of the toy, so how much do you feel? 30 seconds, like it like 0.5 percent of the whole thing, right, 0.5 minutes or next is inter of the presenter, 1 minute, anybody differs with 1 minute, 1 minute tk, 0.5 depends again, but we will say 1 minute of the, let us see, let us put 1 minute right now, abhi amara aayega ne addition ho jayega toh pata chalega, tk or next is where, where this toy will be used? 1 minute, agreed? 4th is materials used, us ke liye? 3 minutes, boh toh jayega, 15 to 30 seconds, but you have to imagine ki, there can be like sa kisi kisi pav bhaji me agar ingredients bata ne toh ho sakta hai, 15 to 20, maximum 1 minute, ok 1 minute, process to amare paas 5 minute hai, reaction of users ke liye kya rakhenge? 40 seconds, ok. Credits, tipikali kitne ho sakte? 30 seconds, aare samir sasroo de padne koi 15 seconds lagte hai, mera na padne. I am just joking, but 30 seconds will be, you have to have reading time, right, so for everybody's names, let us see at 1 minute, ok ab addition karlo, tk, let us see 1 and a half, 2 and a half, 7 and a half, 8 and a half, 9 and a half, 10, amara perfect film ban rai, last minute me, tk, so everybody likes this balance now, so now we are actually at the point, where now we know that this is the kind of, this is the order in which it has to come and this is the weightage it has to have. So, now we start writing it, suppose tk, so we have 1 minute of topic, then we have 1 minute of, topic was half minute, right and we have 1 minute of intro of the presenter, then we have 1 minute of the application, then we have material, then we have 5 minutes of process, it is 1, 2, 3, 4, 5 and then we have 1 minute of reactions and then last minute of credits, is it ok. So, ye agar aapke pass ready hai, now you definitely know ki hamare film, kis tarase dikhne wali hai, at the end of the edited version of the film, right, you exactly know what is happening where, you also know probably that up to 3 and a half minutes hamare process shaluni hori, ok, so we have 3 and a half minutes. So, in situations where the presenter is so important ki uskagar interview me, though minute lagge suppose, then we know where to cut off, right, so we can cut off in material, we have to cut off this side or that side, but this becomes a flexible thing. So, this is exactly the process of closing your eyes first of all and giving some weightage to the different things, suddenly if I go by the figures, somebody had given that we use 3 minutes for the process, then there will be a problem that what will we show later on, right. So, that will be a cramping of the whole thing. So, the point is that everywhere this, this, whatever we did just now, which is called the timeline of a film, is a very, very important procedural part. So, the moment you start understanding the film in this totality, then it will be a very easy affair for you. So, you cannot just say ki ye paella shot fir dhusra shot fir tisra shot. So, there won't be any end to that. So, the basic way of accumulating a film is to have a timeline, to have a complete notion of that. And here you are very clear that how much importance are you giving to every element. So, you know, ye film hai toy banane ke baare me, to process sub say important. So, 50 percent weight process is very important. So, it is very, very important . So, this is the kind of confidence you will have in your product also at the end of the film, right. So, that is very important. So, once you are done with this, then it becomes very easy even for couple of other things. For example, music. So, you know exactly . So, where do you require graphics now? So, these are the points where you will require graphics. So, because we will say you have the topic explanation. So, this is graphics. Then after the intro, intro me aapko uska naam dena padegao speaker jobi hai. So, you will have a title graphics there. Then application ke beech me ya material ko me sabko label karna padegao. So, you will have titles there. In process you may require certain script which is typed there. So, these things will also give you a kind of road map that where what is to be done. So, ek tarasi film banane se pahele uski kundali ban jaige hain hain hain hain hain hain hain hain hain hain and we will be very sure about what we are doing about it. So, this is a standard way of doing it. Point is that when the subject of the film will change, then what do you do? So, if the film is not like this, if it is a fictional film. For example, koi ladka ladki ka jagda hain hain or something doh bhaiyo ke me jagda hain and you have to show a fictional that is the point where you have to think differently and then attempt another way of handling the whole sequence. So, that is where but the same logic remains there and if you start analyzing films now. So, in the weeks time when you have my suggestion is that you can watch some films and analyze it in the way what we have done now. So, agar aapko malume ki film ka runtime ek ganta 40 minute hain. So, draw a runtime 1 hour 40 minutes and then start looking at the film from that point of view. Ki kithni derthak unka titling chala tha uske baat kithni derthak introduction chala tha story chalu hi nahi hui thi. How many people have seen Shole? Everybody right. So, do you remember Shole starts with what? Shole starts with story directly or starts with titles or it starts with introduction. What does Shole start? Lagan de kenye sabne. Lagan starts with titles or Lagan starts with introduction sequence. Lagan starts with introduction right. Amitabh Bachchan ke voice me ek introduction aata hai and then they have this title rolling in and then the story starts. So, look at the different timelines now you will start realizing. Shole starts with titles but it has a story also built into the titles. So, this is where I said where you have the different requirements you need to squeeze in. Unke paski story matlab for example, hamari process. Ye jo hamari pach minute hai Shole ki process 8 minute thi already. So, they did not have time for separate titles. Your titles egzaman eme se flat kalar ke upar dikhaya jaati. They did not have liberty of that because unka