All right. Well, welcome, everyone. My name is Roxy, and I'm the chair of the Sustainability Committee for AIC, and I'm here with Rachel, who's our vice chair, and Belly, who's our student member. And we're speaking today with Mark Nussbaum, who is a principal engineer at architectural consulting engineers, and Mark has expertise in sustainable systems, specifically for historic buildings, which is really awesome for us. And he is also a project manager and consultant on the NEH project with the Glesner House, where they are installing geothermal systems in that historic building in Chicago. We did part one of that series with Bill Tire, who is also working on the project. And so now we're going to speak with Mark, who has a little bit more technical or a lot more technical expertise in the area of specifically geothermal. So to get us started, Mark, can you just give us a little bit of background about, you know, your training and what made you interested specifically in sustainable systems for historic buildings? Sure. Yeah, go ahead. Yeah, it's kind of an unusual place to find yourself. First up, most engineering firms don't really like to climb into historic properties because it's hard work, it's time consuming, requires a lot of expertise, and usually the budgets just aren't there. There's a lot of times with not-for-profit organizations, and so they just can't afford high consultant fees. So, since I work for myself and I've started my firm with the intention of working in this field, I get a pick and choose the projects I work on, and I've been very fortunate to work on some really cool projects over the years. So, I had a background in my first job in this field. I was an engineer for the city and county of San Francisco, and I did a report for, this is back before the Loma Pre-Earthquake, but I did a report on the upgrades required for the historic Civic Center District, which is seven historic buildings built after the earthquake in 1906. And so that kind of pushed me in really quickly in the historic properties and the working on them and finding out how cool that is. And so then throughout the years I've had opportunities when I worked for other firms to do other historic-based projects and kind of developed that philosophy of trying to integrate modern systems in historic buildings without tearing the building apart as a driving concern. And that was a strongly resonant feeling with the architects that I contacted and ultimately have worked with many of, because I think a lot of engineers are reluctant to do something that's not going to produce the best optimal engineering results. And so I try to take the attitude I'll give you the best engineering solution I can with the minimal damage to the building as possible. And so by taking that approach and offer, I offer both approaches to the client. You know, I'll say, well, I can, I can tear the heck out of your building and get the system just perfect and they'll work great and we'll be very invasive. And if that's what you're looking for, the perfectly operating system, performing system, I can do that. Or I can do it this other way that does as little damage as possible and get you a perfectly adequate system that maybe doesn't achieve everything. And that's, they always take that second choice. And I remind them of that if we have a situation where the system doesn't do exactly what we had hoped it would or if it's, it's just not as optimal. Because you know, you can deliver air into a room from across the room, you know, where you have access to put a duck without compromising, or I can tear up the ceiling and get that air device out there by the outside wall, which will probably perform better. So we, we just, that's our focus is just to try to introduce systems, you know, and that revolves around spending a lot of time on the site, crawling every interstitial space that's available to me. I've been in more addicts and crawl spaces and tunnels and, and really cool spaces in these buildings. And have found rooms that they didn't know existed in ease, you know, large spaces and ease where I've been able to put equipment and, and, and effectively hide it from from not even taking the other precious space because I was able to hide it someplace they didn't even know they had. So, and then over the years I've, I've worked on getting. I started doing geothermal system, the ground source heat pump systems, before I opened my own firm, when I was down in the St. Louis market. And when I moved up here, it wasn't really viable here because of the utility rates were structured and efficiencies weren't as high as they are today. And, but I was, I was asked to put a proposal on a unique temple. Frankly, right. Design building in Oak Park here. And they specifically wanted to look at geothermal. So, and so I ended up getting that commission and in 2004. And then, you know, 11 years later, after the study and a bunch of other work we've done there we actually started the restoration process and completed that in 2017 so using geothermal so. But that reintroduction to geothermal or ground source heat pumps up in this up in this market. And, and so I started looking at that from various projects to see how it could be implemented. And again the technologies have changed a little bit the drilling techniques have changed a little bit to make it more possible on this tight urban sites that we have. That actually transitions brilliantly to my next question. That's so interesting I love the kind of like problem solving obviously we're, we're in the, you know, conservation and preservation field so we love to hear people who are willing to take on these, these projects and figure out how to do it without hurting the building. So that kind of, like I said leads me on to my second question so we're really, I mean, we spoke with Bell but we, none of us were engineers so we kind of didn't get too close to the technical aspects but I wondered if you could give us just a sort of brief. brief lay person's understanding of how geothermal works and, and why it is then appropriate to use for historic buildings. Okay. Well, I'm geothermal systems or grounds or I mean we'll calm, I call it's kind of an interchangeable terminology. Sometimes geothermal gets confused with the deep earth heat type of geothermal where we're using tapping into a hot source down on the ground. Do the proximity to magma, and we can either use steam generated from that or other things. This is not that. So, what I'm doing is I'm, I'm, I'm drilling into the ground. Anywhere from in this area we drill anywhere from 150 feet down to 500 feet vertically down into the ground. And then we separate those pipes, roughly 15 to 20 feet apart.  And we circulate a fluid through that. So it's all water mixture so it's freeze antifreeze. And we circulate that and then we circulate from that field into into a box, and that box is usually inside. And it has a compressor. And, and then depending on how it's being used it might have a fan and be like a furnace, only with the air conditioning part that sits outside and a traditional air conditioning system. And then there's a box and then there's a heat exchanger for the water loop. And so, we leveraged the work of the refrigerant. So, think of a refrigerator that sits in the room that's 70 degrees and somehow I produce, you know, zero degree freezer and 40 degree or 35 degree refrigerator temperatures, but it's sitting in a room of seven degrees and it's using the work of the refrigerant to do that. If I think of an air conditioning system. It's going to have an air conditioning mode, which is what air conditioning does inside it's blowing cold air out of the furnace box. I have a coil in there and then if I go outside to the outside box, it's blowing hot air. And because it's exchanging energy from inside the house it's moving it to the outside, and it can do that up to temperatures of 95 or 100 degrees with still keeping full capacity in the box with a heat pump. I have a coil in that refrigerant loop, which then switches the function of those two coils. And so, in the heating mode it blows cold air outside and blows hot air inside with a geosystem, instead of interacting with the air of an air source heat pump, in the air source cooling unit, I'm interacting with the ground loop, and that deeper temperature varies across the country depending on how far north you are in the Chicago area that's, if I take an average temperature that 500 foot loop in the ground, it's about 52 degrees. And so, instead of, and so we start to push put heat in the ground during air conditioning mode moving it from outside the building into the ground, and slowly start to elevate that temperature in the ground loop. When we go into heating mode, I start to extract that heat back out of the ground, because it's actually kind of like a storage battery. And then, and then, and then over the course of the winter, I bring the temperature down below that average temperature, the average temperature stays about the same it just cycles like a sine curve, it just cycles across the seasons. And because we can control that temperature swing by how much pipe we put in the ground, we can we can keep it at the optimum equipment efficiency range and so a geothermal heat pump system is the most efficient system so it's at the lowest operating costs of any of any system on the market. And so what makes that it does cost more because the ground loop that you got to put in the ground it costs a whole lot more than that box that sits outside in a conventional system. But it allows me to have full capacity year round out of the box, which I don't get in an air source heat pump, I don't have any exterior equipment that that pollutes the site with aesthetic or noise. And then, and then, if I configured correctly on the inside, a really important point on the system is that I can get simultaneous control of temperature humidity, which is ideal for historic projects where we're trying to dampen that dampen that dampen, you know, in historic properties usually the buildings aren't designed for air conditioning and controlling humidity. So I have to do that very carefully, but I can, I can, I can usually take chop off the extremes, highs and low levels, I get very stable temperature control. And then I can, I can, I can achieve a really good acceptable relative humidity control, or at least improve it dramatically, which of course comes to what you guys like which is stable within plus or part emojis. I'm like, yes, please. Yeah, so so that's, I once said on a, I was on a project for the National Trust, and a project got Washington DC, where they were they, they set all the conservators around the table all the different types of conservators, you know, so building conservators the paint and, and paper and, and paintings and, and all these different, you know, cloth cloth and, and they sat around the table and told me all the things that they, that they like to restrict and how do you like to control the environment. And then they turned to me at the end of it and said, okay, fix it. Give us a solution. So you've been the worst of it then.  So if the building can sustain higher winter humidity then we could add humidity improve it. Usually the summer is easier than the winter because we, we, it's easier to shave off humidity in the building in the summer than it is to add humidity in the winter. So it's easy to do, but you, you run the risk of introducing a problem in the building, much more risky in the winter time than it is in the summer. Well, again, this is a good transition. Unfortunately, Rachel said her internet was going in and out so I'm going to ask her question. But hopefully she'll be back and can hear some more of your interesting feedback. So, we were, we were kind of interested in in how you make that transition I mean that seems like certainly the stable humidity is a huge, you know, benefit from our point of view as you will know. But what, when you're working with an older home and I guess it probably depends on, you know, when the building was built. But is there kind of a typical infrastructure that you would be converting from or particular infrastructures that work better to convert to geothermal. So if the museum has gas forced air or say, or I don't know, I mean, you know, more than what the options are, but can you talk us through that process a little bit. Yeah, if the building has currently has forced air, that's perfect.  