Hi everyone, this is Jason here from Nathaniel. In this lesson, we are going to use the DAW Reaper and figure out a lot of ways to speed up our workflow in terms of rendering and in terms of editing. I am going to show you all of this stuff using some of my workflows and more specifically the workflow which I use to build my riffs and lessons for you all on YouTube. So basically whenever we shoot lessons and riffs in some cases because I am sort of in the zone or in a nice flow I tend to do a lot of tutorials and riffs sometimes at least three or four lessons sometimes on a good day six and riffs like what has happened today we've ended up recording 10 riffs so that's a nice day for me in the office so to speak. So the whole idea now is once you recorded 10 riffs you want to basically finish the job of audio you want to completely close it out and render it out for different purposes and for different formats. So in this case we basically recorded the riffs for two requirements we've recorded it for the purpose of YouTube which is a long version and we've recorded it for Instagram which is a very short version and that short version will need to be looped so that you know that's how Instagram works you have these real stories and posts so whenever you play it you don't want it to stop abruptly it may annoy the listener you don't want it to start from somewhere in the in a random point. So basically you need a render for Instagram as well as YouTube and as well as whichever other format you may require. So using the software Reaper basically I've just recorded my parts on to a couple of tracks and at the end of the day what I want to do is I don't want to spend time rendering as you can see so many files here and if you see before that you have a few lessons and there are few cases where I'm just practicing see this is just where I'm jamming and I don't want to render this this has a lot of my mistakes which I like to hide and this is what I want to render so basically I want to render this for my YouTube audience and which is you guys and I want to render this for Instagram which is for the Instagram audience which is at the rate Jason Zack if you want do come on board and follow me there and for Instagram we need to ensure that the length of the audio is under 30 seconds that is really really important or in stories you have to do it under 15 if I'm not mistaken and reels are you get a little more time I guess 30 seconds for a post it's about one minute or 60 seconds so a lot of challenges so it's important to visualize all this well as you can see I have a ruler I have some nice colors and I have what this lesson is pretty much all about which is these regions which you see here as you can see the regions are really well named as per what I'm going to render them and the whole idea is by the end of this lesson I'm going to render all the files in a multiple manner I don't need to do it one by one and more importantly don't have to keep checking in and seeing whether it happened whether it didn't happen hopefully also render it to the cloud so that it's also backed up nicely and then of course have a well-deserved lunch which I'm going to do right after this process okay so I'm just going to show you how I did all this with a fresh riff as we call it so riff is just a short piece of music which I make very often for the purpose of me trying to make music and do it at a fair rate as well as record a slow version and you know teach people how I'm doing it as best as I can so I have three versions which I actually play out I have a fast version or the normal speed version I'll just play you a sample okay that's the normal speed version and after the normal speed version ends we have a slow version which is this guy so you could follow the slow version and kind of learn it a bit easily you know if you can the notes will always be presented and so on and so forth and then at the end of it all I have a version which I try to do for Instagram which is the normal composition but I just played a bit later just for you know I don't need to edit it cut it inside and it's a bit annoying if you ask me and I honestly think Instagram cuts and Instagram edits in general have to be looked at a little bit differently you don't want to just take a little bit of your song and do it just for you know Instagram you know it it sometimes becomes a bit unprofessional so it's good to literally replay the performance it replay it for the next medium which it's giving which it's kind of telling you is only 15 seconds or 30 seconds so you have to compose for that or record for that you know for that requirement so that's basically the overview of what I'm trying to do so I'm going to do one file for my YouTube audience which is you guys again and I'm going to do another file for Instagram okay and as you can see I'm going to repeat this process for pretty much everything here and I'm going to show you how easy it's going to be and hats off to the software Reaper man it's it's open source you can use it freely you can and even if you buy it is just $60 which makes it the most affordable and I've been a Pro Tools user for a good number of years now I've started using Pro Tools in 2008-2009 I've really used it I've done I've cut a lot of records on it but Reaper has completely killed it right especially for things like this which I'm going to show you now mass rendering that's pretty much what this lesson is about mass rendering where in the most efficient way possible where you can just enjoy your meal right after the job is over okay so you have this entire region here this is what we call sorry this is what we call as an item in Pro Tools and other softwares you call it a region Reaper calls it an item so this entire thing right here is called as an item so the first thing you want to do is select the item and hit the shortcut control on the Mac or window on the PC and just hit R R stands for region so what it does right now is it's basically made you a region which you see here and off the top you just double click it and it makes you a selection okay if you ever want to play it back or whatever so how do I make a region again I touch an item of choice and I hit the shortcut control R on the Mac or window R on the PC and now you get yourself this region here what do you do with this now well we need to render it right so what Reaper will allow us to do is to render the region number 27 which you see here it will also allow us to render it in the name we want we can name it in our own way and it renders it exactly as per that naming specification which you give it right so my goal now is I've selected my item and however I want to trim this region so that it comes to my YouTube endpoint I want this to be my YouTube cut okay so it plays off that's pretty much it for YouTube so it ends there and here I want to start over for Instagram so what I do is I hit S to cut it maybe I can hit another S here delete that point in the delete that space in the middle and now I have an Instagram area okay I've set up a couple of shortcuts to color things up better Q2 color my items okay lot of shortcuts in Reaper obviously as you guys may know so this is my Instagram cut now what I could do easily is make another region right I could make another region and now I have my YouTube cut and I have my Instagram cut but I want to make this Instagram cut a lot more clever first of all I want to know if it's above 30 seconds right I want to know or if it's under 15 seconds depending if I want to do a story so for that Reaper allows this awesome feature on items you basically right click your item go to item settings go to display item ruler and now you have a ruler for an item man how cool is that you have a ruler for an item not just the main ruler for the item under choice so I want to see time in this item which is pretty much minutes and seconds so there we go right here so Reaper kind of tells me that the end of this Instagram cut is 26 seconds so I am in the clear here okay so this is going to be my Instagram cut but I wanted to be really nice and musical I feel so that it'll loop well the listener who plays it back may also hear it a few more times you will get a few more plays you know so let's see how it goes so let me just show you how you can make a really tight musical cut for Instagram okay so first step go to the very start of the region I keep calling it region because I'm a pro tools guy actually these are items okay so go to the very start as you see the ruler of Reaper will adjust you want to trim right to the beginning of the first hit or the first strike or the first chord you can even update your region now to go exactly there you can zoom in more horizontally and now if I play this guy back starts immediately so now at the end of it all I wanted to kind of loop so let's just actually hear this inner kind of a loop so we know the tempo and we know the general feel of what we're trying to do by the way to play it in a loop you have this looping button here which toggle repeat you can just touch that and anything you select will pretty much play in a loop let's see how it goes right so for some reason it's looping really well right for some