timing already 3 gante si upar ho chukada. So, what they have done is if you see the titles of Shole they are actually happening on the story itself that Sanjeev Kumar gets down from the railway and gets on to a horse and then when he starts going towards the village uske poore jernime title unne ne nipat liye. Unke pas ginke 47 title sales cube. So, all these titles they have done on his journey because they did not have the time to be allocated separately for the title. So, this is exactly where in the storyboard level you start doing this. So, that is why it is said that the film is made on these two tables. So, script table and the editing table. So, where you can easily paste the film, slow the film, add something new to the film on the table itself by just setting there. So, yes storyboarding is very important. You can just drive the film the way you want to drive it and then you can easily change the particular mode of the film. So, this example we will follow and every particularly we are not talking about feature films now. So, what we are doing here is educational films and because it is educational. If you look at the educational words related to a very important word which is called a template. So, if you look at any of the things of education, there is a particular discipline. Your book, the text book what you get also comes in a typical format. You go to the 10th, 12th, that is the format. After you know your corporate information, there is an index first. So, chapter 1 to chapter 15. In never ever it will start. It is possible when you are teaching life, but for a text book which is printed, which is to be referred by people, it has to have a template and the template is set. So, similarly in videos what we do? Every video will have a template. So, for the educational video what we will make also will have a template. Let us have a look at one such template, which is done for the cookery shows. Now, you have the timeline with you. So, everybody draw a timeline right now. Here we are at the time line. Now, what is the timeline right now? 2.34. And this video is only up to 3.10. So, this is around 1 minute or something now. And there is another video. So, this is another 7 minutes. So, actually 8 minutes, which is done for the cookery shows. Now, you have the timeline with you. So, everybody draw a timeline right now. So, here we are at what is the timeline now? Actually, 8 minutes menu is shown in 8 minutes. So, let us try and make a timeline of that 8 minutes. So, we will see the first video and then we will see the second one. So, this is the second one. Okay. So, it is starting from here. Okay. So, this was only something. How much was this? 2.3623. So, half a minute was this right. So, it is half a minute left. Just introduction. What is our introduction? Materials used. Materials used. Okay. It is done in half a minute. So, you will also see the condense editing here. Where you have the aloo, pyaas automatically red or fast. Because they will not have time 15 minutes to stop it. So, you see the wipe there. So, that is basically to pass the time forward. Can anybody tell me how many cameras are used here? 3. So, where are the cameras? One is for both the shots. The other one is for the stand. Is there a shooting in the C-Deep? There is an overhead. Is this an overhead? It is from the side. This is a moving camera and one still camera. So, there are 3 cameras. What is there? Okay. Where are we? It is on 4 minutes. The product is ready. The process itself is so long. This portion did not appear in our timeline. There is no space for recap. So, there is something called recap also. Which is done in precisely how much time? They do it. So, 6.32. I think up to 7. So, half minute of recap. And now it is done. So, this was around 8 minutes. What was your timeline right now? First half minute was introduction and materials used. Then, how much minutes of process? 7 minutes. How many minutes? 6 and a half minutes of process. Or half minute of recap. Yes, 8 minutes. Yes, 7. Okay. So, look at the variation. What we had written here and what we have actually in one of the shows. Which is a cookery show. So anyway, Now, what I want you to do is everybody has the different toys, videos with them. The idea here is that and then make a timeline of this in some format you want to. A standard format we are going to use. Which we have just approved. So, everybody can write down that format now. So, that thing is about, first is about name of the topic. Which is the name of the toy. The graphics for that. I am not talking about the durations here. I am talking about the name of the toy. After that, we will have the presenter himself coming and telling about the toy. Introduction of the toy. Introduction of the presenter is not here. We will be playing the film first, before the 200 toys or who is the presenter. We will not be playing the film in every toy. So, introduction of the toy. The third thing would be the scientific application of the toy. Science has done it in the toy. It will be told in the video. You have to find it and match with it. The scientific principle in that toy. Then, fourth would be the materials used. Fifth would be the process. 6 would be the actual toy in action. And seventh would be credits. This is one format I am proposing right now. Now, based on this everybody has to make the duration 4 minutes is ok. So, everything which should come into 4 minutes. Now, you people can do one timeline of this, you can decide the weightage of this. But end result would be 4 minutes. Then apart from this timeline, you can do that also. So, that we will we will wait for your option for that. So, these are the two things. Any any problems in this? So, the website to be referred is www.arvindaguptatoys.com. So, any problem with this toy, how to make it? So, anything is ok for the matter, but do not use graphics from any other place apart from arvindaguptatoys.com ok. About fonts and all I do not want to standardize that, but you can create right now in whatever way you can. But get along with you the project files and the rendered files both ok. Rendering a both low level rendering. Thank you.


