create a project directory. This isn't, you don't have to do this, I'm just recommending that you do this. So I'm gonna just create a folder. I'll call it my project directory. And I would do this for every distinct video project that you're working on. That way you can keep all of your assets together, which video editing applications tend to like. They want to know where all the clips that they need to organize for you are located on your hard drive. Now, I have a methodology that I use to organize all of my media. I have it set up as a little shortcut in my file manager. You don't have to, there's no standard set of directories that you have to use just from work experience, I tend to use things like audio, edit, graphic, photo, render, title, video. These are the different kinds of files that I'm going to be using within Kdenlive. So I've got a demo directory full of random clips. And ideally, I would go through each of these clips in real life and play them and figure out what they're clips of and then name them something accordingly. So for instance, maybe close up, Seth walks, take one, or I might just put one. And I would go through all of my footage and do that. That's professionally, that's sort of the assistant editor's job. They look through all the footage and they make it something other than random strings of letters and numbers and timestamps and things like that. So that's what I would do if I was going to do this in real life. I'm not going to do that right now because that would be boring to watch. So I'm just moving all of my footage over into my project directory, putting my video in my video folder. I'm going to put my audio in my audio folder. I think that's all I've got. Okay, now I'm ready to actually start Kdenlive. Okay, so this is the interface of Kdenlive. The very first step that I recommend is to go to file and save as. Seems weird to do that because you haven't done anything, but trust me, that's a good thing to get into the habit of doing. So I put that in my edit directory and I'll just call this my project. And so now I've got a project saved in with all of my other media assets. That's going to let me archive my entire project directory at the end of all this if I need to and Kdenlive will know where everything is in relation to each other. So I'm going to tab back over to my project directory and I'm going to take my video folder and just drag it right into my Kdenlive project. Now, you'll notice that Kdenlive detects that my footage here, that I'm feeding it, is some format HD 1080p 30 frames per second, 1920 by 80 30 frames per second. Doesn't matter what it is, it's just detecting what your video is and it is noticing that for whatever reason, your Kdenlive profile, like the setup of this editing project is not set to that format. That's not a problem. It's just telling you that there's a mismatch between what you're going to be editing in and the source video that you're feeding it. So in this case, because I happen to know that these are my primary clips, these are going to be my, that this is the story I want to tell. So I'm going to switch my profile to match my video footage. That's not always the right answer. If you happen to know that you need to go out as 1080p 25 frames per second or 24 frames per second, for whatever reason, maybe you're working with someone else who has requested specifically that format or maybe you know that 1080 is too big for whatever you have in mind. And so you actually want to go out a 720p or something like that. Then you can keep your profile at a different setting and Kdenlive will happily adapt. It's just hopefully reminding you or notifying you that there was a mismatch. Okay, so I've got video and I've got audio. This is my project, Den, up here in the upper left corner here. This is the default layout of Kdenlive. It's the one that I typically use. I don't know that it's the best, most efficient screen real estate. There are different layouts and you can move everything around but I tend to just settle for this. So the first thing that I typically do is I look at all of the footage and figure out which clips I want to use. And especially because a lot of the clips have multiple takes in them, you kind of have to figure out which version of that take you want. I don't imagine sound from this is probably coming through if I play that. So this middle screen here is sort of your auditioning stage. There are lots of different theories on how to select or the workflow of getting footage from your project bin to where it's ultimately meant to go, which is this project timeline down at the bottom. One is called the three-point edit. You'll hear people talk about that sometimes. Three-point edit means in, out, and then target. So if I'm here in the middle screen, I can kind of audition a certain take. It's okay. Usually the best take is honestly the last take. That's usually what I find is that's why you stopped recording because you got what you wanted. But for fun, I'll take this one. So I'm gonna hit I on my keyboard, the letter I. And you can see that that has marked this timeline. And then I'll advance my playhead or I could just let it play through and press O for out. So I for in, O for out. And that is just marking the section of this much larger clip that you actually want to keep. And then you can just drag the picture straight from this middle window down to the timeline. And you have your first cut. Your timeline always plays over here on the far upper right side of the screen. Now, usually when you're marking in and out, you're not frame specific. You just kind of, you grab the general section that you want. And the advantage to that methodology is that you're cutting out what this clip is like a minute long. And I've only selected like 15, seven seconds of the footage. So it's a little bit less to deal with. I don't have to do that though. I'll select this and hit the delete key to remove it from my timeline. I could just, I can just grab a whole clip, throw it into my timeline straight from my bin and then grab onto the edges of the clip and sort of shorten it to get just the part that I want. And if that's the way that you prefer to work, that's fine. You're allowed to do that. It's just a question of how your brain thinks about it. I think of moving things into an audition staging area and finding the correct part and then dragging that into the timeline. That's what I typically do, but that's just one way to do it. Okay, so now that I've got a clip, I will maybe zoom in a little bit. So I'm holding the, what am I doing? Holding the control key and scrolling up in my mouse to sort of get, like I said, Kaden Live gives you control over the minutia. So as you can see, we're pretty close, almost down to like, almost to the sample level. It's just pretty close. Definitely the frame level anyway. So there's this dead space here, which isn't always a bad thing, but probably don't need it. Couple of different ways to trim clips within the timeline. One way, as I showed you before, is just to sort of grab the edge of the thing, click and drag. That shortens where we come in on that clip. Now it leaves a little bit of dead space before it. So we'll want to get rid of that. And to get rid of that, click and drag the video clip over. This is hard to do at the sort of the zoomed out level. You really kind of have to get in there and take a look at really the frame level. To move around the timeline, you can middle click as well. I mean, you can use the little slider down at the bottom of the window, like you would any window. But I usually just middle click and scroll around. So we've got a pretty close cut there. I'm gonna put the output to my speakers and maybe you can hear the sound over. Everybody, welcome to the Creative Freedom Summit hosted by the Fedora design team. My name is Seth Kinlan, and I'm gonna show you how to edit video with Kate live. Okay. So another way to trim this up a little bit is I'm going to position my playhead just by clicking and dragging where I want to cut out of this clip. And then I'm gonna hit the right parentheses. And that shortens the clip to wherever my playhead is positioned. It's a really, really useful clip, especially if you're editing in the timeline. Like let's say I wanted to cut out there. So I know where I need to be. The playhead is there. That's where I wanna stop. Hit the right parentheses and it tugs the video clip from the right side and brings it to the left. I'll undo that because I don't want to cut out there. Okay. So that's the initial cut. We have one cut of our little movie here. So now we need more content. And for that I'm going to start following this impromptu script that I have, which I happen to know because I would be the assistant editor and I would have the script written down somewhere. And I would know what clips go in what order. Now, if you don't have a script, if you don't have a screenplay, that's fine. That's perfectly acceptable. But you do have to know obviously sort of the narrative that you're trying to tell which is up to you. You're the editor. I happen to know because I wrote the script. This is the next clip. Now notice that this clip doesn't have video associated with it. This is just audio. Okay, live. First, select some. So pull that in a little bit. That's fine, but there's no image here. So we've just got a black screen. So we need footage for this. We need B-roll is what they would call it. When you've got audio for which there is no video, you need B-roll. So I'm gonna switch over to my file manager here and look through my stock footage and find something that seems appropriate. This is Alhambra audio. Here's an Alhambra courtyard. It seems like it's almost made for each other. So I'm gonna drag that from my stock footage over to my video folder in Cayden Live. Now, if you've been paying attention, you'll know that I've just violated one of my own rules which was keep everything in a central project directory. So that's still true. It's still a rule. Best practice if you're going to add video to your project and it happens because you're gonna find stuff that you wanna include that you didn't remember to have in your project directory initially.  