If it's a heating only system, and I want to introduce cooling, I have to be concerned about the duckwork having insulation. A lot of times residential properties don't have any insulation. So that's something you have to address. You either have to take the sheet metal off and get, get it insulated or, or replace it because if I put really cold air in there and the building is humid. It'll condense the outside and drip drip onto the objects of the building envelope which then can cause mold growth and all that stuff. But it's still usually that means there's space already encumbered with duckwork. And so I can usually get it in and then the equipment just a direct replacement that the equipment, you know, remove the furnace and put in a heat pump. So it's pretty straightforward. I can also make chilled water and hot water from a heat pump. So chill water. So a lot of systems, especially commercial systems, operate with a fan box with a water coil on it. It blows air across the coil. And you run chill water through the coil or hot water through the coil. And in our case we usually run, we have two coils, we have a chill water coil and a hot water coil and sequence. So again I can, so I can make chemical cooling generally removes the humidity from the building. And we just as a course of the, you know, so the air temperature gets brought down below the dew point of the air which causes the moisture to come out. And then and then. But the problem with that is, if it's a, if there's a high humidity level, and not a lot of cooling load in other words, it's maybe spring or fall. And so, or I don't have, it's designed for a large occupancy and they don't have anybody there. I can reach my cooling set point before I reach my relative humidity set point. So then having the coil set up as cooling first and heating second, I can run the cooling side to get down to temperature. When I satisfied my temperature set point I continue to cool, but then I reheat the air coming off the cooling coil back up to room neutral temperature. So I don't continue to cool the space so I can control that temperature, and then I can bring the humidity down. So in even one of those systems, and I can do that with the refrigerant side on the on the heat pump, if I have a forced air heat pump. I can do the same thing I use the warm water in the loop after it's gone through to circle back around and reheat the air when indeed it's called deep humidification mode. A lot of historic buildings don't have a forced air system. You know they have, they have radiators. And, and the, a cast iron radio that's running on steam, which is common is not directly exchangeable with a geosystem. So that's really in a steam boiler or steam boiler is going to give you about 220 degrees steam. It's about five pounds pressure and 212 is boiling point so he's a little higher than that. So the building is designed around steam heat. I actually may or may not be able to get enough heat out of that radiator with a with lower temperature water so you have to look at that. Sometimes you can because we improve the envelope we had insulation when the building was built 100 years ago, it probably didn't have any insulation or minimal insulation. They had leaky windows, you know, filtration air infiltration wise. So we have a lot of extra loads. And they usually over design the radiators because 100 years ago, they were going through the Spanish flu. And, and the health, health design of the day was to introduce lots of fresh air in the building. And, and so they oversized radiators. And so you could open the, you could bring in fresh air and it would rise out and be ventilated up the uproar. So they were dealing with the same exact issues today 100 plus years ago. And that's real common you get these mansions, they'll have floor radiators, box three years to sit at the basement level and open up to a cashier and grow on the floor. And then there's an outside air duct that goes off that box radio in the basement over to a window opening or a louver on the wall, and they bring in fresh air that way. And then they open the windows. So, so anyway, so you can, you can sometimes get by with a lower temperature but usually you can't. What would just heat pump water with no extra boost to it or anything. I can't get enough heat out of that. So I have to rely on a second stage of forced air. If I have it because if they want cooling I have to do forced air. So that's, you know, so I introduce a forced air system on top of a radiation system we usually like to keep three years in place, because they help drive moisture. They sit usually below the windows, and the window is the leaky spot from water infiltration, just by the nature of a big opening in the side of a wall. And so we usually that's where the radio is at. And we like to keep that drying, you know, so it doesn't matter if it's wet, it's fine. We, it should be designed to get wet, but it also be should be designed to dry out, because if it doesn't dry out, it rocks. So, so we, we like to keep the readers in place I do in my designs. And so sometimes we'll still keep natural gas boilers to produce hotter water if we feel like we need hotter water. But I'm working on a project right now. It's a frankly right house. And the owner would like to take it to net zero, which means I produce as much electricity inside as I use on site. And so that doesn't work with natural gas, because I don't produce any natural gas on site. And so, so we have to get rid of all the natural gas sources, and she's got cast on radiators. And so I'm using a two tier heat pump they make a heat pump the normal heat pump gives me about 120 degree water. And so I can put in a special heat pump with a different refrigerant that'll give me up to 160 degree water 160. And so, and so I can produce. I can produce hot enough water to make those radiators work without using gas heat. So, that is really neat. Did I answer your question. Yes, for sure. You're kind of off topic something. Well, I'm fascinated by all of this. So that's all good. So it sounds like there's some their particular systems, it sounds like the force air system is really the easiest. And then you have to kind of just, I imagine it's sort of a case by case basis how you very much. So yeah, I mean, yeah, you know, in a residential application, not historic.  I'm going to have to insert duck work. And so a lot of times in a residential application, they don't, you know, even though they might like radiators, they're willing to get radiators, or, you know, it's not a not a big deal. But yeah, you, it's a force air system either either if it's already existing, or if they want cooling, we're going to add a force air system. It's the least expensive and simplest to control and, and because I also if I want to introduce unity in the space, usually I'm going to do that through the force air system, and then removing community through the force air system. And while there's other ways to do it, that's the simplest way to do it. And so, yeah, I think that's really good for people to know if they're thinking, you know, at my institution, this is something that would be feasible or my. I am smart building or that is the is the process I mean you've kind of already answered this but how extensive and it's sort of invasive is the process. Like you said it's a case by case basis but it sounds like you're able to kind of use some tricks to make it not too invasive, but are there kind of interesting examples of ways in which you can do that that you could share. So, let's just, let's just think about a typical two story house with an attic in a basement. That's about as easy as it gets for an installation because I can service the first floor in the basement from the basement usually it's utility space and so it's okay to have exposed duck worker. You know, you usually have more utilitarian uses called secondary or tertiary spaces in the historic places off tour. The attic gives me the same thing with a caveat. I want to see them insulate the roof deck. That's at the slope drawer for the flat roof I want to see the installation up in the roof rafters. So that my attic space is a semi conditioned space because the equipment we're going to put up there is going to perform better have a longer life and have less problems. It doesn't need to be a semi tempered space it doesn't need to be room temperature, but it shouldn't be, you know, zero degrees in the winter time and 120 degrees in the summertime it should be, you know, so you insulate up at that roof line. And then you take the installation out there's installation in the ceiling, which there often is, even in older buildings, you take that out so that that he could get up there, the cool. That's really straightforward than I'm, you know, I'm turning usually for girls from the basement level, and then ceiling girls from the level, you know, and you have to think through the process of against the house on tour. Usually, you know, we had that conversation with the, with the, with the client to say, you know, we can get third examples of forced air grills in the house. And it's got a particular pattern a lot of cast iron grills are very elaborate and stuff like that. We can recreate that in a custom grill. And so we keep that same basic pattern so it looks like it was maybe always there. If there was never forced air in the building or there aren't any examples of grills in the house that we can, we can buy off on. Then, then we would, we have to make the decision do we try to hide them hide the grills. So they're less obvious, or we just put in modern grills and and then interpret it as part of this is our modern system, you know, and and you don't try to hide that's a kind of a client decision and kind of a, again, there might be easy ways to hide it and it might be hard ways to hide it. So, so we kind of talk through that with the client. When you get into a three story house, where I've got a basement below first second third floor and then an attic. The second floor becomes a problem because I don't have utility space above or below it. I've got finished space above or below. So now, so now you have to start looking for opportunities to hide equipment on that floor. So a lot of old houses have decent closets. And so I can maybe put a small unit. It's easier to piping through the building without turning the building up than ductwork. And so I'll put a fan box in there and this is where it will often make a decision to go to a chilled hot water system versus a direct geo system, still serve by geothermal equipment but you know the add the complexity of the pipes and the because I've got spaces I don't want equipment in. I don't want geothermal equipment because there's a compressor in there and while it's fairly quiet, it's not as quiet as just a fan box. And so, so you'll put a fan box fan Chloe and there's what we call it up in the, in the usually at the ceiling on the closet. And then we'll create a grill, maybe on the sidewall, just above the door game, just above the trim. So it's linear like the trim, and maybe, you know, disappears a little bit. And then you turn the room and return into that space. So you start looking for those opportunities or other utility spaces on that floor. Sometimes, you know, you might have a setup where they're willing to drop the ceiling in the hallway, for instance, you know, you know, it's maybe a 10 foot hallway ceiling, or maybe even more sometimes, you know, have very generous hallways. And so you can, you can put equipment in, put duck work at the ceiling, drop it new ceiling below, keeping you moving the code molding or whatever it's elaborate.  