reason it just looped I'm guessing that's luck so what you could do let's say if it was here right let's say if it was here and now if you play the end and now if I have to make a loop let's say I want to check if my loop is good so I'm going to select the roughly at the end annoying right I wanted to do I wanted to go immediately and it didn't happen so what I need to do is just tweak this a bit so a great way to do this in Reaper you have two kinds of stopping mechanisms in Reaper the first thing you can do is the spacebar stop what the spacebar stop does is it retains the playhead cursor from where you played it and now you play from the same point but what if you want to stop it at the point where it stopped or and then move the play cursor to the new stop location for that you hit enter okay on the keyboard so you have enter and spacebar two kinds of ways to stop things in Reaper spacebars to play always okay you saw what happened there at the onset or at the one beat I hit the enter button and you saw what happened there right it moved the cursor to that particular point let's just do that again it's good to also select your item get a feel of the timing of your performance and this is a very musical cut so that's that's my cut so what you can do now is you can do this awesome shortcut again in Reaper if I I've just customized it to a keyboard key which is X so whenever I hit X this is what happens you saw what what happened there I'll just undo and show you all this extra space gets trimmed out and it comes exactly to the to the playhead okay so I'm just going to hit X and you'll see all this trimming out this is saving you a lot of time bang right now you may be wondering what do I do from here I just update my region because this is what I'm going to render and there we go if you feel that loop was not too tight make it even more deeper get it even more as per your liking trim it you'll have to even trim the region quite like that I think that's the keeper that's the selection keeper you see how important the selection is the other point I'd like to make with these recordings is I've not recorded it on app on Reaper's time grid or I've not used a metronome that's just the way I've done this performance it's more organic or old school if you will so that was just to show you how you can do this from scratch now this is what I've ended up doing and trust me guys this whole process took not more than 10 minutes right actually it may have even taken lesser time it may have taken me more time to mix it than to actually because mixing is the creative job when you're in a door you want to focus your time on mixing right so what I what I've ended up doing is pretty much making all these markers and sorry regions barely took any time okay and what's also nice is you can give them colors I've colored my YouTube thing for pink colored my Instagram some kind of green so it's very easy and as you can see my Instagram cuts always have my item rulers in order to show that hey be a bit careful it's for Instagram they're gonna cut stuff okay so that's the whole deal I don't want to send it to my mobile phone and then from the mobile phone have to kind of make these annoying you know I just don't like using a mobile phone so anyway in this project I've done we've done quite a lot of work today we've recorded a few lessons as you can see this is not what I want to render I've already worked on this we've also done some jamming which I have not really bothered to make a region off because it's just for my reference but all this stuff is what I want to render the riffs and the Instagram cuts so you see I've named it all you have to do is go inside double click and you can name it and copy that tab it and you know name it really fast you don't have to necessarily type all this out you can just copy paste okay so I want to name all this and this is a this is 20 files okay this is not a joke you don't want to be sitting here and doing it 20 files one by one the world has changed and that's what Reaper thinks at least in comparison with some of the other softwares out there okay so now coming to rendering the shortcut in Reaper is command alt R or control alt R on the PC and here we go you have this really advanced rendering opt rendering dialog box and in the render you want to avoid master mix which it is currently I guess by default set on you do region render matrix okay this means it's going to render the matrix of regions which you are going to select and where is the region render matrix right here you just touch this button and I don't want to render this which I already rendered I want to just select these ones all you do is touch once and just drag your mouse oops it forgot that one that one that one little bit of a Reaper thing but anyway I hit render and what is it going to render it's going to render the master mix what if you want to render stems to send it to your producer or your mix engineer well if you want you can also render stems all in one go but right now I'm choosing to render master mix I hit the button render and what's also great is it's going to render the selection that is very important so the region is mass rendering everything I've told it to render in this case 20 files as per the region matrix and what is also cool it's also rendering the selection so the selections which I took a lot of effort to make are going to be rendered and I have that trust that it's going to really work on Instagram and it'll be a nice loop and I don't have to spend time you know thinking you know or checking it I just have to put it on my phone upload it and send it to Instagram it's great when you're working alone or if you have limited resources right so I'm just going to render it and now the the main stuff in rendering right the sample rate 48 kilo hertz the channels blah blah blah stereo wave file 16 bits that's the default stuff and now what's going to happen once you hit render as you can see is just going to render it one by one part by part and that's it it's going to just take its time I guess and do its own thing right now it's rendering region number one as you can see and as we all know rendering is a process I'm just going to quickly stop the render and show you a few more things which I forgot to tell you first of all file name you have these wildcard things here so under file name you want to select region so it's not just rendering 20 regions guys it's rendering 20 regions with the name you gave it okay and you can also choose a browse obviously and maybe render it in my dropbox folder which in this case is riffs 2019 right now why do I move it to dropbox for obvious reasons so that it's backed up to the cloud and I can share it from anywhere which I highly recommend so you it apply so this happens for any project you do and finally you just hit render 20 items and that's pretty much it you can then head over for your lunch head over to walk your dog have a shower whatever it is you want to do and when you come back to your computer all these 20 files are going to be absolutely done and dusted and rendered and named and good to go again this is Jason here from Nathaniel thanks a ton for watching this lesson on using reapers rendering features using the region option and a few things on selection little bit on editing and mass rendering if you will right if you haven't already do not forget to subscribe to our channel turn on the bell icon for notifications and also consider sharing the video leaving us a comment with other things you'd like to learn we do a lot of stuff on our channel we do production we do piano we do theory we do ear training and a ton of other stuff thanks again for watching cheers and I will catch you in the next one


Welcome to our exotic tropical boomtown of Honolulu Hawaii and we're dating the year 1969 and which person could be more characteristic for this era this golden era in America than the person you're going to see now on the screen from the first picture well so it's it's going to be John F. Kennedy but wait a minute it also looks a little like our co-host to Soto so maybe there's a little bit of both true what's what's the point here to so it was the point well that's not John F. Kennedy that is the Soto Brown in 1969 when he was getting ready to go to his second year of boarding school in Connecticut from here in Honolulu and the boarding school he was going to was the same one that John F. Kennedy graduated from in 1935 at which my father knew him as another student at the school at the time he was there a year before he was there oh yeah she was year after okay so so Kennedy was here ahead of my father but let's let's see what's what's the relevance to all of this well and then so yeah so let's do the next picture because then Kennedy the real Kennedy came here in 1963 but you guys didn't go why probably not well I don't my family and I did not go to see Kennedy's motorcade when he came here probably because my parents were Republicans and Kennedy was a Democrat but as you can see he's riding through Waikiki on Kalakawa Avenue and he came out here unexpectedly for just a really short visit for a mayor's conference and had a motorcade with thousands of people