And that way again, at the end of your project when you have 80 gigs of video clips that you've edited down to like 350 megabyte movie file you can offload that 80 gig project directory with all your raw footage half of which you're not using. You can offload that into a hard drive and put it on a shelf somewhere for cold storage and everything stays together. Now, another method of organization though is to acknowledge that you have stock footage that you use across several different projects which is exactly the case here. So this heaps of video folder is just stock footage that I use across lots of different projects. So it doesn't change. It's always in slash home slash Seth slash video slash heaps. That's just a thing that's in my home directory forever. So as long as you have sort of a schema for yourself certain things that you're sort of comfortable taking for granted, that's fine. I just want you to be aware of where all this stuff comes from because if you just start throwing stuff and indicating live willy nilly then in two weeks or three months or five years you'll try to open that project again and it won't know where anything is located. So just keep that in mind. All right, so I've got a Alhambra courtyard here. So I can again, I can do either an in and an out and a target so a three point edit on this or I can just drag it straight to the timeline. In this case, I'm gonna just drag it straight to the timeline because I don't really know how much of this stock footage I want. In fact, it doesn't even look like I have enough to cover my sound here. So these two clips, as you can possibly tell I can click them individually. Video, audio, video, audio. They're in no way related to each other. One was wild sound and one was ADR technically and one is just B roll footage. This clip that I initially imported, you can see is kind of linked to each other or grouped to each other. Should you ever need to unlink video from sound, you can right click on your grouped clips and select ungroup clips. Now, Katie and live is happy for you to treat them completely separate. You do kind of have to be careful about this, especially if it is dialogue. Because if I accidentally shifted over a little bit or a design team, then we get a misalignment of voice and the lip syncing, which you might not be able to tell over a stream, but I could see it myself. So that's nice. And what that allows you to do then is maybe for instance, I don't know we could linger on me for a little bit longer maybe. First, select some video. That's kind of weird actually, because I start talking without moving my lips. Okay, that's fine. We could cut to Alhambra maybe a little bit sooner. My name is Seth Kinlan and I'm gonna show you how to edit video with Katie and live. First, select some video. And that kind of thing is kind of nice because you get, this way you get to blend clips together for instance, I mean, not literally blend them together, but you sort of disguise cuts in audio with different cuts in video. Happens all the time in movies. You have cutaways, look over there. We hear the dialogue and then we look across the street at to where the character is looking. So that's pretty common to drop in a clip of some video that doesn't actually belong. Now another way to do that is to simply place the video on a higher video track. So Katie and live in this right hand monitor, clip monitor or timeline monitor, it's a top down view. So everything on a higher timeline track is visible and or is positioned over a clip on a lower timeline track. And Seth Kinlan and I'm gonna show you how to edit video with Katie and live. First, so even though I've got two video clips here, the one on the top track takes precedence over the second one. We could also do a really quick fade in. So if you can see as I sort of hover over the left corner of this Alhambra clip, I get this little node. If I click and drag that node over, it's kind of hard to see because there's a lot of text there sort of in the way. But there's a little curve there. And now if I play that again, it should fade in. So you're looking at the top right. And Seth Kinlan and I'm gonna show you how to edit video with Katie and live. And there's a quick fade. You have to be careful about your fades when you manually do them. Because what you're doing is you're essentially saying, give the top clip full transparency until this point at which point it has full opacity. Now, if you delay the opacity thing too much, then you lose anything underneath it. At some point, the fade is gonna look a little bit weird because there's no fade and the clip underneath it just pops away. So you have to edit video with Katie and live first. See, that's not a fade. That's a video with Katie and live first. That's a fade and then a cut. So you do have to kind of be mindful of what's underneath a video clip when you're doing your manual fades. I'm gonna show you how to edit video with Katie and live first. That's a lot smoother. Okay, so let's talk about editing with the scissors tool, I think is what we call it, razor tool, whatever. Okay, I was gonna call it razor. So you can do individual cuts to your clips. You don't have to click and drag. I mean, that's handy, but that only lets you adjust the in and out point of your media, which is useful, but sometimes you need to take something out. For instance, we have this video clip that lasts only whatever second, six seconds, let's say. And this audio that lasts for eight. So there's a mismatch. We have to do something here. I mean, we could find other video to just stick over here. We could totally do that, but I'm gonna try to edit this down. So... First, select some video. That's useful. Take this Alhambra courtyard, for example. That's useful. It's pretty, it has movement. Actually not a lot of movement. It's pretty, let's open with it. Okay, so there's some redundancy here in the script. So I can cut some of that out and you can kind of get a feel just from the sound waves, what you're targeting. So this part here... Actually not a lot of movement. It's pretty. That's a little bit of commentary and some redundancy we don't need, but then we do want the bit out here at the end. Let's open with it. Yeah, okay. So I'm gonna select the razor blade tool and now my cursor becomes an eye beam with this sort of red extension to it. And at this point, I can just make cuts where I need to make cuts. These are ungrouped clips. So if I click here, notice that it is only cutting the audio track. Okay, here. That's different than a grouped clip. So if you'll recall, these were grouped. Oh, did I ungroup them? Yeah, I ungrouped them and never grouped them back again. Okay. So I'm gonna, to group clips again, click, shift click, right click, group clips. Okay, so now they're grouped again and now if I grab my razor tool with the X keyboard shortcut and make a cut to one, then the other gets cut as well. So that's kind of one of the advantages of having grouped clips is that you can cut both the video and the audio. Now you can make cuts without really affecting anything. So I've just made a slice through this grouped clip, but I haven't removed any footage. So Kayden Live doesn't actually care that there's a cut there. My name is Seth Kinlan and I'm gonna show you how it's perfectly smooth. My name is Seth Kinlan. It's not a problem. It can be a little bit confusing to yourself, like why is there, why is there a cut there? But I mean, in terms of actual results, it doesn't really shift anything. So then we're going to do something with this redundant footage here or ADR, which I didn't like. Actually not a lot of movement. Yeah, so I'm just gonna select this. I'm gonna hit the delete key on my keyboard.   