So those are another method to use a fully ducted system if you've got a place to bring the duct up and hide the equipment. But yeah, the those types of spaces with that third floor finished third floor generally create a much more challenging, trying to figure out. It sounds like the biggest. Oh, sorry. I was going to say that I actually had projects where they didn't want to do that. So we condition the third form of condition the first floor, and let the second floor kind of it's semi condition is, it is condition there that find this way just not as effective. So, so you follow up. Yeah, yeah, so the, so the limitation is really that sort of hiding space for lack of a better word. Yes, kind of the biggest. Okay, that's really good to know. I have no idea. We've done projects where we've, you know, if they have radiators, and we can put a fan cool unit, a vertical fan cool unit that hides in, you know, if a radiator maybe with a radiator, a wooden grill in front of it or casing around it, we can actually put a piece of equipment to replace that heating cool unit, the self continued right there. So I'm just going to introduce more noise in the space because I've got now I've got a fan powered unit inside the room, just hidden by a wooden screen or something like that so tends to bring in a little more noise but that's, we do that as well we've done that as well. Belly I'll toss it over to you to ask a couple questions, because I think we've got through most of mine. Okay. So you've touched a little bit on a couple different projects that you've worked on, all of which sound fascinating. I was wondering if you could speak specifically to your work with the Glesner house. Sure. I've been involved with Glesner house for a long time, well before two or three executive directors before bill so bill tire. So done various projects there but we had done a, he was intrigued by the geothermal concept and they had us look at it do a feasibility study. And it came out that, you know, was a little more cost than what they could afford at the time. And then, and then he got a donation. And we were able to this back of 2015, I think 2014 2015 where I got a donation to do a partial system of the design the whole building, and they had, they had replaced, and I want to say it was done 70s or 80s they replaced the original system that was there. And I'm honestly not I think it was just a radiation based system. I'm not 100% sure that because it wasn't a lot of evidence and there were no drawings. But so but there was a four sear system that was in place there and it was. Most areas are just heated, no cooling, a couple rooms had cooling in them. And it wasn't a house museum I think when they did the project it was just offices, an event space. So anyway, we so we looked at areas that we could reuse the duck runs the duct equipment ducted equipment. And then, and then areas where we couldn't and then we designed a system and it consisted of, I want to say they had nine or 10 systems, or maybe even 11 systems now throughout the building. So we replaced that with a design with 10 system to replacing. And the equipment's located where the other equipment was generally. So we're just taking a box out put the box in. In most cases were providing new duck work because again it's not insulated. And we are trying to reuse all the existing floor and ceiling openings that we can. Because you know that way we're not making new openings through historic going. And then there was two spaces that the co-tiles for the garage, if you will, that space sits at one end of the building. And that had a air conditioning system because they use it for events. And, and then the second floor above that was an unfinished space that they were hoping to finish into a gallery type space. So, we designed for all the areas in the building, sized up a loop field that was based on four, 500 foot deep, Rygan pipes, which is a traditional geo system uses just a pipe that goes to the bottom of the hole and comes back up. This is a specialty system that when you have limited space you pay more for the product but you get more capacity on the loop field so it was worth it since the side yard there the courtyard is very limited in space. So we needed to get the well field in. So we designed the system and we bid it out, and they could afford one. We afford half the well field two holes, and then one system inside. And so we replaced that in like 2015. And that's been operating then Bill applied for the grant. And when he got it then we're going to, you know, we're massaging the plans to update them for current technologies and model numbers of equipment. And we're going to remove the heat pump from the unfinished space above the carriage house, because we're pretty confident we won't have the budget for that. And then we're going to add the additional well field. And then, and then slowly sequence and replacing the systems over the course of the grant type table. And that's, it's getting tricky because we were, we're trying to get the drilling done, we were trying to get the joint done this fall. So you could get his grass sod and his side installed before the winter. I'm sure we mentioned that. But we've run into an obstacle with the city of Chicago where they require what's called a board of underground review which if you go deeper than 10 feet below ground. You have to go through this air, this review process with all these agencies around the city to make sure that we're not getting into any of the underground infrastructure that supports the city like subways and things like that. Now, ironically, when we drilled the well field four years ago, or five years ago, we didn't have to go through that review so I don't know something changed or whatever but we're, we're going through it right now. And so we still think we can get the drilling and the drillers said he can drill down to about when it's 25 degrees Fahrenheit. Below that it gets to be a problem because we're circulating water. It's really cold for his crew. So, we hopefully will get be able to drill over the winter so that we can start installing systems. After the eating season. So, yeah, that would be that would be great I was fascinated when we spoke to Bill, or I guess, just really impressed by how you all have been able to make this work within such a small system I guess such a small footprint. That was that was really wonderful. And we're hoping that this series will inspire other institutions to also adapt to your thermal. But we do understand that a lot of institutions see making the change from gas to a more sustainable energy source as financially not feasible and you've spoken to some of those challenges. And what advice would you give to those who are thinking about both short term and long term financial benefits and restraints to this change. Sure. Geothermal system will pay for itself and we'll just say that I mean it's, it's, it's kind of all based on on a lot of factors and we run an energy model for the building so we, we look at, you know, how the envelope performs and then how much energy it takes to operate the systems against the system in a geothermal system. We, that's usually one of the things we, when you got a client that's on the fence about going conventional versus geothermal. Almost always the geothermal system operates with less energy, you just say it that way there's, but the cost of energy is different depending on its gas or electric. Sometimes just because of nature of the utility rates, it might, you know, be a 15 or 20 year payback efficiency, you know, less operating costs, but to cover the differential and cost between, between the conventional and geothermal system. It might take 15 or 20 years or sometimes longer to pay it back and usually if you're doing more than 10 years, people get nervous because they, you know, the equipment life is about 20 years. You know, it's, it's hard to make pull a trigger to when you're going to, you're going to about the time you need to replace the equipment you're finally paying back. But most equipment lasts for 20 years so your conventional systems probably being replaced at about that same time cycle, maybe less because in the case of Geo, all my equipment's indoors where they're conditioning systems are sitting with equipment outside and thus fire equipment has heat exchangers in it that sometimes will burn up the heat exchanger and have to be replaced sooner. So, so my general comment is, if you can afford the long horizon of payback, and sometimes it's less than 10 years, just depending on the area of the country, and the type of systems you're comparing against but if you can afford the horizon, and you can come up with the general cost up front, which there are grants to help with often and state rebates or utility rebates and things like that. You can usually get better control with less operating costs and long term savings if you go with the geothermal. It's easier to configure a geothermal system to provide that simultaneous temperature humidity control, for instance, much harder to do with a conventional system because I don't, you know, I, in one case I have a box that's designed to do both and so I can move things around to make that work. If I, if I go with if I want to do it in a conventional system, I'm kind of often forced into the chill water hot water model which costs more to install. In some cases geothermal is actually less costly than in the alternative system that will give you will give you the same performance and so if that's the case then it's a zero year payback and you know I don't usually have a trouble selling that project. But there are ways to do it and and the challenges with historic properties is they usually struggle, they can often get the money to do the project through grants and people who are really interested in sustainable practices will fund a project like that. But there's maintenance involved and and maintainability, and it's usually a little more complex control wise than a conventional system or can be. And so, and so you have to be prepared to for the ongoing cost of operation in addition to. I will say that again geothermal should be less expensive to maintain because it actually has fewer components and doesn't have that outside piece and stuff like that. And the geothermal loop itself is kind of a forever piece of equipment so once you've installed it, you don't have to replace it when the equipment fails you just replace the equipment. So, once the geothermal, I mean the piping has a 50 plus year warranty, of course, doesn't help you but it's 500 foot in the ground years, you know they'll give you the piping that's not the expensive part. But we don't see a lot of system failures loop failures I mean that's there's, you know, a backhoe tears up a loop, but really not much else to normal operation because it looked to fail. The trickiest part of a project is getting it inserted into the building. And again, I have to do that with any system I'm going to put in. So if I'm going to put a conventional system in the dark work. I still have to insert it into the building and do it in a way that's and then always that always almost always costs more than than just a house somebody's house we're installing a system. So, what they have to look at is what is the best. What, what are they ultimately looking for as far as climate control and then and then and then they should do a study. We always recommend a front end study. We usually assess the systems are in place assess the feasibility of putting in a geothermal system do they have the land available to put the field in, do they have the place inside the equipment. And that's you know again we look at usually look at geothermal and a couple of different iterations of conventional systems, and then try to come up with recommendation on on on efficiency and long term operating costs we look at a 20 year life cycle. So we try to bring all the costs in there and then decide what the payback is so. But ultimately it's what are the goals of the institution and the organization and the people running the building. Again, if temperature and humidity control is involved. Your system is going to get more complicated. The least complicated system to do that is a geothermal heat pump with a with a four stair system with a standard heat pump installed geothermal heat pump, you know so as I introduce chill hot water as a source, which works good, and it's, and it works in either conventional or geo that that solution is going to be more complex controls are going to be harder. So the controls are always tricky part. We, we did a blank in here. Oh, we put in the geothermal system at unity temple, as I mentioned earlier, and, and that system. We was very costly to maintain, and the reason it was costly to maintain as I had, I had 20 area units in the building life, eight fan cool units. I had almost 20. I have 10 air handling units and I had a area or band called units, and each of those has be controlled on all that stuff and I was, I was questioned about it by the by the organization that funded the project, or helped us fund the project. And they were Christian why is your geothermal system so expensive to maintain is it is not it's it's it the parts of the system that are hard to maintain or expensive to maintain would be there in a conventional system or geothermal system it's not. The only thing that makes that a geothermal system is a loop field, instead of a cooling tower. And that cooling tower would be more to maintain more expensive to maintain than the loop which has no maintenance required. So, you just have to look at it holistically and sometimes it's hard to convince people. A lot of these old buildings aren't air conditioned. And so when I, I have to speculate I have to, I have to design in my head I have to design a