watched him in the same Lincoln Continental Converbal in which he was shot just months after his visit to Honolulu. That's kind of an astonishing and disturbing thing. A tragic fame this car and cars have been serving as the vehicle for exploration ever since we did a we did the shows and this is also our American or Honolulu top four of Steve Owes architecture and this is number four which goes back in time to nine to the late 60s here in Honolulu. So this has been various car-centric days right and and America had their sunset boulevards where it was cruising and this is certainly Kalakawa but then Kalakawa when you keep going ever aside west wise it turns into Alamoana Boulevard. So the building we're going to talk about we already see in the background but mostly people don't see it in this iconic shot that you took but number three people drive by and probably won't even recognize the building and before they actually see the building they you know this is what the building is actually about right the building is about parking the whole side is basically undermined with parking. And what's interesting is as you pointed out this is a protected parking lot from the wind and the rain it's also got open air to the easy breezy as you like to say but it's also hidden you don't see it from the outside until you drive in you aren't even aware that there is a major parking lot underneath this building. Excellent point if you this is why when you look at that picture it's very cleverly it's half submerged in the ground couple of feet and then there is this bellow straight panel so you can actually watch out while people from outside won't see the cars or barely the top of the car so it's it's very cleverly designed by the best parking garage from it's sort of as you can see here you don't see any cars it's all in the shadow right and it's and it's right where my thumb is right where my thumb is right there is the parking lot. Exactly. So number three is how picture I took a couple days ago which basically shows how we mostly drive by right we don't even recognize the car the cars we recognize but not the building and we might say well from this day and age where everything is about America superstar and people of no talent become stars or reality TV you know stars become president and stuff like that right yeah so in these days this this building might seem strange because it's so humble it's so subtle it's so nondescript it's unassuming and I would say that is a quality America was really good at background architecture not every building wanted to wanted to stand out exactly but if you take the minute which you did number four which is also a permanent background picture you can really see how sort of hovering how horizontal the building is very much so and it is an extremely unlike much of what's around it today and that's something we're going to get to at the end it's not vertical it's horizontal so what you see are parallel horizontal lines and something that we're going to get to is it looks like it is just one very plain box but in fact there's a good deal more to it than you can see from this yeah and finally if you guys haven't found out if your eyes aren't good enough like mine getting bad you know you can't see that little signage there so go to the next picture and we can see it clearly well how the project is called right that is the Ward Plaza and it is part of the entire Ward properties that are on either side in this case of Ward Avenue this is across the street from Ward warehouse which we've already discussed yeah and the Ward properties extended all the way from King Street all the way down to K. Wallow Basin and that's why all of those things today are still some of them are still named Ward after the family that originally owned this property in the 19th century and up until fairly recently in the 21st century and it was sold and where the sign was is actually sort of the the backside of the building although that's probably not a correct way to call it but we go to number six is so if you don't come and are someone who works there and you pull straight into this opulent parking garage but you might be a visitor and it might be raining which it does at times here there is a sort of driveway here where it's sort of very sort of almost like flamboyant you can say it's a port-co-sher oh that is the term and it's and it but it is intrinsically part of the building it's not just sort of a decorative add-on you can see that as you said earlier it protrudes out of the building and it's very much integral to the building in its appearance and in its entire structure yeah and so when you pull under and let's imagine in your 1960s Lincoln convertible pull under and the next picture then you make a stop and you get out of your car you're shaded from the sun and from the rain and you basically walk up this very wide staircase and it gives you this sort of very very sort of heroic feeling I we had when we were there in the last couple times to shoot these pictures right and you always so wanted to point out the characteristic the juxtaposition of the man-man in the natural environment right and we're gonna be seeing a good deal more of that but you'll notice the tree on the right of that picture well we'll see another tree that we can talk about so so maybe now we need a little bit of orientation and that's why these owners put up some signs and so we've been using them as sort of a navigational device in the couple shows because also in these projects which are like the Gesamtkunstwerk the total piece of artwork where the architect actually designed everything right including the signage short and we looked at the very rugged signage of where it housed the 70s just painting on wood yes whereas this one here number eight is very delicately designed you can see the signage here is sort of geometrically sort of the type has been crafted and and sort of customized tailored to the building right and that and I can tell you I can clearly remember when this building was new how distinctive that Ward Plaza typeface is and how unusual it was and still is very distinctive yeah yeah and here also shows so these are the floor plans for orientation here and when we say it's it's a building that's actually not quite correct right yeah it's actually got three different or I see four sections in the in the central part of the second floor but it again as I said from the exterior you see what looks like one big horizontal building in this floor plan you can see that in fact there are a lot of different spaces it is not one monolithic thing mm-hmm and that little thing that you say is almost the fourth one it's like the second to right picture in the middle picture at the bottom gets us to the next picture that's D and this is the next picture this is actually above that you know point where you get so majestically dropped off it's not just as you said a canopy which there are plenty good ones in Honolulu actually perfect ones that we're also going to do a show about in my future but this one here is very practical because there's also a utilizable space above right now notice to again horizontal and a very stark and man-made environment but down in the left-hand corner you see the tree and this is a clipped tree that's been clipped into a dome shape if you look at the front of the Ward Plaza you will see from Ward Avenue some very distinctive similarly clipped banyan trees that have that rounded dome shape now in one case on one hand that's nature juxtaposed against the starkness of the monolithic building but at the same time as you pointed out it's a very controlled nature because it's not just growing wildly it is shaped geometrically as well and these the same type of trees are also found clipped similarly at Ward warehouse across the street so it's a very sort of a neo-baroque approach correct sort of geometrializing our nature so the building one almost gets a little bit confused in a positive way and that one of the first things after we both send us out visiting it visiting it separate from each other you said Martin it reminds me of a piece of artwork of some years before from 1953 which is one of your favorite ones and yes we can see that next in the next and this is a picture by MC Escher which is called relativity and as a kid in the 1960s when I first saw this I was incredibly intrigued by all the different vistas the different planes the different sources of gravity and also the fact that not only are these people are all walking in different directions and within this space but you feel like you want to see into where these other places are you see glimpses of through doors and windows that you kind of want to go to and that's what I think Ward Plaza has it's exciting it's an adventure right it is exactly an adventure you want to explore yeah yeah and the next picture shows us one of the many plateaus against we can say this is the central Plaza the central plateau which is basically a white landscape and what intrigued me is that unless you know and and even if you know you forget that this is actually the parking deck right I mean this is a landscape this is a pristinely and cleverly which has a lot of