I've got a little bit of a mismatch, but that kind of thing is we can fix that. And I'm gonna fix it with I think the ripple tool. So notice how, that doesn't help. Notice how there is this little overhang. It's just a couple of frames, probably like six frames. One, two, three, four, five, five frames. So I need to rescue five frames. I need to buy five frames back. So I'm gonna grab this, what's called a ripple tool where I could hit the R on my keyboard. I'm going to drag, I'm gonna select the right portion, the right edge of the clip before my straggler clip. And I'm gonna pull it back a little bit. Now you can see that it is pulling the clip after it along with it. That's why they call it a ripple. Because even though you're making an edit over here on the left, you're also affecting the placement of the thing over on the right. So let's say, let's put it back for a moment just to compare and contrast. Here's a standard adjustment. So now I've got a big old gap here, which is fine, I could fix it manually. That's not a big deal. But if you are efficient, efficiency minded, you can grab the ripple tool, grab that, pull it back and now we've got a nice clean clip here with sound, audio all matched up. Let's put in some more footage here. It's been with it, but then we'll cut to a city street. Oh no, that's way too empty. Okay, so we need an empty city street now. So I'm going back over to my stock footage stash. Here's a street, which I'm gonna drag into my video folder over in Kayden Live. Now notice that all of these clips that I'm dragging in and I actually don't know off the top of my head what their specs are, but I'm not being warned by Kayden Live that they don't match my project. And a lot of them probably don't match my project. Like this one is 2997, which doesn't match my project because if you'll recall Kayden Live told me I had a 30 frames per second project. So in other words, Kayden Live is happy to adapt to whatever you need it to adapt to. It's just doing transcoding and stuff in the background. And that goes for a lot of stuff actually. You can grab stuff off of your phone, import it into Kayden Live. And if it needs to adjust anything for optimization, it'll offer to do that for you. So I used to sort of do a talk about how to get your media ready for editing. And nowadays Kayden Live just kind of does it for you. I'm gonna save, I'm gonna take this moment to save, which you should do often. Shocked that even sharing my screen, nothing has glitched out yet. But okay, so I've got a city street. I'm gonna pop that over my audio. And then I'm going to shorten the video and shorten the audio. And then I'll take another clip. And this is how, this is it. This is editing. You're taking clips from media that you have collected for some purpose and you are putting it into a timeline. What life to that? Oh, that's too much life. And then you're finding footage or matching footage to it. And I think there's one more. Yep, there's my plot twist. Okay. I think they're afternoon. Better yet, maybe it's a romance. Okay. Now, I'll take this moment to point out that as you're adding stuff to your project, you can also just drag straight from your file manager. So this isn't Kayden Live. This is just my file manager. This is my computer. You can add stuff straight into your timeline. Now, Kayden Live knows that you did that. It just doesn't know where to put your footage. So one of the steps, if you do that sort of thing, grab your footage and put it into the correct sub-directory in your project, Ben. Kayden Live actually doesn't care where it is inside of Kayden Live. It just happens to be a lot better when you go to find it again later to cut back to it or something like that. Better yet, maybe it's a romance. Here's a man and a woman enjoying an afternoon together on bicycles. Okay. So. Better yet, maybe it's a romance. Here's a man and a woman enjoying an afternoon together on bicycles. But maybe there could be clouds overhead. Okay, I added it from outside of Kayden Live, so I'm gonna go back into Kayden Live and put it into my video folder. Okay, so here's an interesting one. We've got a clip that you'll notice over here in the right-hand monitor. Got a clip that goes from sort of edge to edge. It's a 16.9 aspect ratio, but then I cut to a clip and it looks like there's a little bit of an aspect ratio issue. So there's a couple of ways to fix that. Probably the easiest way is to use an effect. Effects are stored, I think, by default here in this little tab at the bottom of the middle window. I say I think because I guess this could be where I keep it. I don't remember where Kayden Live puts it itself, but this is a big old list of effects and I think I'm going to get into that now because I think I only probably have about 20 minutes left. So these are effects. It's a big old list. There's a lot to cover and I can't cover it all obviously and it would get pretty repetitive. Here's the general idea. Up at the top are filters. These are filters. You can show your custom effects. You can show your favorite effects or you can just show, for instance, all just the video effects, which is what I'm going to go over. There are some audio effects as well. I don't tend to use them to be honest, so I'm not going to go over them anyway, but there's the video effect filter and now I've got this list here. In this case, the one that I use for sort of adjusting things within the frame is a transform effect. That's in transform, distort and perspective. There's a lot to choose from and a lot of them sort of do the same thing. So for instance, position and zoom would work. I can just click and drag that effect down onto the video clip in the timeline. Effects always go into the timeline. You're never going to put an effect, I don't think, into your project bin, for instance. I don't know of any reason why you would want to do that. So you're going to always put an effect onto a clip. All right, down here in the lower right corner, as long as you have selected the video clip with the effect on it, then the effect details appears over here on the right of your timeline. This can get confusing because sometimes you'll have your playhead parked over here on your bicycle footage, but the effect exists over here on the cloud footage, which you do have selected. And so you'll do things like increase the size of something and it's not happening, like why isn't it working? Well, that's because you're looking at the wrong thing. So you have to kind of just remind yourself that you want the video clip selected and you need your playhead over that clip as well, or else you won't see what you're doing. I mean, that's not a bug, that is a feature because you can actually go through and change effect settings independent of your playhead, which is nice, but it can also be confusing. So I'm over my clip now, I've got it selected, now I can do things like zoom in a little bit to bring it out, I could, I don't know, I could move it around as well if I wanted to, that's not really the goal in this case. So yeah, that's an easy fix there. The one that I actually use typically is the transform effect, which looks really similar, but it gains you the ability to rotate as well, which is kind of fun. So there's a cloud footage and I can position it anywhere, sort of on my canvas that I want. And maybe I want more, maybe I can't decide which clouds I like, here's some big puffy blue clouds. So I'm gonna position that over my other clouds, and then I'm gonna go back to my effects tab over here, take the transform filter again, drag it onto my big puffy blue clouds, select my puffy clouds, make sure that my playhead is over the clouds, it is, and now I could, for instance, resize it and put it there. I could have a whole collage of clouds if I wanted. Oh wait, I've, didn't need to do that. Oh wait, I've run out of room. I want more clouds, but I don't have any more video tracks available. No worries. So I'm gonna go over here to the left panel of my timeline and just sort of find an empty space that isn't an entry field and just right click, insert track. I can insert lots of tracks. I could do four tracks of a video type above video track two. Maybe I want to, for some reason, put them, I don't know, below video track two. I could do that if I wanted to. I could name the track. I never named my tracks. Probably, probably should. It's probably a good thing to do, but I never do. Okay, so now I've got a whole bunch of space here where I can just start adding more clouds. Some dark clouds, fly by of clouds, fly over of clouds. All right, well, this is a lot of clouds now. So now I've got a new problem, which is I need to position them all so that I can see them in my canvas, right? Because I know that I have two, I know I have two little cloud shots sort of underneath all this stuff. One of them's over it. But yeah, I need to get all that sorted. So here's a cool, cool thing that I like to do. And this isn't really what I use it for usually, but it's a handy trick to know. So go to a clip where an effect exists, right click on it, copy. So you have that clip, including all of its effects in your clipboard now. Now I can go to another clip without an effect on it, right click on it, and just paste the effect. And I can do that for every clip that I need to effect. Now that's just, that's obviously, that's unifying everything. It's making everything exactly in the same spot. It is copying the traits of that effect exactly, which may not be what you want all the time, but maybe sometimes it is certainly for the purpose that I actually use it for usually, that's exactly what I want because I usually use it for color correction, which is the thing we'll go over next because it's actually really, really important. Okay, so there's some basic compositing. It's not necessarily the prettiest effect that you've ever seen, but maybe it's something to look at while I drone on about the project. All right, I'm gonna go over here, well actually first I'm gonna save again, always save. I'm gonna go back over here to the beginning of my project now. And this is fine, this is fine footage, but you can kind of tell a little bit that some footage is maybe prettier than other footages. Some of it, I mean, I've taken