conventional system that would do it, and a geothermal system would do it when I'm doing this modeling this energy modeling. And, and the, when they see the cost of operating the utility cost they go that does that's not right we didn't cost us anywhere near to operate a building like that. I'm going to air conditioned the building and, and if you do it convincing it's going to cost you more to operate than it does to do and that's the point of the survey is the study is to do that so it's, but you have to look holistically at it you have to look. And, and don't be scared off of the pricing, I mean it's, it certainly is going to be more cost to install a geothermal system but you will recover it if you're a long term ownership of the building, even better, you know, the hardest cells I have on geothermal systems are developers, because they want to turn around their, their money in a hurry so and they want to get their whatever they spent on it on the other side. And so it's it's very very hard, even with very quick paybacks they're not interested usually. But, you know, historic building owners, governmental agencies, churches people are going to own their property for a long long time. Homeowners. Those are absolutely perfect candidates for geothermal because it will it will pay itself back, and it stabilizes out that utility cost across the year. That's really good to know actually I think that's a really important thing for cultural institutions to mind. One thing that you mentioned that I would love to just get a little bit more clarity on I guess or just a little expand on a little bit, something that we conservators as I've mentioned love to talk about is temperature and humidity controls. And as you know folks who are concerned about sustainability in this realm one of the things that we've really pushed for is for a model of seasonal drift where we've, you know, as a as a profession have studied how these fluctuations impact objects and found that over time a slow drift is definitely, you know, preferable to sharp up and down. So I'm curious, obviously geothermal is much less you know much more energy efficient and much better for the world. But is there a sense that you can keep a tighter control is that what you're suggesting. Or is that not necessarily the case. Well it's, it's, it's not necessarily you can get very tight control you can get just as tight to control with a conventional system and you can with the geothermal system. It's usually easier to do with some geothermal systems because, again, that self contained unit with got the compressor and the fan and just blowing cold air or hot air can be configured so that it's, it's more or less automated you have a thermostat on the wall that has a relative humidity sensor in it. And it's as simple a system as you can get and almost always operates better than most and I can get, I can get pretty decent multi community control again it's that idea that not overcooling the space. Well I'm trying to bring community down that's the trick. And in order to do that, you know, if it's conventional system without that feature without the use of the coil placement, you know, chill coil first hot coil second. And when this temperature satisfies the system shuts down. And, and so it's just harder to do, and again I can do it show out what our system with geo, and I can do a, just a forced your system with self contained equipment with geo. And the comparison that on the, on the, on the, you know, it compares with residential site type systems in the sense of usually it's a gas fired furnace and, and then a coolant coil. And because of that configuration, I don't get that reheat function on the other side of the coolant coil coolant coil sits downstream of the heat of the gas heat exchanger. So I can't pre cool the air and then warm it back up with the gas fired heat exchanger that doesn't work so then I have to introduce another piece, either hot water coil or electric coil which costs a lot to operate. I have to introduce that piece downstream of the coolant coil. So it's just a little trickier. You can do it. Sometimes what we'll do is we'll, we will work on some 1840s. houses restoration in Nabu, Illinois. And, and we did geothermal but we had no place to put duck work and so we had to use what's called a refrigerant variable refrigerant flow system which is a fancy fancy box it's a box in the basement and refrigerant line sets run up to to you and sit in the attic. So I only have to find room for that refrigerant line set, but I can't get any reheat control on those. So I have to introduce reheat on the other side. And it's, it's a smaller system and humidification is trickier because it's usually a small ducted systems. So it's just gets harder. It's certainly doable. But, but, and then to really get really good control of that seasonal drift, then you really need a building automation system where I can put in different thresholds for, you know, because, because that because what what happens is I'm sure you know is that it's, we usually will have a lower humidity in the winter outside the space, because we can only achieve so much before the building starts to basically say I'm done. You know, we get conversation windows. If you're getting conversation windows you like to get a conversation inside the walls. And so you have to be really careful about. So there's usually a maximum humidity that's outside the range and historic building is often outside the range of what you'd like to see, but it's better than it would be if you didn't do anything. And then on the other side, it's pretty easy to get the humidity out again with the system concept. But, you know, you, a building automation system can do a little bit better job of adjusting that set point to what's reasonable at the various times of the year, whether it's winter, spring, summer, fall. But the simple thermostat does a pretty good job on the on the self contained heat. And, and we, again, we're trying to shave the peaks off that the high. I can get rocks out of temperature control, at least at the thermostat location so if it's if if I'm if I got a simple system and it's one box and one geo heat pump or furnace air conditioning, I can I can I can wear that thermostat that it's going to be within a half a degree of set point almost all the time outside that range. The relative humidity is extraordinarily challenge, because it's influenced by outside it's it's influenced dramatically by how much infiltration I have into the building. So an outside air, it comes in. And, and so one of the things we we we recommend is usually on historic properties we usually recommend. To create a temperature humidity campaign be introduced before you make an intervention, and then keep it going, and then, and then continue monitoring then after you've made your intervention.  And, and when we do that, we still see, you know, because it's still driven very much by outside conditions. So the less the better I can do about infiltration control arrow infiltration control. And if I can avoid having to bring in outside air into the system, then the better control I get. But it's interesting, I did a study a long term two year study, another NIH grant at Naper settlement in Naperville here in the Chicago area. And it's a cluster of historic buildings that have been brought to this estate site so the original buildings as beautiful brick mansion. And then they have all these, these, you know, things you typically find in the village, you know, that generally been existing buildings have been brought there sometimes replicas but so you got the lawyer's office is this brick house that you stand inside, and you can literally see to the outside through the clabbered site. It's that bad. And then we have a majoring house it's two stories. And it's, it's, it's pretty well put together, and but they're both about the same age. So we did it blower door tests on those so we try to figure out how how much infiltration we get. The house did pretty good, almost a modern standards acceptable which is not uncommon because the only place it's going to leak out is around the windows and doors. And the mace and that frame house was had about four or five times the recommended level of infiltration.  The systems were never really designed to house artifacts. And so the worst system we had in the entire complex with the warehouse designed for artifacts. The best system we had in the summer was the house that had so much infiltration, because the system was constantly on and so it was constantly removing humidity. And so I was, I was flatlined on the humidity, it had better performance less time out of range than any other building on the campus. In the wintertime, of course, it was just the opposite was this driest could be because I had all that air. So the recommendation was take it offline in the wintertime with the temperature drop to 40 degrees and do, you know, humid static control, which you let the temperature drop and the relative unity comes up. It comes within range and you just take it offline as far as tours go. So, so we weren't able to do minimal recommendation that required minimal intervention to the building and still get decent control when they needed it. So it's, again, it's that approach of sometimes some every building is unique and different, but you really have to look at it and you have to study it to spend time at the building. And you have to, you know, data is a powerful thing so before and after. Well, I love to end on a sort of energizing inspiration note. I know you're more of a like, you know, engineer type but I'm curious if you have any thoughts on just how you know how the like preservation and, and cultural institutions can can lead in sustainability is there sort of an area where you can really, yeah, innovate and I think as a, as an example to the general population, because let's face it, you know, the majority of housing stock in the, or building stock in the country is old. And it's maybe not 120 years old or 100 years old. Maybe it's only 50 or 60 years old but usually it's still built, like, you know, not well as far as insulation and current sustainability practices. So as an example to a community. It's, it can be very beneficial to show them how you can integrate modern systems into historic buildings without destroying the integrity of the building. And, and it can be done a way that's not offensive it can be done in a way that's maybe even aesthetically pleasing if you do it right. You know, very little aesthetic impact. You can improve, you know, a lot of these sides are gorgeous, you know, in the summertime people like to wander around the gardens that are there. And then I got to be convincing that they're making this horrible noise. And so you can get rid of all that.  I think primarily as it because also you're, you're serving a public and you have an educational component to most of these historic properties. And, and so, so again as an example to you can be an example to the community of a way to be sustainable even in an old building and take the steps and the best projects I think are the ones that integrate that component, because it's not just putting in the system, but putting in the system correctly. Because if you do it wrong, you can do more on any good. So it's really important to do it correctly so you can be a cultural institutions or stroke properties can be a real community asset and demonstrating and educating the general population on what you can do. Super inspiring to me. I can do it on their budgets, the good stewards of their buildings and sustainable practices. That's the best example you could hope for. My gosh, well on that note, I feel my heart is warmed. I so appreciate you taking the time to speak with us this is absolutely mind blowing I like have to process and probably rewatch this just. Yeah, sure. If you got follow up questions please come has a date to reach out. It's important to me to help inform and educate. Because, you know, there's way more buildings and I could ever possibly work on out there and helping prevent mistakes being made, because you just got to find the right people to do it and there's people like that in most communities. I mean, not as many engineers but a lot of these contractors really know their stuff. And so, although you hit stroke buildings tend to be special so you're trying to make sure you do it right. Well we thank you very much for your commitment to this work because it's really great to have, you know, people like you as a resource so thanks again for speaking with us and I'm sure I'll let you know when this is up and everything. Yeah.