So, what is it that determines someone's Jewish status? Is it the mother that determines whether someone is a Jew? Is it the father that determines whether someone is a Jew? Or is it both? Do you have to have both? So this question can actually be a little bit confusing because in some respects Judaism is patrilineal. For example, if a woman from the tribe of Asher marries a man from the tribe of Ruvane, which tribe the children belong to? So according to Judaism, the children will be associated with the tribe of Ruvane, not with the mother's tribe of Asher. So when it comes to tribal affiliation, that is patrilineal. When it comes to, for example, whether or not someone is a Kohane, someone is a priest, that goes through the father. There's a very cute joke that someone once came to their rabbi and said, Rabbi, I would like you to make me a priest. And the rabbi said, well, you just can't make someone into a priest. And the guy says to the rabbi, I'll pay you a million dollars.  He said, I'll give you two million dollars.  So the rabbi then says, let me ask you a question. Why was it so important for you to be a priest? He says, what are you talking about? My father was a priest. My grandfather was a priest. So that's exactly how you become a priest.  So those kind of designations are patrilineal. They go through the father. But in terms of whether or not someone has the status of being a Jew, this has always gone through the mother. And I'd like to share with you a number of places in the Torah where this becomes clear. One reference is actually not from the Torah itself. It's from the later part of the Bible. It's from the Kutuvim, the book of Ezra. And the book of Ezra describes the time when the Jewish people were coming back to the land of Israel after their exile in Babylon and after the first temple had been destroyed. So they came back to rebuild the second temple in Jerusalem. And in the latter part of the book of Ezra, it describes that when this great sage, great prophet Ezra came back to Israel, he was shocked to see, to find that many of the Jewish people that had been living in Israel had taken non-Jewish wives from the surrounding non-Jewish tribes that were living in Israel. It was a bit of a crisis because this was the first time in Jewish history that this had ever happened where there was massive intermarriage. And so they at that point resolved and they made a decree that these non-Jewish wives and their children would have to be expelled. That was the decision. That the men who had taken non-Jewish wives, their wives that were not Jewish and the children that were born to these wives, of course, this is referring by the way to any wives that had not been properly converted, but any wives that were determined to have been non-Jewish were expelled with their children. Now, let me read to you the passage where this appears in the book of Ezra. It says, now then, this is chapter 10, verse 3, now then let us make a covenant with our God to expel all these women and those who have been born to them in accordance with the bidding of the Lord and of all who are concerned over the commandment of our God and let the Torah be obeyed. Now, this is speaking about Jewish men who married non-Jewish women and they're going to expel not only their non-Jewish wives but the children and the question is if the child of a Jewish father is Jewish, then why would they expel the children born to these women? Meaning in this situation, it wouldn't make any sense to take Jewish children and to send them back away from the Jewish community with these non-Jewish women. It's clear from this story that if the father is Jewish but the mother is not Jewish, we see from this passage in Ezra that the children are not Jewish and that's why these children will be sent back with the mothers. Very clear that in this situation where the mother is not Jewish, the children are not considered to be Jewish either. And what you should notice about this passage is that it concludes by saying and they will be obeying the Torah. Meaning that Ezra indicates here that this definition of Jewishness is not just some late innovation at that time. This policy of sending away the non-Jewish women with those children is actually the policy of the Torah itself. Now there is an earlier source for matrilineal descent that interestingly also occurs in the Bible in a passage dealing with the issue of intermarriage. And this is from Deuteronomy chapter 7 and you have to remember that the book of Deuteronomy is being addressed to the people of Israel after their 40 years of wandering in the desert, after their exodus from Egypt, and it takes place weeks before they were entering the land of Canaan. The entire book of Deuteronomy is recited by Moses in a course of about five weeks. The passage there in Deuteronomy chapter 7 says the following. And listen very carefully to the words because you're going to hopefully notice something peculiar. Moses says, you shall not intermarry with them. Again, the context is you're leaving the desert now. You've been in this cocoon in this bubble. It's all Jews 24-7 in the desert. That's all we have here. But you're about to go into the land of Canaan where there are all these non-Jewish nations. So Moses warns you shall not intermarry with them. You shall not give your daughter to their son and you shall not take his daughter for your son for he will turn away your son from following me and they will worship the