occupational quality with these custom-made benches as you said with this nature and case and these troughs right very strategically placed and it's a very generous kind of landscape you almost forget that I want I want a boulevard which is closed and loud is there right the noise level and you have walls you have walls that keep you within a kind of a sort of a safe space sort of a protected space exactly that as we continue we do but then when you get closer and get to the buildings there is the next picture I call this using the German word gestalt rather than design this is shelter gestalt at the whole building that basically the overhangs that are correct characteristic for the building follow you while you progress and process through the building yes they do yes they do and again protection from elements and also feeling of sort of a feeling of coziness if you will because it's not a huge open expanse that you feel unprotected you have shelter and to that degree we started out and I said this is our exotic tropical Honolulu this is what makes this building exotically tropical right because it's aware of yes the things in the tropics to take care of which is shelter you from the sun and the rain right when the building does that in a very sort of successful way agreed right and not oppressive no absolutely not number 13 this is so American to me because I found that these sort of almost institutional buildings always have the sort of institutional identity and where you said before you know the servant this is sort of a lukewarm you know methodology that the servant spaces the basic they get consolidated in the building but they also get celebrated we talked about the water dispenser that is so American this is this courtesy of like we don't let you get dehydrated right he said in Germany not so much right right and other countries it's not we don't there they don't offer free water all the time and you pointed that out you know you know that better than I yeah yeah but it's also very efficient and effective to centralize the core you don't have it you know everywhere people have and it's almost like the outhouse way back in the early settler days right when you put it a little bit away because of certain you know reasons and so here you go on this little trip to the to the bathroom block and you certainly meet people and you can chat with people it's it's very very elegantly yes you know gestalted yeah yeah and but utilitarian as well absolutely yeah and so the next picture is probably sort of the most iconic ones that I was intrigued by immediately that where else there is a sort of coveredness and this sort of protectiveness and and sort of the landscapes are layered yes almost like tectonic plates stacked on top of each other yes but then there are these cracks there are these voids they actually bring light and rain and sundown once again into these places there are four people and for plants and for animals and you can already see a glimpse there next to the tree there there is actually someone there right and one of the earliest shows we did is about the international marketplace sis so the former one of the other one and after the show we realized something really sort of critical that there's a sign at the entrance and and if you come like a 30 in the morning we're hurt you're going to be asked to leave and come back at 10 because then when it's opened so this is like the the per the privatization of public space which is owned publicly and it pretends to be public but it's obviously private whereas this here is a commercial building this is private property usually you would see signs no trespassing not so much here the building is actually welcomes almost like trespassing in in a decent way and the next picture number 15 is I think I the guy was just there and you know he was sleeping so I didn't even couldn't even asking right and what are you doing here isn't that telling something right this is the building is holding true its promise to be a civic welcoming building although it's of private nature private type and as I was saying too there there's a sense of shelter and a sense of comfort in that you feel protected mm-hmm and not exposed absolutely in a good way and I have never seen when you were there have you I have not seen security no and I didn't see I agreed that I didn't feel like there was in this oppressive sense of yeah get out of here what are you doing here yeah I haven't seen it it might be there but it just seems like there's also no trashing the whole the whole urban nomad thing I'm surprised the urban nomads haven't discovered it like to settle there and there is probably some enforcement that they don't so most likely but again once again it's it's it's it's pleasant and and maybe it should open itself up to some qualified nomads who say well you know we would inhabit it in a in a in a decent way we'll let them deal with put up our tippies yeah I don't I don't think so and bring in our shopping carts I don't think yeah well in a civilized way I'm really intrigued by that by that you talk to the management about that so the next picture once again we talked about exotic and the nature of exotic is is sort of in a scientific way but it's also in a cultural way there's a sort of this mystic because because you know exotic is a perceptional thing and you're the utmost expert in that field and at one point you please do a show about exotic okay all right all right well exotic exotic nest is based purely as you said on your perception from where you are coming from what is exotic to you is not going to be exotic to me and vice versa but that's getting that's getting rather so as you call me out I find this exotic because there is a sort of this mystical kind of a little almost like an urban domesticized jungle there is this there's this plant there's a tree this shade and then there's a human creature which is sort of almost like camouflaging and then this is a guy who actually this was Saturday when I was there that what warehouse has this farmer's market and they sell flowers potted flowers right he bought orchids and he was like looking at them there so I thought it's really beautiful almost like to get to be true almost like staged yeah yeah well what I think in the next picture too one of the things that that we can talk about here is not only that there there's potential exotica but it's contained it's within structures so it's within these rectangular or round structures that hold the plants and the exoticness and the nature within the otherwise rectangular or man-made structure so we see these asparagus ferns looking really kooky and weird and green and reaching out is that how they're called yeah that's a that's a type of asparagus fern but not really a fern it's asparagus but again within this wild strange green thing it's all held within safely so it's not threatening within that well-kept gray enclosure yeah within something that matches the rest of the story absolutely you want to take a chance to reintroduce that term of of of tropical brutalism and one thing that my son Joey when he was here he was so intrigued by sort of the contrast of the volcrete so the local ingredients concrete and the green and something I know from Mbacadero Center in San Francisco which has the same sort of phenomenon which is really sort of you know specific about the place and it's something that's unique so it's it's amazing that we haven't continued that in the end of the show we'll make a proposal to do so and that is true from the macro level but it's also it goes down to the very micro and one of my rules of thumbs of good architecture is the closer you get the better it gets and this in contrast to today which the shittier it gets the closer you get to it right yeah well and so if you go to number 18 this this proves it Ryan right and this is a very typical type of brutalistic finish and brutalism is a type of architecture school of architecture from the night primarily 50s 60s and 1970s and in this case what we see is concrete that's got these embedded little chunks of Hawaiian basalt and as you pointed out this has to be created by hand in other words it's got to be cast and then somebody has got to spray water against that surface to get to get cement off to get cement to expose the aggregate inside and this is typical of brutalism and it's also a particularly local product yeah and it also as you just said on one hand you see it at the macro level but when you go close to it you can see that individual texture it's all different every time very much a brutalist type of attribute yeah and then there's an in-between level which is kind of the talk tectonic composition it's the next picture whereas things that look basically monolithic and stereotymic so like they're almost cast out of one piece right in fact when you look up close and that's the next picture which I did got on my knees or on my back to take that picture here right you see it's not right correct so that is not part of the structure those are panels which have been applied to the exterior of the structure for the decoration for the appearance and as you pointed out these are nicely detailed to the point where