This may be a shock to you, but Lightyear is in fact a spin-off of the Toy Story property featuring Buzz Lightyear's lead character. Yeah, I know. You heard it here first. Now the big question is, does the space ranger get a worthy first outing? Or is this character better served being shoved back in the toy box? Let's find out in this review. To mediocrity and beyond. If you haven't subscribed to the channel by some of the knowledge I dropped on you in this intro, you're definitely gonna want to do that now because I'm gonna hit you with another one. Did you know Tim Allen originally voiced the character in the first four Toy Story movies and some of the shorts you can find on Disney Plus? I know. I know. Subscribe already. Here he's voiced by Chris Evans. Why? I truly don't know. I guess they wanted someone a little bit more youthful. It does beg the question, why does the official toy Andy plays with not have the voice of the actor from the film? Even my son's crappy Iron Man toy has Robert Downey's voice going, I'm Iron Man. That thing doesn't even bend its knees. You're telling me a top-of-the-line action figure with tons of bells and whistles, retractable wings and whatnot can't afford to pay Chris Evans to throw a couple lines in the toy? Come on! Chris Evans does a fine job voicing the character at points. It almost sounds like Tim Allen's doing it, but he's not. I can assure you he's not. But I like to think of myself as a positive individual, so let's get some of those out of the way first. Number one, beautiful looking movie visuals, top of the line of course, the detail, the animation, blah blah blah. It's Pixar. This is such a waste of breath for me. I mean, there's nothing bad to say about the visuals, although I still have some, but we'll get to those in a little bit. And the same can be said for the audio. Lots of throwback sound effects you're going to hear to things like Simon Says and other stuff that I can't remember. Well, why 90s sounds? Well, that's when this fictitious movie takes place, inside the fictitious toy story world where Andy went to see a movie that would inspire him to buy the toy. Now, Andy's not in the film. I guess that's a spoiler of something that's not here. You can wait as long as you want to the end credits or later. He's not showing up, okay? If you were looking forward to the Pixar heart tugging moment where he and his dad go to this movie together and bond and it would have been brilliant because it came out on Father's Day Weekend. Yeah, that doesn't happen. There's pretty much no heart tugging emotion to be found at all. That's as much of a spoiler as I'm going to give. There are things that could be revealed that I won't, but I don't even care enough to talk about it. This is one of the worst Pixar movies for me to date, okay? And I don't mean to date like go on a date with it. I mean to hyphen date. And it's mainly because it's so uninspired and dull across the board. It cherry picks concepts and ideas you've seen countless times. At some points that comes off as an homage and at others, it's just a straight up rip off of a film like interstellar, which is far better. At one hour and 40 minutes, the movie's too long. I could have sworn it was two hours and that's not good. That's not good when a movie drags that much. The middle portion of this film is such a slog. The film is actually very enjoyable for the first half hour. It's when the rag tag crew gets introduced that I just don't care anymore. I'm so sick and tired of the trope where we need to have a klutzy shaggy type character. It works in a comedic show like Scooby-Doo or Chippendale Rescue Rangers because it's light. It's fun. You expect characters to make mistakes and for a zany sound effect to take place. But when you're dealing with something more serious, having a character that's just aloof and downright stupid is not fun to watch. It's frustrating. And there is a character like that in this. In fact, there's a whole team of them. As these dipshits continue to screw things up for Buzz Lightyear, I just kept thinking, wow, it's no wonder Andy never bought these toys. It's no wonder they weren't flying out the shelves. In fact, it's little wonder why they didn't even show up at all in the originals. Almost like they didn't exist when those came out. I won't outright say this is a bad film, but it's one that I definitely don't want to watch again. I don't like cars and I prefer to see that over this. That's where I sit. This is above the good dinosaur, but not much in my book. And that's like bottom tier Pixar for me. I know some people like that film. Okay, fine. Whatever. If you want to take your kid to this film, there's really nothing scary. There's just kind of nothing here at all. There's a cute robotic cat that steals the show. Anytime a movie's really mediocre, it's always the cute animal that steals the show, isn't it, Captain Marvel? Now there are going to be some concerned parents out there that are offended that there is a scene featuring two women kissing. It lasts for like half a second. It's basically a peck. That'll be enough though. And consider this your warning.  They have a child. That's, that's kind of it. I feel like it's Disney checking a box. They're like, oh, we got it. We got a gay character in a Pixar movie. We can move on now and pat ourselves on the back and the film isn't any better for it. It's just kind of useless. I personally couldn't care less. What insults me in movies is when it feels like pandering or when it feels absolutely out of place. And here's where I'm going to nitpick a little bit. And, but there is a point to it. Okay, the movie came out in 95 inside of this animated Pixar film, right? Andy goes to see this when he's much younger. A, movies that came out in 1995 were far different.  Okay, that's just didn't happen. Now I understand this is a fictitious world where toys can talk and come to life. So maybe in that world, things are more inclusive. And that's fine. But I didn't see that character flying out the shelves in the Toy Story films. I didn't see a single kid picking out that black, strong, female, lead, gay character from the toy aisle. That didn't exist. B, and this is a hang up I had with Toy Story 2, which I love. Andy's watching a movie that came out in 1995 that has far better special effects and technology than was comprehensible then.  The graphics of the video game look exactly like the graphics in the movie. So the video game the toys are playing at the time has visual so advanced it mimics the real world the toys are living in. That's preposterous. Had Pixar really wanted to take a chance with this film, they would have made the animation style akin to something in 1995. Yes, there are robots in some of the tech that's very old school. They're trying to give it a bit of a Star Wars vibe to it. But I was hoping there would be animation that was a little bit more herky jerky. Like maybe the aliens look like they're created with stop motion. Maybe some of the movie sets are really fake done with CG of course. But they can do that. That would have been hilarious and a brilliant kind of like meta commentary of how much things have advanced. Like look, we made a movie inside of a movie but also within that movie the effects are dated like movies that it's representing.  But this film doesn't have anything important or profound to say. It's just coasting on mediocrity through and through. I think I touched upon the end credits in this film and I want to let you know there are three of them kind of.  They're absolutely not worth sticking around for. One takes place a little bit towards the middle of the end credits and then the final two are at the very very end. I'm talking Pixar logo comes up again and then the shot takes place. It's it's so not worth your time. And that's exactly what light year is. Not worth your time. Until it eventually shows up on Disney Plus and you have nothing better to do or you want to keep your bratty kids entertained for an hour and 40 minutes throw this on. Alright those are my thoughts on light year. Let me know if you saw it and what you thought in the comments below and please think about subscribing if you haven't as I post tons of movie and TV show related content here each and every week and I'd appreciate having you stick around. Now if you excuse me I have to saddle up on my horse and ride like the wind bullseye. I can't wait for the woody roundup TV show on Disney Plus that will inevitably happen. We're just creatively bankrupt all around aren't we? See you later.  Thank you for making it all the way to the end of the video. Since you seem to kind of like what I'm doing maybe possibly you could maybe also think about becoming a patreon at patreon.com slash adam does movies or you can join right here and become a youtube member via that youtube joined button. You don't just get the privilege and honor of helping a youtube creator grow as an individual by becoming a member but you also get access to exclusive videos. Some of them are borderline amazing according to my mother who doesn't actually watch them but she's very supportive. Although she's not a patreon. Probably should call her about that see what's going on. She can afford it.