this from a lot of different sources. So there's not really a unified look to this. And also believe it or not, I mean, this looks acceptable to me, like it looks fine, this is okay, but believe it or not that we can make it better. So I'm gonna go over to effects again and I am going to look into color and image correction. Once again, lots of things here and honestly a lot of them sort of collide with one another or sort of implement the same thing. So there's two that I actually use, Bezier curves and color balance and Bezier curves. That there is this one, the three point balance, which is sort of more or less the auto filter. So I'll show it to you real quick. So I'm gonna take my three point balance, drag it over onto my video clip in the timeline. Nothing changes, but now that I have my clip selected and my play head positioned over it, I can go over here to the right hand side of the screen and there's, well, maybe I will zoom back in here. There are three options here. There's black color, gray color and white color. So what that's talking about is it's asking me to locate for it the very, very darkest part of the image or the part of the image that I want to treat as the darkest part. So I'm gonna click the little eyedropper icon over here. I'm gonna just take my eyedropper icon over to my timeline monitor and I'm gonna click something that feels like it should be very deep in shadow. And I'm kind of targeting, you might think, well, that shirt looks pretty black and it does, it's fine, that would work. But what I'm, see the problem with video that persists still today, it persists more in the cheaper your video camera and this was done on like my cell phone. So it, and I don't have a fancy cell phone. But the problem with video is that it, once you start to get into the minutiae of a question of whether something is black or dark in shadow, it just sees everything sort of as one thing. It doesn't really have the, the gradiation that analog film like celluloid had. So even though the shadowy parts of this tree in the background should be what I would think just completely impervious, completely dark, it's kind of treating it as sort of an 80% gray almost. It's pretty bright really. So I'm gonna click there and you can probably see how just with that one adjustment, just turning it on and off with this eye icon here.  That's kind of how I think of it because it is just sort of not quite night and day but you can definitely tell. I usually also set the bright spot as well. So I use the white one to select something that I consider very, very bright. That usually works pretty well. The gray you don't usually need unless you happen to have used a gray card which is a physical item with a very specific shade of gray. You can hold that up at the beginning of your shot and use that as your color balance reference point, which is a great thing to have, but I don't have it. So there you go, that's the three point balance. That's pretty easy. I think probably if nothing else you should be doing a three point balance. I'm not going to do a three point balance. I'm going to show you the Bezier curve really quick. Oh, I'm running out of time swiftly, aren't I? Okay, Bezier curve, drag that onto the clip. This one is a little bit more complex but the control that you get is just super nice. So you have to select your channel. Right now it's on everything, RGB, all colors. I'm going to set it over to Luma which is the black and the white, the darks and the highlights. So I'm just going to be adjusting the brightness of this image. You might have, if you're into video games and stuff you might think of this as the gamma. So on the left side of this curve at the bottom those are your darks, those are your shadows. And then it goes up in a linear fashion towards the brightest spot.  So you want to crush the shadows and you want to have the highlights pop. Now you can grab the middle here too if you feel like your subject's face is maybe overexposed or underexposed. Human skin tone tends to be in the middle, somewhere in the middle. It depends on the complexion of the human. I happen to be pretty reflective, pretty pink. So your subject might be a little bit higher, a little bit lower, it just depends. Actually your subject's probably not going to be any higher than my skin tone. Okay, so there you go, there's something. Now the cool thing about the Bezier curves is too that you can kind of get some interesting effects by suddenly at the last minute switching what you've been affecting. So if I go over to the red channel, I get almost a bleached bypass. I need to quit element. I almost get a bleached bypass look. I could do blue and get sort of an old sort of old super eight look. So that's kind of a fun thing. So Bezier curves, you can have as many as you want. So I just put another Bezier curve on clips and then I target something different. I target just the red channel and maybe I want to boost the amount of red just within the mid-tones. So just in my flesh, I just want a little bit of red. Humans like red, humans like yellow. So those are the two shades that human skin tone really likes. Alternatively, you can use the other one that I sometimes use, which is color balance. And this doesn't have the same sort of curve interface as just a series of sliders, but it breaks it down into RGB. And for each RGB, it shows you, it gives you a slider for the shadow areas, for the mid-tone areas and for the highlight areas. So that's kind of nice. You can kind of, less is more here. So I'll just click and drag and just add a little bit of red to the mid-tones. And then the opposite of blue is yellow. So I'm gonna lean towards yellow in the mid-tones to give myself a little bit of an amber filter. Now you might notice that that kind of changed the look of the trees in the background. The trees I know are in the shadow so I could maybe boost the green in the shadows if I wanted to, to restore a little bit of green. Doing this a lot more hasty than I would normally do in real life probably, but you get the idea. I'm gonna turn the filters off and then turn it back on and see what we have. So here was the original clip and there's the new clip. Or here's the clip with just the Luma control. So it is a lot better. So I'm gonna right click on this. I'm gonna do a copy. So now I have the clip and the effect. And so I'll go over to this other clip that I'd accidentally cut earlier and paste effects to unify myself. And I could do that over each clip. I mean, I could, you don't really usually want to just copy and paste straight into, you know, without like the same exact filter because different footage is gonna require different levels of adjustment. But sometimes that is a good starting point. At least you kind of know, well, this is the darkness of my other clips. And so that's what I'll do for these others. So it kind of just, it depends. Definitely independent passes for filters is important. And I think my time is probably up. So I should probably stop now. I will say one more thing. Project Render, that's to export your video as a final product. Your best bet without question. WebMVP8, Vorbis Libre. It is an amazing, amazing codec. It is, yeah, we used it all the time at former jobs. Big fan of WebMVP8. It is lossy. So you're exporting it, you're losing information technically, but it'll compress it into a nice small size. And it's really, really great. I think maybe I have time for questions, maybe not. Yeah, so we have about, I say four questions. So the first one is, is there a limit of resources, video, audio images that you can add to a project? I haven't found it if there is. Interesting. Okay, and then can you copy paste from Audacity or other software, or do you need to export first and add it as a resource? You'll need to export first and add it to a resource. Okay. How does Kaden Live work with multiple video files with different frame rates? Really, really well. So it will, it will transcode the frame rates for you. It will adjust those frame rates sort of instantly for you in the timeline. There are some formats that you'll get from like, especially on like cell phones that are super, super compressed because it's a cell phone and they don't have the space and stuff like that. And then when you bring it at the Kaden Live, it's just like, oh, this isn't enough. It will transcode that for you and save a copy of that transcoded version in your project directory. But for other stuff, like a lot of that cloud footage that I was using, that wasn't 30 frames per second. And Kaden Live just up whatever converts the frame rate. So yeah, really easy. That's great. Okay. And then the last question here is, can you use a second or third monitor for full screen playback or monitoring? And how do you do that, I guess? Yeah, I think you can. I haven't done that in ages. I believe what I used to do was just because Kaden Live is a cute-based application, you can grab any panel within Kaden Live and put it onto a different screen. But that's not, I think, if you're talking about like, oh, I wanna pipe this through a black magic card and I have a video monitor, I've done that before, but not recently. So I don't remember the specifics of it, unfortunately. It is possible. It is possible. That's awesome. Thank you so much for such a great talk. You've gotten great, very positive feedback in the chat throughout, so thanks so much.