the corners are cut at a 45 degree angle so that they will fit together nicely yeah and it isn't mostly yeah and that's quite the effort you either have to again take a saw and do it most likely you do your mold you do your form like that and that's an extra effort you have to go through and so that's that's pretty remarkable and gets even better the next picture here is one of my favorite details of the building and it's a building that has sort of it's sort of inherent the detailing is not applicative it's not decorative right it's inherent to the integral to it exactly so has integrity so at some point you got these stratospheric stacked landscapes so water comes down and they need to basically come down right right and the water's got a drain and you pointed out here that this is a drain that is the water will come down off this drain but then drain on to the next level so it's almost fountain like in that it isn't it isn't in confined into a drain pipe yeah it's almost part of the visual aspect of watching it rain experiencing that reminds me of one exotic visitor here who had some impact that we're going to talk about later when we get into the tropical brutalism that's Lawrence Halpern okay it's harpoon was and there is a little fountain he did which is not a fountain anymore we get to there later I got a picture of it don't worry perfect yeah yeah and so so going back to the picture number 21 it has this very poetic you can see where the water drains is where you get the stain yeah concrete correct stain so this is the difference this building ages and grays patina as well yes so there's no there's no downspout there's no gutter that can be beat up and looks ugly and nasty right right they just let it be the flow and look at this little a sort of to code so that child had cannot go through there's little rebar sticking out so like almost you expose a rebar I found this amazing and I see some leucon in there you know and I see this is this is pretty cool and one gets even better to the next detail here which is the last one of our detail exploration here look at that staircase right yeah and what I like is first of all there is the rough texture of the concrete the aggregate that you can see it has this other form connected to it which is the the bars of the of the piping which have been formed and then those wooden planks yeah so you've got a bunch of different stuff going on I also like the vertical bars that hold the wooden planks in place so it's a whole it's a whole elaborate structure yeah and this is just a utilitarian thing of an exterior stairway but it's sculptural it's very cultivatedly crafted yeah absolutely and intriguing to look at so in this point we got five minutes left we got to come with some bad news the next picture you already said it's a hard use property and it's actually the last one the last block yes on the other side and that's what's coming that those big high rises in the in the distance are approaching and as you said they're walking towards us they're marching towards me and they will occupy the site of Ward warehouse as well as word Plaza exactly so demolition hasn't absolutely been precisely announced for this for what warehouse it is in August this year but it's been announced for word Plaza as well and so you know we just gonna we just want to point out that we were not against evolution because evolution is a good thing if one believes in Darwin yes and and one cannot stop it either exactly whether you believe it or not it's still we want to be maybe you know critical to arguments whereas what warehouse is told it's falling apart I was told epoxy is gonna hold it together certain degree yes because of deferred maintenance I just did a show for Howard as a guest host that was a topic right and you heard the same about this building here which I would say is is is is not true because the building still looks looks pretty exactly and I don't I'm not an architect I'm not a maintenance person but I am but you are the newspaper article which I just read this in a short time ago said that because there were maintenance issues they were looking towards demolishing so Plaza so we also said well we had a picture of you to sort of encourage a zeitgeist memory we want show one of me because I was three years young or old a toddler what's the point but we want to show the next picture of a project of ours that shows a like-mindedness this is in hand of a Germany again it's 12 years young or old it's a community Plaza Center it uses the same material concrete concrete precast concrete but again I mean this just shows my sympathy obviously but what's that good for right now the position is it's going to be torn down so let's go away from that but go to our vehicle of exploration and thought the next picture because this project got an award the lowest sex in the States was so the highest award on a state level and the head of the jury is from one town over and this might look like one of the peer 38 but it's another harbour town on the other side of the world this is one ton over from my hometown this is Hamburg and this architect gentleman architect drives this car and so there's the same there is JFK's will not be exactly no no but it's the same but it's sibling from 61 right what does it tell us because he's the coolest guy driving that and I had the pleasure to be cruise around and you get the looks I mean not me but the car right yeah so so what does it tell us it is still cool right and it's cool because it has integrity right it does and so that that's the point we want to point out whereas the next picture is is showing my 93 Lincoln town car that is in the car heaven because it didn't hold up it wanted to be in the good old days but it isn't so here we wish Lincoln the best this is Matthew McConaughey promoting the newest model but I also got to say to my thanks to my son Joey who was about to write his master thesis in automotive engineering and management highly high Joey he learned in school that today is the car makers make cars to fail after a certain time versus to last right so with that one we want to be because we're out of time we want to spend the last not even existing minutes going through four pictures and saying well what if like we say we're going to be vertical but want to stay true to the name and the term of the place which is plaza right and this is a proposal here if we can go back to 27 to make a ground scape plaza 28 is vertical circulation plazas number 29 is streetscape plazas and last but not least we have a skyscape plaza and this is primitive on how she could be currently developed by my emerging colleagues and myself and just as an inspiration you can do you can go the flow and with the times right and develop differently but you might as well sort of obey to the same philosophy correct and means and methods because because what's there right now has a very distinctive look and it can be echoed it can be used as inspiration for what comes after and if one of the things that we mentioned was maybe reuse the wood from ward warehouse in the project that you just saw the evolution of tradition and with that thank you very much my co-host and we're going to be back in about a month I mean we're going to be back looking at another commercial mercantile topology right so see you then thanks for watching


Yes, thank you. First of all, I would like to thank you, the organizers, not only for having me here, but also for realizing this fantastic panel on a very important topic. In my presentation, I will talk about the interpretation potential of the depictions of the garments of female figures from the fifth century BC in Greece. I'm particularly interested in the following questions. What are the meanings of the garments on ancient depictions? Is there a thematic correlation between clothing and the wearer? What significance do these elements have for our interpretations? So far, these fundamental questions have only scarcely been touched upon with regard to the classical Greek period. Interpretive approaches often purely rely on social identification models. But can the choice of garments depicted be interpreted solely with monocouser explanatory models? While for most of the other ancient periods, like we hear today and will hear today, there are survey works and individual investigations available about economic, ritual, religion, production, consumption, exchange, technology, and so on and so on. Research on classical ancient garments has not long been concerned with social, cultural, and contextual questions relating to the archeology material. These areas continue to be a major disidirectum for the Greek classic period. And Dr. Thises, Parthenos, Nymfe Güne, weibliche Trachtikronographie als Bedeutungsträger am fünften Jahrhundert vor Christus in Griechenland, Ulrike Tyson deals precisely with this topic. She takes the approach that the clothing was consciously chosen in classical representations depending on the rarer. According to Tyson's, the different garments served to visually convey the social character or divine qualities of the rarer. The open peplos, I'll give you here some information. The open peplos is assigned to the Parthenoi. To