I'm Mary Brighton, integrative nutritionist at Hackensack Meridian Integrative Health and Medicine. The food and nutrition component of integrative medicine shares the philosophy of focusing on the whole person. It's not just about the recommended number of fruits and vegetables you're eating or whether you're getting the nutrients in your food. We focus on looking at your lifestyle and the environment you're living in and how that is affecting your health. During an integrative nutrition consultation, you meet with a nutritionist. We develop a very strong relationship between the person, you and the practitioner, the nutritionist. We conduct a very thorough nutrition assessment which looks at your medical history, your food and dietary intake. We look at your current lifestyle. We don't just look at what food you're eating, but we look at everything that's going on in your life. An integrative nutritionist helps persons with sugar and balances. For example, pre-diabetes and diabetes. We also help manage autoimmune disorders, mood disorders. Whatever reason that you need to come and see a nutritionist, we are here to help you reach that goal of where you want to be. Anyone can benefit from a nutrition consultation, whether you have a chronic disease, whether you just want to live healthier, we can help you get back on that right step.


So, what is wrong with this photograph? Well, if you know a little bit about photography, you might say this is under exposed, under exposed. And this is a term that has to do with, and it's related directly to today's topic, which is exposure. So, it seems like it might go together, exposed and exposure. But the question is, what does this mean? What does under exposed mean? Or what is exposure? Exposure is a way of measuring how well you have done getting the right amount of light onto your film. So, imagine over here we've got a piece of film or a digital sensor, just light sensitive, something I always seem to use the little brown squigglies for that. So, you've got your camera, you've generally your film or your sensor is hidden away from all the light. And when you open up your camera by taking a photograph, it pops open the shutter, light rushes in, and it's exposed, so it touches your film or your sensor. And then it creates a sort of either a chemical or a electric reaction where the light interacts with that surface, and it creates then an image as a result. And that image is measured as, is measured partially for its exposure. That exposure is just a measure of how much light it picks up while the shutter is open and while the sensor or the film is exposed to light. So, this is a really important thing because exposure has to do with the quality of an image, how it looks. You want to have good exposure so that your photographs are crisp and clean and look nice. Well, now what does it look like when you do the opposite? It looks like something like this. This is overexposed. Overexposed just means too much light fell on the sensor or on the film, and all the colors are washed out, all the darks are gone. You can see the light, the darkest thing you have on here is sort of still a pretty light color. So, that is overexposed. Now, this is somewhere closer to the correct exposure, so still not perfect, but a little bit closer. And you can see here that now I've got tones that range all the way from a high white, so a very bright white, down to a pretty dark true black, almost. So, you know, we're here especially the true blacks and lots of things in between. Now, tones are not actually colors. Tones are sort of like a range of, I guess, the amount of light that an object gives off.  And everything in between is a part of the tonal range of an image. And what your camera is trying to do when it's looking for exposure is it's trying to create sort of a contrast range that has a little bit of dark, a little bit of light, and lots of in between. So, when your camera looks at this scene, it wants to make 18% gray. It sees everything in black and white, and it's like, we want to make it 18% gray so that everything averages out. So, if you were to take all the color or take all the tones, so you take the black and white version of the image and throw in a paint mixer, the resultant color would be 18% gray if your meter had it its way. But sometimes that doesn't always match reality. And in reality, this scene had a lot of darker tones in it and a lot of lighter tones. But ironically, when it sort of works out, it comes out to about 35% gray. So, here you can see the problem that metering and exposure create for photographers. You've got your camera wanting to make 18% gray.  It's actually, if you look at it, it's about 35% gray. So, you want to try to find a way of tricking your camera into exposing correctly for the 35% that it actually is, not the 18% that it wants to make. Let's try and now to make really quickly sort of a diagram of what is actually happening here. Let's imagine we've got a stool here and it is a three-legged stool. So, you've got one, two, three legs on your stool and they're kind of funny legs. Sorry about that.  This is going to determine how fast the photograph can be taken because you've got a certain sensitivity on your film. You're also going to have your shutter speed. We're just going to write shutter. This is going to be how fast the photograph is taken. So, how long the camera is open to the light.  And this is sort of like the size of the window that's allowing the light into your camera. Now, you can imagine this as a three-legged stool where if one of the legs is too short, the stool falls over. So, the correct exposure is sort of like sitting, is sort of the flat stool that you imagine that you can sit on or put an egg on and it won't roll off. Now, if any one of these things is incorrect or not matching, then you're going to have a problem. Your stool is not going to be flat or usable, really. And sometimes this will be called the exposure triangle. So, these three things are all related. They're variables of good exposure. And if you change one, well, then you have to change others. So, just like if you were to shorten one of these legs, you would then have to shorten all of the legs or you'd have to sort of adjust them so that they would all create, then, a flat stool. A lot of times what a lot of photographers when they're first starting out, they will then first lock in one. So, for example, I always, it was really easy back when I started, ISO was always set by your film.  So, what you're trying to do when you're aiming for good exposure is you're trying to fill the film with a certain amount of light that it needs in order to expose the photograph correctly. And you can kind of imagine, then, the film or your sensor to be sort of like a bucket. So, we're going to write film or sensor here. And your bucket, you can change the size of your bucket. So, your bucket can be big, it can be small. And in this case, you could think of a small bucket as being a film with high ISO. So, it doesn't take very much water to fill a very small bucket. It doesn't take very much light to fill a very sensitive piece of film or a sensor. So, something at ISO 800 is like a very small bucket. So, you're trying to imagine that you need, you know, maybe this much water in your bucket no matter which bucket you have, if it's a big bucket or a small bucket, you need to have it, you know, maybe reach this 70% full level or something like that, say. And you're doing this with a pipe. So, the pipe is running from here to here. You've got your pipe right here. And you're running water through it. And you can change, then, with this, in this setup. You can change how long the water runs. You can change how big the pipe is. And you can change the size of the bucket. So, I'm going to make sure it makes inside. Now, the length of time that the water is running into the bucket is sort of like your shutter speed. So, just like you can open the shutter of your camera for a really long time, you can open the faucet and let water run for a really long time so that it fills up the bucket. Even if you have a tiny pipe, your pipe could be really mini. It could be like a F-22 pipe, so a really tiny pipe. But, and it could take, therefore, a long time for the water to go through and fill up your bucket. But, at the same time, you could also maybe spring for a bigger pipe, so you could maybe make the pipe like this big, and then you've got tons of water coming through, which, therefore, means you don't need as much time to let the water run through, or in this case, you don't need as long of a shutter speed. So, you can let more water in more quickly. That's really important. So, remember that your aperture is like the size of the pipe. Not the length of the pipe, but the width of the pipe, how much bandwidth it has, how much water or light, in the case of a camera, is able to pour through and into your bucket.  And all of these things are adjustable, so you can run the water longer, you can make the pipe bigger or smaller, and you can change the size of the bucket.  So, you have these three variables, and you have your aperture, your shutter speed, and your ISO. Each image has an interesting and unique combination of these things. So, right here, we've got our ISOs. So, say ISO, shutter, let's put shutter with SH, and we'll have our F stop right here. Now, this image to the left was taken on a bright evening at ISO 200. Its shutter speed is about a 500th of a second. And it was taken at around F 5.6. So, it's pretty standard for an evening, bright day. That's about a pretty average shot, really. This shot was the Irish Cottage. It was a cloudy, rainy day. It was ISO 200 still, though. I took the shot, though, at a 100th of a second. And it is also at F 5.6. So, you can see here, one, you can see here, that we've got our, we've got the same bucket. So, it's the same 200 size bucket. But in this case, I let the water run on the Irish Cottage. It ran a lot longer, 500th of a second and 100th of a second. So, that's a lot faster, that's a lot faster, this image here of the abandoned airport than of the Irish Cottage. Because I didn't have as much light. So, I just didn't have as much light to expose the film. And so, I needed a little bit longer to do that. Now, I'll take a look over here at the Berlin situation. So, here I'm standing on top of a house looking out over downtown Berlin. You can see the TV tower is very far away. And that is actually taken at a 400 ISO. Shutter speed was 115th and the F-stop was 5 points, I'm sorry, 3.5, I need to concentrate here, 3.5. All right, so, what's going on here now? We've got a bigger bucket, first of all. So, the bucket is, sorry, a smaller bucket. I need to remember my own metaphors here. So, you've got a smaller bucket. So, it takes less time to fill that bucket. And we've got now more, the water's running for even longer. So, we've got a 15th of a second which is a lot more than a 100th of a second and even more than a 500th of a second, so a lot more. And in this case, the pipe is actually a lot bigger because we've got a smaller number. So, a smaller number means a bigger pipe. And in this situation, we've got a 3.5 F-stop which means that it's almost one entire stop of light difference between here. And this is a very, very important concept. You will all have to memorize from the shutter speed lesson and from the aperture lesson that you've got sort of these variables. So, for F-stops, for example, you have maybe F-4 and then you have F-5.6 and they're one stop away from each other. Really important to remember, so that's one stop. You also have, for example, maybe 125th of a second or a 100 and 250th of a second and you've got 125th of a second. Now, that is also one stop of light. So, shutter speeds can be one stop of light. So, shutter speeds can be one stop of light and F-stops can be one stop of light away from each other. And that is a really important thing to remember because another important thing is that your ISO speeds are also one stop apart. So, if this was 100, for example, right here instead of 200, you would then have to change this shutter speed and cut it or you'd have to cut it in half or you'd have to double it, I guess. So, it's kind of hard to explain with these numbers but you would have to move, if you were to move this down to 100, you would have to move this shutter speed up to 250th because you have, in this situation, you have doubled the amount of time that you need to expose that image and therefore you need to either double the amount of time or if you don't do that, so say you were not to double the amount of time that you need, you would have to add more light so you'd have to move this to F-4. So, you've moved one stop here. So, we've got minus one stop. So, now we need to add a stop somewhere else or so we've added our stop here and the same thing if you were to do that, you know, maybe to this 400 here, say you were to say, take this and make this 100 speed film. Well, that means that's two stops. So, we've got minus two stops here and that means you need to make up for it somewhere else. Well, you can't really make it up for it here because maybe your lens isn't faster so you'd have to just, you have to just do it with your shutter speed. So, that means you'd move down to an eighth of a second and then down to a quarter of a second. So, you would already be at a very slow photograph right there. So, here you've got your plus two right here. So, it's always a matter of remembering these distances and that's why it's important to go back and take a look at what the difference between F4 is and F5.6 and F8 and remember the traditional stops, the traditional full stops so that you know for each photograph that you're taking, how many stops you have to move each of these variables when you're shooting manual photographs. All right, so that was your lesson about exposure and check out more lessons like this at alversity.org.