What's going on guys got Colin Donnie here with late in sports cards, and we are ripping 2022 upper-deck skybox metal universe champions One box break number 24 random pack style. Let me show you guys again the results here We had earnest with one down to Michael T with 15 can always find those results on our website late in sports cards All the way at the bottom have a results tab Four to go guys revolution Chinese New Year. So we got one to five on our left here six to ten in the middle and 11-15 on the right he disown you that's all right Yeah, you get him back on your side eventually Ernest here with pack one Ernest s is Jow Felix Z-Force Looks gold, but that's just a base there Jow Felix Z-Force and Foundations Isaiah spill it pack one that was Ernest now pack two is also Ernest Ernest s No, man, Shawn gets a couple good Charizard grades back from PSA He might be about it. He might be wearing a Charizard John Dotson throwback there on the skybox Got Chris and Hernandez metal shredders and foundations Maddie Corral Fact three Ernest again, I would be sick that is exactly how Dylan and Shawn talk to each other. It's kind of weird You're at work. It's kind of weird. You know that there's a cut above Michael Jordan on the die cut Nice Jordan and a Peyton Watson metal shredders That was number three Ernest again now for we got John E and five Johnny AI intimidation nation purple We've got Ken Walker on the fresh foundations and Brian Acunia metal shredders Tanner best best rookie back up in the game pack five Johnny Yeah, I don't know if you'd be more disappointed in reading that sentence that illegal said or with the With the Charizard outfit on I don't know which one be more disappointing for him There's a metal universe Walker Kessler and a fresh foundations Marcello Marcello Meyer, right that was pack five John. This one is six Ernest and seven for Ernest Diego Jota on the skybox premium got a Hank Davis metal shredders and a Malik Willis foundations Number seven also Ernest A couple There's a Jabari Smith on the Z-Force Bari there and another Marcello metal shredders pack 13. We've got oh, sorry. No, this is um, we eight eight Jesse s Jesse Yeah, yeah, I wouldn't have to look at I was like, oh wait. No, there's only 15. I can't be it PMG It's pink. Oh, that's it is Maximo Acosta on the purple PMG to 75 Nice one there Jesse Purple PMG Maximo Acosta, but that's a rangers prospect This one is a Caleb Williams press foundations and Malik Willis. Oh, I'll be getting it Dylan. I hate the name But I'll be getting it Number nine is Ernest. Yeah, FIFA is now a FC. It's just like FC 24 No, like they don't have FIFA as a license anymore, so it's like football club 24 FC 24 They don't they don't have yeah, they don't have FIFA anymore. Really? Yeah, when that now pretty much Auto we got Jojo Roper on the auto there Jojo Roper this one's Ernest pack nine and a Johan Dotson foundations Yeah, right and pack 10 is Rory I noticed cuz I saw a commercial I was like, oh, I guess there's a new soccer game I was like, no, wait, that's EA and I was like, wait a minute. That's FIFA. It's just not FIFA. Wow It's just not called FIFA anymore. Are they giving license? I don't know Joe Felix metal universe and can you pick it fresh foundations pack 11? 11 is Michael T. It's a 2500 degrees Diego Jota and Kendall Brown metal shredders Are you talking about the results here? Well, you're talking about like packs and stuff. I Think yes to both Number 12 is Daniel W. W here number 12 Got a looking to the future Kindle Brown die cut and Peyton Watson and a Bryce McGowan's metal shredders pack 12 there got 13 now 13 Ernest s I thought that they had they gone out yet? What like the packs and stuff from the National promo But even then I'm pretty sure yeah, I think so rich I believe so if you haven't if you are supposed to get one you haven't seen it yet Definitely send us an email Harold definitely send us an email if you haven't seen one yet You're supposed to get one. I think they have gone out There's a Jordan skybox premium and foundations Jota that 14 Ernest Jordan on the front. There's a Ricardo Pepe Z-Force Bryce Bryce young metal shredders and Ooga Laylee DJ Riding now and pack 15 Michael T. Good luck here guys. We get basketball going next So throwback metal universe Jacob Gonzalez Ken Walker metal shredders and so on on the foundations pack 15 for Michael Alrighty guys that will do it for a skybox metal universe one box break number 24 random pack style get those cards right out Thank you guys


What's up everybody and welcome back here to the channel. I apologize for the lack of videos recently But I've been getting the PC all set up and the PC is now set up recording everything I need to so we are back onto our trips on the mobile platform here with the new PC recording So the quality's gonna be a little bit better So we're here today to talk about the hot hatch of the focus RS I do have a pro one built but we're gonna jump right into some tandems before this yard reverse This is appears and then I will get into the settings and everything like that We also have a donut and skyline and the slab. So we want to hit up the yard if we can Believe him over 700 horsepower. Yeah, we are so focus RS 795 horsepower pro level on some custom tires So we'll get into the full build be sure you guys follow me on Instagram and Twitter all which found in description box below Let's get sideways and have a little fun with it and see what we can do So the first person up is in that Toyo tires 180 sx So yard reversed full track. Let's send it and see what we can do We get this thing up in the fourth gear so I've definitely been enjoying this hot hatch and Enjoying the build on it. Like I said, we'll get into the full build spec here after this run I wanted to hit up this track before it disappeared There we go getting all those clips staying nice and sideways Kind of just holding power in fourth gear a little bit of handbrake there probably should have Left foot braked it, but we're gonna be able to Throw it up against that wall. There we go Nice quick transitions a little bit off throttle to Transition low handbrake flick There we go. So if you guys are Enjoying the new torque drift content at higher frame rate everything content with the new computers Definitely gonna be a lot better than before. So hope you guys do appreciate it and well We missed all those clips and we missed that clip That was a really hard transition. So we missed a lot of the later clips, but we still had a very decent run Not the best run in the world. I don't know why the car's slipping right now But it was slipping 174 to 126 so we did best our lead So we're gonna get a chance to chase it down this 180 here in our focus RS Then we're gonna take a look at the actual tune. I should not have tapped handbrake We'll take a look at the actual tune of the car. Where are you going, buddy? We'll take a look at the actual tune and all the parts and everything that I got into this build and give you Guys basically the build breakdown of the focus RS the hot hatch is real with this car I do enjoy it is a fun little car to have and as you can see we We can grab some doors with it So it's definitely a good addition to my torque drift cars that I've built and had fun with I only have a few I did get rid of a lot of cars to make room for Some new cars that I haven't built yet because I have all these cars I don't drive so I kind of deleted a lot or sold them to make some money room to start building some new builds as you can See over two hundred some thousand dollars in here. So we're definitely Very comfortable in the hot hatch Kind of overshot them and then I hit the wrong way on the on the control pad so Like I said, if you guys are enjoying the torture of content make sure you guys like this video and tap subscribe I do appreciate all the support new content coming to the channel with a set of Corsa and stuff like that and some new Cording aspects so videos are gonna look a little bit crisper a little bit cleaner and we did it takes a win here in the RS So we're gonna go take a look at the build on this car and show you guys what we're working with With that seven hundred and ninety five horsepower on the RS. It's all about this hot hatch today So I think we have two crates we can open up For the hot hatch which we should probably do real quick just to see if we maybe get some more parts on here that we don't Already have money and ECU. Okay We have pretty much have full-pro parts. So those aren't gonna help me in any means So let's take a look at the build of the RS. We're running all pros except for the engine We're running the aftermarket stroked SR 20. I haven't upped that yet The car comes with an SR 20 in it which is kind of confusing to me, but it is what it is It's got 18 psi that we're rocking on boost So but everything that everybody wants to see is our Aspect we are running 45 to the front. I haven't really adjusted that haven't really messed with left foot braking too too much Which we're gonna get more into here