the close peplos, to the group of mothers and or wives. The attic peplos, you can see on the top, especially to Athena, but sometimes also to Artemis and rare to the Parthenoi. The shalton with fake sleeves, the most common type of garment, with a long coat reaching from head to feet, is again for the bridges and bridge brides and Aphrodite as well as for Nymfs and attic citizens. The material bases for her thesis are the images of the 5th century BC which were included in her analysis across genres. However, she has not fully presented these general. The aim of my master thesis long ago was to test the semantic system of garments she had designed on the basis of sculptures and thus to assess a genre completely with regard to the question for the first time. Today, I will limit my presentation of the results of my work to three groups, the Nike, Leather with Swan, and the Corai. Nike is clearly defined and well-known character from ancient sources so that it is to be expected that the thesis of firmly to assignable garment can be proven well with the help of the Nike representations. Let's have a closer look. The Nike of Paris. The figure stands on a left foot. His heel slightly raised. The right foot must have freely hung down from the base due to the leg position, which creates the impression of flying. The figure careers on the right side open and on the right side open unbelted peplos with an apoptigma. The garment folds on the front view are characterized by the few flat folds. The body shapes are veiled in the rear view by the dress. In front, the clothes of the peplos lies close to the legs, whereby the contours emerge. The Nike of Peonius. The figure is placed in a frontal orientation towards the viewer. The left leg is vertically below the figure with a foot pointing downwards. The right leg is slightly bent back, whereas the figure as whole is slightly bent forward. The rings are reconstructed for upwards and outwards. She floats above the eagle of Zeus. Behind the figure, there's a wide open hematron. In addition, she wears a robe with an overlap that lies particular close to her body at the front and blows back to the side of the figure widely. It is held only on the right shoulder by fibula while it has slipped down from the left and the bottom is no longer covered by clothes. The robe is girded just above the belly button. The apoptigma swings out to the sides. The type of garment is controversially discussed in research. The interpretations range from a shaitan to a peplos open on both sides or on one side to different comparisons with modern wrapped dresses. This uncertainty is based on a particular characteristic, while the right side is open like the holdup and the fabric in front of the legs clearly shows. Also, the left leg is represented naked. Bernard Schmeitz rightly points out that the motive of the bare leg does not necessarily have to be due to the real costume one, but can be understood as an expression of fast movement. It is therefore an overgirded peplos open on the right side, so it is an attic peplos, which we have to deal with here. Another Nike, the Nike from the Sanctuary of Iris. We don't know it for sure. But OK, the ring figure moves to the right. She wears an attic peplos open on her right side. The longer overfold reaching down to the highs is belted on the chest and at the level of the waist. The dress has slipped down from the left shoulder, but the breast is not exposed. In addition to the double-girded open peplos, she wears a hemation, which is only preserved in the back of the figure. The body shapes, especially the legs and breasts of the heavily moved figure are clearly emphasized by the garment. OK, sum up to the Nike. While Tyson described the attic peplos of the garment preferred by Nike, the examples have shown that the open peplos is an alternative garment, which she describes as characteristic for paternoi. Also, Nike is unmarried and childless. This is not one of her primary characteristics. On Nike shown here, wear an open peplos, which differs only by the belting. In these representations, the most important characteristic of the figure is emphasized by the waving, tight-fitting garment, her speed. This can be taken as a sign against a monocotal explanation of costume. Let's go further. The woman leader with a swan. The woman surrounds the swan with a wide arm in front of her belly. The left arm is guided sideways upwards away from the body. She wears an unbuilt peplos open on the right side. Its fibula is closed only on the left shoulder from the right. The rope has gilded down over the chest. The right side of the body is naked. Also, the closed body shapes are clearly emphasized by the garment. The identification of the figure's leader is secured due to the intimate representation with the swan. Leader is known as the wife of Tyndareos and mother of Casto and Polidoikos from the Odyssey. A rippidus, on the other hand, has handed down as a child renfoibi, glutamastera, and Helena. Almost 500 years later, Apolodorus reports that Zeus visited her in the shape of a swan and had fathered Polidoikos and Helena with her. The same night, she also slept with her husband Tyndareos from this connection, then Casto was born. It can be noted from the sometimes very differing literary sources that leader is a mother and wife. In the sculpture discussed here, Zeus, in the shape of a swan, approached her as he fled from an eagle so that she protected him as can be seen from her right and raised left arm. That Zeus would seduce her is also made clear by the open peplos whose feebleur has already come off her right shoulder. It is clearly an erotic scene. The rogue contradicts Tyson's interpretation. For a wife and mother, a close peplos or a chiton with fake sleeves would be expected, which would also correspond to the erotic character of the scene. The open peplos here, however, would identify the rara as partenoi. That is clearly not the case. The choice of the robe was not based on the social status of the person, but because it is very suitable for the representation of the moment before Ladder and Zeus will have sex. It exposes the body of Ladder and underlines the erotic aspect clearly. The illustration shows that the situation depicted had a decisive influence on the choice of garment. Let's come through to Korai. Ancient social status are two central categories in Tyson's work. Yet she mixes them, namely that of the girls, the Korai, and that of the partenoi. Thus, she describes the running maiden from the loisers, first as a girl, in order to point her status as a partenos a few pages later. According to Tyson, girls are 10 to 14 years old and have not reached the status of a partenos. Such a separation is problematic, however, as the ancient written sources show. There are people, dead people, are referred to as girls or marriageable young woman, maiden, by the terms Korai and partenos. For example, in Teucritos or Aristis, from the first half of the third century BC, shows the synonymous use of the two words, terms, and two consecutive sentences. So here, partenos came as a girl and no goes as a woman. Partenos, a gyne, and a wife now, and mother and nurse of the children, but never a girl. She's a gyne, mitera, but no Korai anymore. Partenos and Korai are here opposed to the terminus gyne in the following lines. It becomes clear that the transition from a girl to a woman, so from partenos and Korai to gyne, is carried out through sexual intercourse, oyne. That antiquity is much more complex than the division into partenos num for gyne suggests is shown not only by the inclusion of the Korai as a terminus in the social sense, but also by the round sculptures. Like here, for girls, the goddess Korai Pesefone and the Korai from the Eirehtayan, this group is represented in completely four different garments. So the chaiton with fake sleeves, chaiton without fake sleeves, close peplos, and eric peplos. Here, too, it is evident that the costume is not an ambiguous. In summary, we can state that closing has several levels of meaning in ancient iconography. It is not clearly determined by the social status of the wearer. Various factors influence not only the type, but also design and arrangement of the garment. And garments are not only markers for a social role model. They are also an essential part of the narrated story and thus a multi-faceted picture element. It is shown that a more in-depth examination of closing has a high information potential. In order to achieve reliable results, future research must include both the complete spectrum of closing and especially its possible combinations that wasn't a topic here, not rely on monocosal and unabitious interpretative approaches and expand the material basis, including the vase images because of their numbers, the person names on it, and the dating basis, and the attic tomestones to extend the range from the mis-depictions that it was here clearly emphasized to that of the citizen images. Such an approach would contribute to a better understanding of the multi-layered usability of closing to convey differentiated and nuanced image, meaning, and thus to a better understanding of the image as well. Thank you.