gods of others and the anger of God will be kindled against you. That's the passage we need to look at. And if you listen carefully, you should have noticed something really strange. What the passage should have said was for he will turn your daughter away from me or it should have said, for she will turn your son away from me. Meaning God will be saying, in the case of an intermarriage, God will be saying that if you do intermarry with them, God says in the second verse, for he, the non-Jewish spouse, will turn your daughter away from me or it could have said she, the non-Jewish spouse, will turn your son away from me. That would have made sense. But after saying you shall not intermarry with them, you shall not give your daughter to their son and you shall not take his daughter for your son. What does it say? It says, for he will turn away your son from following me. For he will turn away your son from following me. What is this speaking about? Who is the he? And who is the son that it's speaking about? So one possibility is that this is referring back to the first prohibited case. If you remember, the first prohibited case was, don't give your daughter to their son. That's the first case that's described. Do not give your daughter to their son. And it's referring back to that case and it explains now why. Why shouldn't you give your daughter to their son? I mean, this non-Jewish son. Because he, because he, the non-Jewish father, will turn your daughter's son away from me. And again, the verse here is describing, is really speaking to the grandparents.  And the verse describes your grandson as your son. Now this shouldn't sound too strange because throughout the Bible, grandchildren are often referred to as children. So again, we're trying to understand the flow of these verses. And the passage begins, you shall not intimary with them, you shall not give your daughter to their son. And it's possible to say then that in the next verse, which says, for he will turn away your son, it's referring to he, your non-Jewish son-in-law, will turn away your son, meaning your grandson, away from following me. And the Bible refers to your son, really it means your grandson. And that's not so unusual. What we see though, is that in this verse, it says that this child is considered as your son. Meaning, even though the father is not Jewish, the father is not Jewish in this case, because the mother here is Jewish, meaning your daughter, right? The mother is Jewish. The child has a status of being a Jew. And the Bible describes this as your son. So we see here that the status goes through the woman. That's one possibility. Again, we're trying to understand, what does it mean when it says, for he will turn your son away from following me? So one possibility is it's referring back to the first prohibited case of the Jewish girl, the Jewish woman who's marrying a non-Jewish man. And it says, for he, the non-Jewish spouse, will turn your son, meaning your grandson, away from following me. But you see from this way of reading the passage, that this child of the Jewish woman and the non-Jewish man is considered to be Jewish. The other possibility in understanding this verse, is it's referring to the second situation, where your son is going to take a non-Jewish woman. Now how do we understand the phrase, he will turn your son away from following me? So there, the word he that will turn away your son, will be the father of his non-Jewish wife. Your son is going to marry this non-Jewish woman. He, meaning that your son's father-in-law is going to turn away your son from following me. What is this segment teaching? So this segment's teaching that by marrying out of the Jewish people, your son will be turning away from God, why? Because his children will not be Jewish. And since in this case where your son who's Jewish is marrying a non-Jewish woman and his children, your son's children will not be considered Jewish, this is going to ultimately end up pushing your own son away from the Jewish people. It's going to be your father-in-law essentially that turns your son away from following me, God says. In either way of reading this passage, we see that the child of a Jewish mother and a non-Jewish father is Jewish.  And this basically, this analysis I just took you through is the way that the Talmud demonstrates how matrilineal descent is from the Torah. Why might this be the case? Why might it be that the status of a Jewish child goes after the mother rather than after the father? What might the reasoning be? So one reason that's been offered is that you can know with certainty who the mother of a child is with much greater clarity than you're able to determine who the father is, especially in ancient times when we didn't have DNA testing, you can always know who the mother is, but who the father is is not so clear. A second rationale was offered by the previous Lubavitch Rebbe, Rabmanachem Mandel-Schnersen who says, and it's quite logical, that a child is more biologically connected to the mother than to the father. Aside from the fact that the embryo was nurtured in the mother's womb for nine months, but we know that the child is then often nursed by the mother and in most cases, the child will spend most of the time during its formative years in the company of its mother, more so than with the father. So Jewish status, which is really a question of a person's essential identity, who are you? Who are you? This is determined by the mother.