soon for our angle kit in the front Rocking 65 degrees of camber negative seven and a half or steering lock negative seven and a half of camber seven caster negative of the half on The toe and then for the front of the suspension we're rocking field suspension at 0.09 and 9k so those we can go and it's pretty much as soft as we can go in the front of that car at 9 and then for the rear suspension we are rocking 7 and 0.09 a little bit softer in the rear but not Crazy soft I did that to get the car as low as possible because why am I keep going back the car? It is pretty high from the get-go of the game and then for camber and caster in the rear running negative point six nine and one sixteenth and As for our differential we have the pro diff in there. We're at 80% lock final drive of four point six eight so the car is really good in fourth gear and all of that so that is what we're rocking and when it comes to Body kits, we don't really have any so we don't have any arrow change or anything like that We just got some neons under it. So that's the RS tune. That's what we're running here for today. So Definitely enjoying the hot hatch. It's kind of cool. Wish we could get the new Toyota Corolla. I am like for Gauzebo So we have a chance to donut. We're gonna go to the skyline Hakone skyline Here on the torque drift with the Focus RS See who our next tandem battle is so I hope you guys are Still enjoying torque drift. Let me know down in the comments what you guys like what you guys want to see very soon Because the devs are listening and they are watching and we do still have they we're not finding anybody So we're gonna cancel it and go back and then we'll find somebody right away. I Believe that is not at mlz But it looks like at mlz's car If it was actually at mlz that would be crazy. So let's see we can't get a good run I feel like somebody is fanboying at mlz right now rocking up, you know the s-15 and The gamertag of that too much into the paint, but we did not lose our clean lead. Okay So I will take that even though that was kind of risky, but then we lost it there So not my best run here on Hakone But we did have a good run on the jump or on you know the jump section in reverse We definitely got bested so we're gonna try and chase this down and have a better chase And maybe we'll get another chance to go against him Rocking no bumper in the back trying to Find out when he's gonna initiate in Ran a little bit wider than I should have but we'll bring it in there We go kind of try and tuck in as much as we can Kind of washed out a little bit there. Ah Did not expect him to straighten up or flick back. So unfortunately we did not get a good chase so hopefully we can get a chance to run him again and Redeem ourselves on that one Definitely got bested by that for sure and he left and he said that's a no-prope So we're gonna see if we can't find somebody else here Let's make sure like I said before make sure you guys follow me on Instagram and Twitter I'll have to run description box below some big things coming and that is a very very cool looking pain on that 86 some interesting things coming with a set of Corsa on the channel as well as forza on the PC, but a set of Corsa Drift competitions and stuff happening very shortly And I will be bringing you the full of video talking about the full specs on the PC build So that you guys can see it and get idea of what specs I am running on my PC A little bit sooner Somehow saved it but was not able to link all of this so we'll flick this bow Kind of feather off the gas Get our clips a little bit more on the handbrake try to stay away from that wall So we don't lose all of our points and come across with a decent 60,000 point run not the greatest run by any means, but it should do the job So this car handles a lot better on some higher speed tracks. Uh, I've noticed here on hagone it's good on the Like tunnels edge and hidden path, but skyline It's a little bit wonky So I need to dial in some more suspension and stuff like that and figure out how to get this thing out How to get this thing really sideways. Maybe we'll try third gear We'll try third gear and see if we can Stay up there and third Maybe third gear is the money gear right now We may have to double initiate there But we were able to somewhat stay on his door so third gear may be the actual ticket here for skyline but We'll see We did take the win. So that's good We took the win and he said no more. So we're gonna see what other tracks we can run here for today Before we end this episode off more turks are coming for you guys As well as other content and new games and stuff like that. So we got doughnut or we can run the slab Let's go to the slab to end this episode off heaven run slab in a while reticle nine In the focus rs gotta add a liver to this thing Maybe a simple street livery because it kind of looks like a street car So we are going against nznd with that fun haver um You know title that I did get that myself too not up there in the high scores But I was able to get my fun haver one Definitely a very interesting chase challenge Going against chelsea denofa flick that heart in Oh, get out there get out there. All right. Well, so this car kind of sits where where you put it So we got to kind of make sure we try and set it out where we needed to because it doesn't like to come back When you set it in a certain position it kind of hangs there so Decent decent run so far here on the slab Would like to get closer to those walls, but we know what happens when I say that So a hundred eleven thousand To a ninety nine so a decent close battle here So we have to stick to the door of nznd to finish this episode off to make sure that we are For sure on his door To make sure we come home with the wind in that vet So like I said, if you guys want to see more torque drift, let me know down in the comment section down below I do appreciate all the support.  So we can initiate late Cut this in And hold that handbrake really long to try and get ourselves back out to where he was Not the best approach I needed to do on this tandem run, but We're managing to somewhat stay A little bit in the ladder part of the course He's doing some massive angle changes. So hopefully that 32 000 chase is going to be enough to take the home of the wind for the final run here of this episode And survey says we did take the wind 144 to 129 Definitely a fun car and I enjoy this car a lot So make sure you guys follow me on all social media and as always thank you guys for watching I'm evil rabbit. I'll see you guys on the track


Bitcoin has fallen over 18% from previous all-time highs as it revisits $50,000 for possibly the last time. But Jay bro, why is Bitcoin crashing bro? I put all my life savings in it. Is the bull run over? Hey Alexa, do I have any new Tinder matches? Well Chad, that's exactly what we're going to go over today. We're going to talk about the largest ever Bitcoin options expiration to date. Currently worth about $6 billion in option contracts are set to expire tomorrow. So if you want to continue to pop bottles, go all in on meme stocks, and making it rain on the other Chad's on Wall Street bets, then you don't want to miss this video. Hey what's up Jay here and welcome to Bitcoin Daily bringing you guys the best tips, tutorials, and ideas to help you guys become profitable and successful traders. The goal of this channel as always is to empower you guys with the resources and knowledge to take you up to that next level. So guys if you're new here make sure to hit that subscribe button and make sure to smash the like as well and turn on the notification bell. Vesters usually look to futures markets for price discovery and look to the options market to gauge the sentiment that's going to prevail. The options market is a good leading indicator for the spot market. Now the options market is usually an all or nothing type of game. On the day of expiration those contracts either have value or are completely worthless. So why does this make the price of Bitcoin go down? So they call it Max Payne. The Max Payne theory here states that the market will gravitate toward the pain point while heading into the expiration. That's because sellers typically institutions with a lot of capital supply often push the price toward the Max Payne point by buying or selling that asset on spot or futures markets. The bullish spin in this is that if Bitcoin makes it through Friday without a major correction a major overhang will be lifted and should shoot the price back up. So the Max Payne price point for the expiration is currently at forty four thousand dollars on Derabit. So Derabit is currently the world's largest crypto options exchange by trading volumes and open position. Now it doesn't mean that the market will move to forty four thousand dollars but it does imply that after Friday this potential downward pressure no longer will exist. You can see here on this photo where it shows the Max Payne price point which is pretty much right in the middle at forty four thousand