Our work to understand interactions between pests, diseases, environments and humans is led by a group of world leading scientists who will address these issues. In September 2016 we brought together the project team and others involved in management of trees in Epping Forest. In this video we reflect on how people involved in developing strategies for management can be put in conversation with oak trees. I think we've set ourselves a very tricky task in trying to work with non-humans and I think that's something that we certainly need to do some more work on in trying to find ways of working with hot non-humans as well as trying to consider what sort of role those non-humans might have in a cutote decline. I think previously there's been a big focus on the human aspects of tree health in particular kind of management and adaptation and ideas of resilience and actually that we need to include the non-human communities within that work and so we've been able to draw on existing social science, arts and humanities research to really sort of extend that across these two days where we've been on-site in Epping Forest meeting their head of conservation, their biodiversity officer, hearing about some of their tree management problems but actually spending time with trees and watching scientists running up to a tree to find an agrylus beetle hole or they see a bleeding legion on an oak tree for example is it's fascinating for us as social scientists becoming interdisciplinary scholars basically and then then understanding some of the questions that we want to ask as well so I think it's been great from that idea of working in the borderlands of our disciplines. I think we've had a real insight into the way that the kind of questions that we want to ask about the role of non-humans in a cutote decline and the role of borderlands meshes really well with some of the more kind of hard science work packages who are trying to think about the context for a cutote decline and what's actually happening around a tree which is showing symptoms. It's been really quite exciting to build on each other's knowledge and insights in the conversations we've had yesterday and today as well and previously already in the project but the participatory exercises kind of brought it even more to the front to explore each other's language a little bit and also being able to ask what we call silly questions. One thing that we've spoken quite a bit about has been time and temporality and the importance of understanding the cultural history of trees and the stories and lives that they might be embedded in and where that's going next. And yesterday with the woodworker coming also to talk a little bit about woodturning and the bowls he had produced out of different woods it was very nice and to see that connectedness I guess between the human and the non-human but also the science knowledge interface with the experiential knowledge interface and see the enrichment of bringing those two kind of knowledges to the table I thought it was very special. One thing that I was kind of worried about but only because these are the sorts of things you might worry about as an organiser is were people going to talk to each other were they going to be open and generous enough to do this kind of thing so spend their sort of, I don't know, scientist mode and kind of become tree enthusiasts for a couple of days and it's been an overwhelming experience people have been 100% into it we've even created plays people have asked silly questions it's just been fantastic. It will go out at 10 past six in the morning out into the woods and to listen to what's happening as dawn comes One of the highlights for me actually was this morning where I guess the group had become so comfortable with each other that we were, when we asked them to basically present a particular methodology that they were going to be using in their work in, let's say, literally a snapshot and we just gave them pretty much five minutes to prepare and sort of stand up in front of the group and present that in quite an interactive way that people were happy to do that, comfortable to do that but also it was just so really interesting to hear about those different methods that we will be employing or have already been employing within the project I'm just excited to see those results kind of also merge within the analysis phase of the purpose project and I think this workshop grounded us in terms of taking that forwards really in a collaborative way So within our purpose project and within the proposal itself and actually I think within the call documents for this grant it was about a change of business as usual basically that we need to find new ways of working and so for us it's sort of about the non-human this idea of working in borderlands but actually the last two days show to me and prove to me that we are, it is no longer business as usual we are doing things very differently and to spend time with trees I think has been fundamental to that Yeah, I think it brings you back to what this is all about to actually be with the trees, to reaffirm for ourselves what it is that's important for us about trees and why we should be addressing this issue


Hello Psych2Goers, welcome back. Do you have a crush on someone? Do you feel like they're barely aware of your existence? No problem. To help you with that, here are seven things to get your crush to notice you. Number one, have a sense of humor. Everybody loves to laugh and a little sense of humor goes a long way. Researchers from Illinois State University and DePaul University found in their study that when you use humor when getting to know an acquaintance at first, that individual has a better chance of liking you more. They even found that engaging in funny tasks may raise romantic attraction. So if you're looking to attract your crush, try cracking a joke or two and others may just fall in love with your sense of humor. Number two, show you like them. Have you ever heard of reciprocity of attraction or reciprocal liking? This is a psychological term used to describe when one person starts to feel attraction from someone only after hearing that individual likes them. A 1959 study published in Human Relations told their group subjects that certain individuals in their group would likely like them. After group discussions, subjects told researchers who they liked the most. Can you guess who they liked? Yep, the subjects chose the people they were told initially liked them. So if you admire someone and get them to notice you, key them into the idea that you like them. This may get them to start thinking of you more and therefore get them to like you back. Number three, learn to play a musical instrument. Thinking of learning a musical instrument? A 2014 research study found that those who could compose and play complex music were seen as more attractive by women. According to the lead researcher at the University College, Dublin, the ability to create complex music could be indicative of advanced cognitive abilities. They go on to say that, consequently, women may acquire genetic benefits for offspring by selecting musicians able to create more complex music as sexual partners. Now may be a good time to learn that guitar you've been eyeing. Serenade time. Number four, own a pet. If you've been thinking about adopting a pet, you are on the right track for more than one reason. In 2018, two French social psychologists decided to conduct an experiment. They had a dashing young Frenchman named Antoine approach 240 randomly chosen women to ask for their phone number in hopes of a date. Half of the women were approached by just Antoine. The other half? Antoine approached them with an adorable gray dog named Guendou by his side. A small 10% of women gave Antoine their number when he was alone. But Antoine's odds went up to 30% when Guendou was his wingman. This is likely due to the idea that owning a pet shows that you can handle responsibility, are caring, committed, and the dog's just really cute. Need further proof a pet will make you more approachable? In a research study led by University of Nevada Las Vegas, anthropologist Peter Gray found that 36% of men and 35% of women were more attracted to someone who owned a pet. If you adopt a rescue animal, your odds only grow. 49% of men and 64% of women were more attracted to someone who adopted a pet. Also, if you don't like pets, the data doesn't look good for you. 54% of men and 75% of women said they wouldn't consider dating someone who didn't like pets at all. If you wanna get your crush's attention, you'll see more approachable if you have a furry friend by your side. Number five, show confidence and use open body language. Have you ever heard confidence is key? Well, showing some confidence can be key to getting your crush's interest. Displaying a bit of confidence is often seen as attractive. Why? Generally, people wanna be confident, so seeing someone who is confident is admirable. One way you can appear more confident is to display open body language. Keep your chest and torso more open and try not to cross your arms as much. Closed body language can give off the impression you aren't available or simply don't wanna talk. And remember, availability is key in giving your crush a chance to talk to you. Number six, choose deeper conversation over small talk. Research from Harvard found that deep conversations and meaningfully talking about yourself can help activate the very same regions of your brain as delicious food or sex activates. The study states that over a 45-minute period, subject pairs carried out self-disclosure and relationship-building tasks that gradually escalated in intensity. The study one found greater post-interaction closeness with these tasks versus comparable small talk tasks. So instead of bringing up the rain or the clouds, maybe choose to delve into those interesting discussions with your crush instead. And number seven, be a leader. Imagine this, you've just been assigned to a group for your next group project and your crush happens to be in the same team as you. This is your chance to get their attention. If you want them to notice you, volunteer to be a leader. In a 2014 study, researchers explored whether feelings towards other people influenced the perceptions of others' attractiveness. Having their subjects in groups, they found subordinates rated their group leader as significantly more attractive than leaders outside their group. So even if there is no role of group leader, be a bit more vocal in your project. Guide the next group project throughout some ideas. Teach others. There are many ways you can prove you are a capable and apparently attractive group leader. So will you use any of these things to get your crush to notice you? If so, which ones? Will you be adopting a new pet? Share with us in the comments down below. And let us know which of these worked for you. If you enjoyed this video, don't forget to click the like button and share it with a friend. Subscribe to Psych2Go and hit the notification bell icon to get more content like this. And as always, thanks so much for watching.


course, turn editing on, add a resource, file, give the file a name in the description. If you're going to upload a file, choose the file from your computer, network or personal drive. It could be a document, presentation or piece of media. Upload the file, save.