Alrighty, so looking at this here, I checked your email and I see what you have here. There's some stuff in your settings in terms of clipping plane, far and near so that you don't have that kind of clipping and strobing there. We have this, you got that, that's really cute, I like the animation there. I like how you go off with that leg first, the drive on the hair, I think given the height and the zippiness you might be able to go even lower where it's not just a stretch and then kind of a bounce through there but maybe even curve your body even more and have the head lower and imagine arms out like that and into that maybe and then I would do something where if it's that strong boom that it's not just here but you go up and then maybe one foot goes up and then when it comes back down just a bit of a different stance that your feet don't feel so IK boom locked while everything else is bouncing. This one is tricky, watch out, just because we're turning around I know you have it in terms like video game mode but there are a couple things, A I would also add maybe some more rocks throughout so that when we have movements it's not too bad I mean we get to see one but sometimes it helps when you have something like this where foreground elements bigger rocks so we understand really exactly when the camera is moving because once you're in here you don't really know if it's any sliding or not because then that's also in the air but let me go back just kind of throw that out there because it was because of this because of the constant sliding so I'm not quite sure what you want to do you're just talking about camera in an email that the camera is killing you and it's looking at the animation I'm not quite sure what the context is of this you're just saying I'm not sure if this is like what this is for and what your focus is like is this supposed to slide you want it to be sliding you want it to be video game you wear sometimes the contact is not super clear they just move but they're sliding going on or do you want this to be actual taking steps that are locked I'm not quite sure the tricky thing about something like this is when you have no legs in there you have to be careful when you have overlapping shapes like these where I would try to time it so that they don't overlap then it gets kind of it's kind of weird to I don't know what's going on also the shape is fairly similar there's more white than yellow here and I should probably change color around here but sometimes it gets kind of tricky to know what is front and back just quickly this little moments where I feel like it could be cleaner in its silhouette so we understand what is going on and also it gets very busy with this background so I'll probably put in the hardware fog or something or something where it's kind of minimizes give some haze so that this character really pops also carefully overlapping with the UI elements there so it's kind of cleaning this up a bit also looking at this here you have a lot of room here so you can imagine that what if he's actually this low throughout and it gives us you know he doesn't really hit this section there but then it gets very beauty game it was kind of cyclicaly that fills a bit kind of harsh drop I don't like it kind of depends what you want to do I'm not quite sure like to me with this with such a height thing would almost be jumping a bit further and again we're kind of missing what's going on because we have that overlap there so either have him also go maybe further this way the later camera so that this happens here but again it gets very busy you always get it's hard to see what is going on with all that stuff there so I think simplifying or you can also just take all of this out I know it's there it's just kind of tricky when it's that busy that all works so there's some moments where again for silhouette you might have to adjust the run it's interesting that you're doing this so we can see the arm that's kind of clever but it's that only when it disappears I think it is right was like your beginning fades of this appearance okay so like a thing when it runs well it's kind of cleaner here this gets a bit too straight I'll bring out the feet maybe this way just pose wise cute ends maybe have a little bit more for a stronger bounce since it goes up and down but it's also a slightly opposite you're doing this that and then it land ends like this where it's and is this high this would be really stretched out and then really far out there where I bring the feet just a bit closer into regular stand that's cute at the end too and maybe this could be something where you might have a slight dissipation down then into up into that and that's cute though it's cute at the end so you also set me the Maya scenes because of the camera the thing is I don't know what you're trying to do you're saying you attach the camera to the path but it comes slightly different than it used then it's supposed to be like this seems like there's not much going on in terms of the camera does like to me I would just kind of translate it over my question why this will be on a path I don't know I feel like to help you with this I'm gonna need more information I'm gonna write you in the email but for now this is what I have in terms of just animation thoughts but again you can let me know exactly what you're planning to do and what what this is for how far you want to change things in the background maybe a blur or haze or whatever it is a little bit more information will be great right thanks all right there's an email you can sign up you can start whenever you want you can submit whatever you want you get 16 submissions either way like and subscribe would be awesome all right thank you


Hello everybody. My name is Felix Becker. I work for Source Graph on the TypeScript support, and maybe you've seen my GitHub handle on some GitHub issue, if you're active in the TypeScript community on GitHub, because I love TypeScript. TypeScript is one of the greatest programming languages I've ever used, and it seems especially recently a lot of people agree. This is the Stack Overflow Developer Survey from last year, where TypeScript made it under the most loved languages. This is the NPM Developer Survey from last year, where now 46 percent of all NPM users stayed there already using TypeScript. So, I got one and one makes TypeScript so great. I think there are many things that make TypeScript great, but the one thing that comes up over and over again is the tooling. How it makes the developer more productive, not as like a side effect of having static types, but as the first class goal and focus of the entire language. You can see this in the design decisions and in the design goals that the TypeScript team has set out, not striving for that 100 percent correct type system, but always for the biggest developer productivity gain. When I picked up TypeScript for the first time, I was absolutely blown away by how much faster I could write JavaScript code. Getting autocompletion on symbols, jumping the definition on fields, finding references to functions, getting compile errors and warnings and even automatic fixes for them, even more advanced refactorings like renaming symbols, or converting an entire promise chain to an async function. That's a very recent feature. What's great is that all of these features don't come from your IDE or editor, but they're open source and built by the TypeScript team themselves, and shipped within the TypeScript NPM package. So when you NPM install TypeScript, you don't just get the compiler, you actually get language service APIs that provide these features, and a standalone executable called TS server that editors can run to provide these features. That TS server is not just a one-shot CLI command, like you may know from ago has a bunch of these. But it's a long-running RPC server that the editor spawns, and it then sets up file watchers to continuously compile your project in memory. When the user wants to invoke something like go to definition, the editor sends a very simple JSON message to that server, telling it, hey, can you find me the definition of this symbol at this line at this offset in this file. TS server resolves that and then sends a JSON message back over standard out. That contains where the definition was found and at which line and at which offset. What's great is that TS server makes it possible that no matter what editor you're using whether that's VS Code or Sublime or Atom or Emacs or VIM, you get all these features and you have the exact same experience when you're working on your TypeScript code locally. So in this talk, I want to take it a step further, and I want to ask what if I could get all these features everywhere outside of my local Dev environment. For example, on the millions of repositories on GitHub or even while reviewing code in pull requests. What if as a library author, I could find references to a symbol that I have in my library and find other repositories that use this and maybe figure out, oh, can I safely deprecate this function? What if as a user of a library, I could jump to the definition of a symbol inside another library and get taken to that source repository to understand the implementation of it, or maybe I catch a bug and can immediately do a pull request. What if I could apply these cool refactorings like converting a promise chain, not just in my local project that I've checked out, but across hundreds of repositories with a single click online. The good news is we can do that. First step we need to do for that is, instead of running TS server locally on the user's machine, we run it in containers. When you open a file in your browser on GitHub or any other code hose or sourcegraph.com, we connect to that server, not through standard IO, but instead through a web socket. Of course, it's not just that simple because given that TS server is running in an isolated container, the files of the project don't exist on the same disk as they do when you're running locally. But instead they exist on the code hose and they're shown to the user that way. So we needed some way to tell TS server that instead of looking for the file on the file system, it should get that project somewhere out of band. TS server itself, the protocol unfortunately does not support this, but a very similar protocol called the language server protocol, may have heard of it, or short LSP does. LSP was created by the Visual Studio Code team to standardize a protocol that provides these code intelligence features, basically in the same way that TS server does, but language agnostic. I'm pretty sure LSP was heavily inspired by TS server because if you squint your eyes, they look exactly the same. If you don't though, there are a few improvements in LSP. LSP is language agnostic. It uses the JSON RPC standard, which makes it a little bit easier to build on existing libraries for clients and servers. It improved request cancellation, and most importantly, it uses your eyes instead of the file paths, which you can see here. In most cases, these are actually URLs, because they tell the server how to locate the resource like a code file. If it's a file colon URI, the server would know it's on the file system, I'm going to read that from disk. If it's something custom like unsafe file colon, it would get that content from the client as that file is not safe yet, and we can teach the server a new capability, which is in the case of an HTTP URL, it should fetch that resource through HTTP. When we send the server our first message to initialize it, we tell it that this project is