dollars. Now the Max Payne is calculated by adding the outstanding put and called dollar value of each in the money strike price. So further breakdown on Max Payne and Max Payne price it's the strike price with the most open contracts puts and calls and the price at which the stock would cause financial losses for the largest number of option holders at the day of expiration. So if you look at the monthly option expiration dates you can see that it's brought the market down a little bit every single time and then has continued up. So you see here in October when we were at thirteen thousand two thirty nine then you see it again on the following month in November when the price was at seventeen thousand see it again in December when the price was at twenty three thousand then again in January we were at thirty two thousand that's when we had that big pullback again last month in February we were at forty four thousand and now this month we have more of the same where we're currently sitting at about fifty two thousand dollars. So even though it's pulled back every time the options contracts have expired you will notice the trend here that we've always been hired in the month before. So what does this tell us by the dip? So here you can see in November just over twenty four hours from the day that the options contracts expired we went up seven point two percent then again in December two days after the options expired we went up seventeen percent then in January remember that's when we had the record-setting bitcoin option expiration contracts amount and value which an hour after the options expired we went up fifteen percent. So this is showing you a pattern here that you should be buying this dip because every single time in the last during this bull market since October every single time that we've the price has been pushed down as soon as those contracts expire we've gone up. So basically in conclusion guys buy the dip. Alrighty guys I hope you guys have enjoyed this video and I hope you got a better understanding on option contracts and why the day of expiration for option contracts and leading up to that day on why there's so much more volatility and you know what you can do to plan ahead when these option contracts these option dates the expiration dates are coming up. Open interest is only getting higher and higher which can cause just more and more volatility every time we reach the date of these option contract explorations. So plan accordingly guys and buy the dip. Guys if this is your first time on the channel or if you just been a ghost watcher a ghost viewer and haven't subscribed yet take this time please to subscribe to the channel go ahead and also smash that like button if you guys enjoyed this video and don't forget to turn on the post notifications. I will see you guys on the next video as always peace and love


In this video, we're going to discuss how to graph the function y equals x plus three quantity squared minus five. So the first thing to recognize here is that there's graph transformations involved with this thing, but we have to first identify what is the basic graph in play here? What is the basic graph? If we ignore all of the transformations, what's left? Like if we ignore this minus five, if we ignore this plus three, our function looks just like y equals x squared. And so that's the basic graph here, y equals x squared. And so in order to start graphing this formula, this function here, we would start off with this basic function y equals x squared. If you don't know what that graph looks like, that's okay. Many of you might have seen this before, but it's not a big deal. y equals x squared is just our standard parabola, which looks something like the following. We might talk more about how to graph these basic functions very later on in this series here, but y equals x squared is just a standard parabola. It goes through zero, zero, one, one, two, four, three, nine, four, sixteen, et cetera here. And so on the screen, it's illustrated as this dashed curve in white. Okay. And so then once you've identified the basic function, then you want to start looking for transformations that are applied to it. So for example, notice that I replaced the x with an x plus three. What does that do to the graph x plus three? That x plus three causes the graph to be shifted. We shifted to the left. We might have to reference the table we had from the previous video. We want to shift left by a factor of three. And so you see that's what's happened here as we go from the white graph, one to the green graph, which is also a dashed curve right here. This function, y equals x plus three squared is a shift of the graph left by three units. And I mean, this is this is exactly three units right here. Like this, the point zero zero moves over to negative one zero to negative two zero to negative three zero. Right. This point got shifted over by three units. And this happens for all of the points on the graph. Like if we take the point one one, it's going to move over one, two, and then three, we get this point right here, which is going to be negative two comma one. This came from one comma one. What did we do here? We just take the x coordinate one and we subtract from it three, which is a shift to the left and then we get negative two. So each of these points we can do this for each point on the graph, right? The graph itself is just a collection of all the points we shift each graph to the left by three. We just subtract three from its x coordinate. That's where this green graph comes from right here. And if we want a formula for it, it'll just be y equals x plus three squared like so. But then what else is happening here? This is negative five. What is the negative five do? Notice that the x plus three is inside of the function. A good indicator of this is the parentheses, right? Our function is x squared. And so everything inside of the square is part of the horizontal zone. And so that's why the x plus three causes the graph to move to the left. On the other hand, the negative five is outside of the horizontal zone. The parentheses usually give you a good indicator of that horizontal zone. That negative five is outside of the horizontal zone. And this will thus affect the graph as a shift. This is going to be a vertical shift. So it's going to shift down by a factor of five. And so taking this point we had before negative three zero, we're going to shift it down by five. One, two, three, four, five. I'm just kind of counting the marks here on the y-axis. We shift everything down by five. Oops, put that point back there. And so now we get this new point negative three comma, comma negative five. It went down. And we did that for this point that started at the origin. If you take this point that was at one one, right? That was this point where it moves to here negative two one. We'll move that down. You're going to get this point negative two comma negative four. Where did negative four come from? It's just one minus five. So to move things to the left, you should subtract three from the x-coordinate. A shift to the right would just be adding three to the x-coordinate. A shift down just means you're going to take the y-coordinate and subtract five from it. A shift up you would add to the y-coordinate. So what I want to do is switch over to the graph of this function. So this is the little Desmos page I created for this lecture. You can find the link to this in the video description here. I'm going to switch our function. We're going to switch it to x squared. This is now our, whoops, this is going to be the graph you see right here. And so now let's change things, right? We didn't do any vertical or horizontal stretching or compressing. So I'm going to leave that number A and B at one. But the h value, if we have x plus three, that means you're taking x minus negative three. So switch h to be negative three. You see the graph is then moving to the left by three units, just like we predicted there. And then for k, k is going to control the move up and down. So we had a negative five right there. So we're going to move this thing down by five. Up that's moving it up, moving it down by five. So we should have a negative five right there. Went off the screen a little bit. And I'll zoom out. And so you can see then how did this graph change? The point that was at the origin moves. So the point that was at the origin moves down to be negative three, negative five. And the point at one, one moved down to negative two, negative four, just like we saw here. And so the graph that we produced is identical to the one that the calculator produces. And so you see that here on the screen. And so that's what we're trying to be able to do in this section. How do we, how do we produce the same graph that the graph calculator produced without the need of a calculator? We want to understand the connection between the algebraic formula of the function with its graph that we see here on the screen. And we saw on this one that we just had a vertical and horizontal shift.