Hi everyone, Sean with jaspyscasebrakes.com here doing 19-20 panini contenders optic two box break Pick your team number three where we're randomizing the pelicans to one customer in the break All you have to do to enter the pelicans buy two or more teams in this break get entered to win No max entries, so you buy two teams you get one entry four teams two entries six teams three entries, etc If you only buy one team you will not be entered for the randomizer So here is our list of customers from rich all the way down to rich I'm gonna copy this list into a new sheet and Alphabetize so that we can figure out how many entries we have So Andrew with two spots gets you one Eric gets one Mark with six gets you three Matthew gets one Patrick gets one and last spot mojo's Raymond with one rich for gets you to Roger gets one Ryan one Sam one and Sean One Wesley with one spot only that doesn't get you anything in there But hopefully obviously you have some good luck in the break itself So there you go. So we've got 14 entries for the randomizer for the pelicans and it's name on top after Five and a five ten the hard way one Two three Four that's three four five six seven eight nine and 10th and final time congratulations to Mark You got yourself the pelicans in here first part done now Find Zion boom So Mark's got the pelicans in the break. Let's go ahead and print this out and rip But before we rip we got to figure out which boxes we're doing So since this is the third We've already had four out of the ten boxes from this inner case done So you can see here's the remaining six They have just X's on there to notify that they're from the same group So since we have six now what we're gonna do is we're gonna roll a dice One on the left focus over here one on the left six on the right. So two three four five six We're gonna roll a dice to see Which boxes we're gonna do So whatever dice roll lands on if it's a one we're gonna take box one If it's a four we're gonna take box four So we're gonna roll it twice to figure out which two boxes we're gonna do. Okay. Good luck So box six is the first box Obviously if we roll a six again, we'll roll it again. So box six and That was a six three We're doing boxes three and six So this is three This is six. There you go. So these other four will be four break four and five Good luck So here is our final customer list You got mark there with the last or with the new Orleans pelicans and spot me one Patrick bogey in the chat with last spot mojo of the Cavaliers and the nuggets Stuff's incredible So Let's get you guys all something nice And then for anybody listening in the background That filler for the box war looks like it sounds like it's down to eight spots left Maybe less now See if we can get that done by the end of this break first up Kyrie Irving playing the numbers game Going to the brooklyn nets and roger Oh, that's cool. I've never seen those uh that parallel jerseys. He's got the bedside Instead of uh brooklyn. That's pretty nice. I like that I wonder if that's popular between brooklyn nets fans All-star aspirations charles barkley Does he have oh 76ers? He's like he's he played for a lot of teams But philadelphia 76ers up on top going to andrew Steph curry season ticket For the warriors and shawn Mitchell robinson season ticket hollow Go to the nicks and rich davis bertons season ticket red For the wizards and rich The red are not numbered. That's just the regular parallel unnumbered parallel And the auto NBA ink brook Lopez For the milwaukee bucks and ryan case. It's got a nice auto numbered 75 out of 125 First up in box two yannis ansa to compo uniformity one of my favorite sets For the bucks and ryan looks like we got a randomizer historical picks first overall anthony davis chris webber cracked ice So that's between golden state warriors and shawn maddock And the new orleans hornets Which we stick with the city Which is the new orleans pelicans and mark Mike connelly season ticket for the utah jazz and ryan So we'll do that randomizer at the very end Blake griffin season ticket for the pistons And andrew season ticket blue pascal siacum for the raptors and mark And that is numbered 62 out of 99 and our auto rookie ticket auto tailin horton tucker NBA champion tailin horton tucker for the lakers and matthew shura There you go guys. That's the break one randomizer to do So give me one second and set that up So we're gonna be randomizing this between New orleans and golden state new state There we go and team on top after One and one two times gets snake eyes gets that uh historic picks first overall picks card good luck quick one one two Congrats to golden state stays with the warriors And that's going to shawn So there you go guys. Thank you very much. That was nope 1920 petini contenders optic two box break pick your team number three Pick a team number four should be in the store coming up shortly Four and five are from the same intercase. So jaspyscasebreaks.com. I'm shawn. Thank you very much for being with us And we'll see you next time


It's now time to start creating some of our more Photorealistic materials that's going to make our rendering look real nice And we're going to do that by using Arnold materials Arnold is the default Photorealistic renderer that's built into Maya. It creates photorealistic representations of lighting and material and you have to use Arnold's own materials to get the best results with that. So that's what we'll do now We're going to create an Arnold material and it's going to be for the candlesticks. I think Before we create a new material then we need to clear our work area here What happens is every time you create a new material It just stacks the nodes up here and never clears it so it can get confusing quickly So what we need to do is always clear our workspace before we create a new material And we do that by clicking on this icon just here Which is a white box with three little blue stars in it We'll give that a click and we now have a nice clean workspace again We now need to go back over to our create panel And we're going to create a material type called an AI standard surface and it's one of the Arnold one So if we just click on Arnold here That will filter so that we're only getting Arnold materials And we can filter further by going into something like shaders and that will only show Arnold shaders So as I said in this case we want AI standard surface So I'm going to give that a click and you can see that this has a lot more options Also in our property editor there are more options for it as well First thing I want to do with this as always is I'm going to call it m underscore brass And in case you hadn't already figured it out the m underscore is for Material so that I can tell what are materials and what are not materials One of the good things about these Arnold materials is they come with presets Which are really good starting points for a lot of material types So I'm going to click on presets here and we get a big long list of different types of presets in this case I think I'm going to go for either a brushed metal or a gold We'll try gold out So we just need to click on replace and that we replace the current properties with the ones from gold And instantly we'll get a preview of how that's going to look In our material viewer here and you can see it looks much nicer than that dull gray We had a second ago you might now want to make some changes to make it look a little bit more brass like So I might change the color to be something a little more orangey And maybe a touch darker That was nice And so that's changed the color you can also change things like how rough it is So the moment it's got a roughness value of 0.150 which means it's not very rough You can drag this over to the right and you can see that it starts to blur It gets rougher So I don't want this to be too shiny I'll take a little bit of shine off it something like that just blur it ever so slightly And then before we apply this to our candlesticks I just want to show you one more thing with the material viewer So we're currently viewing this in hardware preview, which is happening quite quickly This is happening in a real time way But if you want to know exactly how this material looks when it's rendered using arnold the photorealistic renderer We can change the hardware to arnold and then what you'll see happen is this It's now Rendering this and it renders out from the center and goes around in spirals And it takes a while and the fan on my pc is really kicked into gear now because this makes your Compute to do a lot of thinking but this is the material you're actually creating And this is what it will look like when we render at the end of the project The downside to this is that it takes a lot of computation So if you every time you make a little change So let's say I take this roughness back down a touch It has to render again and if you're on a slow pc this can get really painful So it's your choice as to whether or not you use this arnold preview But as you go in for your final materials, you will probably want to okay What i'm going to do now is assign this material to one of my candlesticks So i'm going to click on the candlestick here to select it I'll press f just to frame it so I can see what i'm looking at and then with this selected over here I'm going to right click on my brass material and choose assign material to selection And you will now see that that has done something but it doesn't quite look the way we would expect it to And i'm just going to apply the same material to this one as well So that will basically do it for this step and we've got our candlestick holders looking pretty In the next step, we're just going to cover how you can duplicate and then make changes to a material And then we'll have a look at how we start previewing it in this window over here So that we've got a good idea of how this is starting to come together So I will see you in the next step Game Dev Academy is graciously supported by these absolute legends If you'd like to offer your support then check out our patreon page using the link in the description below