not located on disk, but instead it's located in a GitHub repository, and that it should fetch this from this HTTP endpoint. The server can do a bunch of things with these HTTP URLs. This is an API we built, but it's really just very plain HTTP that anyone could support. All it needs is when you do a get on some file in the repository, it should return that as plain content. You can do a head request to figure out if a file does not exist and check the 404 status code. You can do a get on a directory too, and just get a very simple plain text listing of the contents. You can even send an accept header to instead of getting a plain list, get the contents of a directory or the root in an archive format, like tar or zip. So with access to the files of the project, we can service request from the TS server running in a container to the user accessing a GitHub repository in a browser, and the user can do things like go to definition right in their browser. What's cool about this URL is that it doesn't matter really which endpoint hosts this, even though this is hosted on typescript.sourcegraph.com, you could give it any root URL of any service that supports these basic HTTP features, and it would be able to analyze that project. And since we can construct these URLs even for arbitrary revisions, we can even do this on pull requests on GitHub, where the red section of the diff always talks to a server instance for the merge-based revision, and the green and white sections of the diff always talk to a server instance of the head commit of the diff. What this does not solve yet, though, is code intelligence across repositories. We gave TS server access to the files, but it doesn't have any access or knowledge of the dependencies of the project. For example, if you're calling a function and then on the return value, you're calling another method and you want to jump to definition on that, we would need to know what is the return value of that first function so we can resolve that. And typescript knows these through type declaration files for the .NET crowd. They're basically like symbol files, kind of, and they contain typescript function and method stub definitions that only contain the signatures but not any of the implementation, which makes them a lot more compact and faster to parse. And these type declaration files are shipped inside normal NPM packages. So what we do is whenever we detect that a definition could not be found or a tooltip seems insufficient, we just install dependencies from NPM. And TS server is smart enough to detect that new files were added to node modules and consider these now available types. And we can even be smart, and since we're only doing static analysis and don't need runtime dependencies, we can only install packages that actually contain typescript declaration files, makes things faster. So now with dependencies available to TS server, you can trigger a go to definition on a symbol that comes from a dependency. And TS server will return the definition of that dependency inside node modules. The problem is this only gives us the location inside node modules in the type declaration file. And the user who's accessing the repo in the browser can actually view that because node modules is generally not checked into the repository. So to give the browser a URL that is viewable by the user, we need to map this file path to where it's actually defined in the source repository. So we need to figure out where's the source of this package. And luckily, the package.json contains everything we need for that. Almost all package.json have a repository field, that point to the repository. They contain a git head field, which is undocumented, but it exists, and npm publish adds it when you publish a package. And it's the head commit of the repository at the point where publish happened. And then there's the directory field in case the package is in the monorepo and it's not in the root. Which is an RFC to npm that was ratified just a couple weeks ago. So this is a very recent feature, but it's already being adapted by very popular monorepo packages. So we have the repository, the revision, the directory of the package. But the file still points to the type declaration file, which does not exist in the source repository. And this in the past is where we had to bail and do some hacky heuristic and just try to find that symbol somewhere with a fuzzy symbol match. But TypeScript 3.3 had a really cool new feature called declaration maps. And TypeScript always had support for source maps for the compiled JavaScript, which are basically just JSON files that contain mappings from ranges in that JavaScript file to the ranges in source files, which allows you to step through the TypeScript code with a debugger instead of having to step through the compiled JavaScript code. And declaration files are basically the same thing, but they're instead of mapping the JavaScript file, they map these signature stubs in the declaration files to the positions in the actual source. And we can read that.d.ts.map file to map the declaration file to an actual source file and a new position. And with that, we have everything to construct a full URL, the repository, revision, directory, file path, and the new position, which means you can even do this go to definition and jump to a completely different repository right in your browser. Now even more interesting for a library maintainer, in my opinion, is to do the inverse, which is answering the question who in the universe is using this symbol? Let's say I have a library and it contains a function. I'm interested in how that function is being used or whether it's used at all. So that's what we call cross repository find references. And let's say we want to find references for a symbol in a file. The steps are basically the exact inverse of what we did for global definition. We find the closest package.json to figure out what package does this file belong to. And then we need to figure out what other repositories or packages depend on this package. And luckily, NPM has an API for that and it's documented on Stack Overflow. So it's a raw couch DB query that you send to some legacy endpoint and you get back a very weird JSON structure that eventually reveals the information we need. So we can use this to get all the dependents of the packages and then for each package use the repository fields again to figure out which repositories these belong to that we should search. So then for each of these dependents we don't actually know yet whether these actually referenced a very symbol we were looking for references for. So for each dependent we create a new server connection and we ask the server for references to the URI of the definition. And the server recognizes that this URI it should get references for is not in the project that was initialized. It's an out of workspace URI. And it knows that it needs to find this not inside the source code but somewhere in Node modules. So it basically runs the inverse steps of go to definition. It finds the closest package JSON by walking up the URL and trying out different locations to figure out the package name. Then it can find this package inside Node modules and it searches for .d.ts.map files that point to this source file that we're looking for. And once we have that we can use that declaration map to map the position in the source file to a position in the declaration file. So it's like a reverse map. Now we're going from source to declaration files because this declaration file actually exists in Node modules, this doesn't. And once we have this position we can send that position to TS server as for references. And since we do that for a lot of repositories we then accumulate all the results and stream them to a client. So I can say find references on a symbol and get streamed references in completely different repositories than this one. Unfortunately it's not always sunshine and rainbows when developing this. One of the biggest pains with this is that TS server is very focused on this editor use case with very high level APIs that provide just the features that you commonly want in editors. Like go to definition, find references, find symbols. But it also means that it's kind of like a black box that only provides this high level API. And it does a lot of things asynchronously like compiling in the background and handling file watch events. So there's often no way to know when TS server is actually done with compiling something or when it has started to consider new files I just added. And that can be problematic when you're doing global find references where you initialize and then straight send another request because there's no way to know whether TS server is already finished with compiling everything. And until then it will just return incomplete results with no indication. So that would be kind of a wish for the TypeScript team to allow more hooks into figuring out when TS server is done with something. And a similar problem with Yarnit NPM given that it's a CLI tool, there isn't really any way to efficiently hook into the installation process. And for example, filter out any packages that don't contain type declarations. There's some light at the end of the tunnel though. Yarn 2.0 plugins should allow something like this where you can hook into the install process. And Yarn 2.0 is basically gonna be completely different in Yarn 1.0 in that it's not targeting the CLI use case first but it's gonna be API first and CLI second. So that's very exciting for programmatic use cases. And then another problem and big future potential is in ELSIF. Going through each dependent for global references can take a lot of time and can be very slow. It's fine for when you just want a small set of examples of how your function is used. But if you want like an exhaustive list of all the references to assemble, for example, because you need to refactor them then it can really take a long time. And that's where ELSIF comes in which is a very recent proposal by Microsoft. It's called the language server index format. And it's dumped by language servers. And it's basically like a cache. So you can answer LSP requests from that index without having to spawn and initialize a language server and it having to analyze the project. So that would speed up this whole fine references thing drastically. And last words, everything I just shown is live in production and you can try it out on sourcegraph.com. If you wanna try it out on GitHub or another code host you can install the source graph browser extension which is free and I should have put a QR code on there. And also everything I've shown is open source. Sourcegraph itself is open source. The TypeScript support is open source. You can fork it, contribute, look at the code. Hack around with it. Thank you for listening and you can ask me anything. No question, yes? Oh sorry, can you speak up a bit? Yeah, so in the case of private repos you need to somehow provide authorization to the language server to access that repo. One way to do that is actually to put the access token right into the root URL which GitHub supports, sourcegraph supports that too. So the public typescript.sourcegraph.com instance of the TS server can actually also be used to point it to private instances of source graph or GitHub enterprise and download private repositories. And you can also set up a private source graph instance that holds all your private repositories too. Free to try out. Any other questions? Sorry? Can you have enterprise one the same way then? Practice tokens? Yeah, any other questions?