Today we're talking about Bonn & Veve Spiked Seltzer Prickly Pear Edition and much more. Be there, njroot22.com here with another booze chat vlog. And today we're talking about the Bonn & Veve Spiked Seltzer Prickly Pear Edition. I mentioned this in a few videos ago, I don't know how many videos ago, but that I was going to buy a six pack of this Bonn & Veve Spiked Seltzer. And I noticed when I looked at all the different flavors, each one had different varying amounts of carbs. I think anywhere from one gram of carbs all the way up to I think two or three on some of them, the various flavors, for whatever reason. And I singled this one out and I had to have it special order at the liquor store because it was the lowest one I could find. I think there is one more that's one gram of carbs. And our objective is when we drink to have the lowest amount of carbs. That's why I stopped drinking wine because of the sulfites and all the impurities. And so far the two drinks that we are enjoying these days are vodka mixed with unsweetened seltzer as well as these spiked seltzers. And the current champ again is the Smirnoff brand. We like that the best. Overall it's grown on us even more in the last few months. It really does have the best taste. And right now I'm drinking the Bon and Viv. I don't even know if I'm saying it. Is it Bon and Viv? Is it Bone and I don't know. I have no idea how to say it. Now a little disclaimer here. I don't think a single person on planet earth drinks these seltzers the way I do. I water them down. They're already a pretty low alcohol drink compared to a glass of wine which is usually 13-14-15% alcohol. Seltzers in most beer in the 4-5-6% range. So you're already having a watered down drink comparing it to a mixed drink like vodka, tonic or whatever. So I am a little bit different. I water mine down in a quart glass here with ice that melts over the course of the drink. So instead of getting 4-1.5% alcohol, which these are, I'm starting off at 2-1.25% and the alcohol percentage goes down as I consume the drink. You know, go from 2-1.25% and as the ice melts it's 2%, 1.75% and the last few sips are under 2% alcohol. I drink that way for many reasons because A, number one reason I like to consume fluids. I consume a lot of fluid every day. Quarts of coffee, quarts of tea, quarts of water and quarts of booze. Watered down booze. I just like consuming fluids. Not everybody is as hydrated as I am. I just, I enjoy it. I guess that's what's kept me alive for so long. I guess all the toxins have plenty of freeway speed to get out of my body. Either that or I'm destroying my organs in some other way. Either way, I'm going way off base here. I wanted to review this seltzer to see how it compared with the standard. This Mironov is the standard. I'm freezing it. I don't know why. It's like spring, it's going to be 70 degrees this week and I'm wearing a down jacket. I'm like chilled to the bone. This happens to me sometimes because you, I guess when you lose body fat, you just, it takes time to adjust to your new insulation. But the prickly pear, I didn't like the other Bonn and Veem. I think there was one flavor in the, you have to check the video out in my channel. There was one flavor that I really liked a lot. One flavor that I really despise and a couple other flavors that were mediocre. And this one, I don't think it falls into the, I like it a lot. I like it a lot category. Again, because I mix it with some other kind of flavored seltzer. Today it's orange, sometimes it's black cherry. So my drinks are like Frankenstein of seltzers. I wish they actually would make a unflavored spiked seltzer. Like a plain one, because I add my own flavors anyway. Lemon juice and ginger. It's delicious. I can't, I don't want to drink it any other way. I drink this plain and something tastes, tastes weird to me. I mean, I liked it. It's okay. But there's one thing I wanted to talk about here. It's the, the type of alcohol. Let me read the ingredients to you. It's purified water. Cold fermented corn sugar. Now that bugs me because A, I don't like sugar. B, I'm not a big fan of corn, the whole corn industry. It doesn't say non GMO on it. So it's probably like some sort of nefarious corn. And that I'll probably never buy this again. The only time I'll ever buy this, if the liquor store is closing in five minutes and I want a seltzer and they don't have smear on it. That's the only time I'm going to buy this again. But they say here, it's gluten free, natural flavors. That's such a scam, natural flavors. Like no one questions that anymore. I don't think it's even illegal for them to say natural flavors. It doesn't say 100%, I don't know, I could go on and on. Natural flavors. One thing could be natural. Like 1% of it could be natural and that wouldn't be illegal to say on the cam. No sugar added and it's just right. 4% out, 4.5% alcohol. Also has natural prickly pear strawberry flavor. What does that mean? I don't know. And then it has sodium citrate, which I believe is the tartness. And then malted rice. So this to me, even though it's one gram of carbs, has a lot of ingredients on here that are carb based. I honestly to be, I don't know what malted rice is. And is that what gives it, why do they put it in? For what reason? I don't know. And looking at the Smirnoff can, it doesn't really tell you the ingredients. It doesn't tell you the ingredients on the box either. I guess you have to go to their website or look up their legal file somewhere to get the exact ingredients. But I've had tremendous success with the Smirnoff brand. So I can vouch for, I guess now, today until I find out something later on when it's too late. But yeah, one gram for both of these. So I'm a little bit concerned in terms of, like this one lists sodium at 25 milligrams per can and the Smirnoff does not mention sodium at all. So I really don't know. They're both grain based. The Smirnoff says, I removed gluten from grains containing gluten. Like I said, I'm only going to buy this when, it's five minutes before closing time and I want myself to. Luckily for me, you plan ahead. You always have two or three days or a week. A week of supply on hand. Never go below a week. It's like my dad always said, when treat your car like at a quarter tank or higher, like half a tank, even better, when you're at a quarter tank, treat that as empty. Like rush to the gas station. Never go below a quarter. So I always try to have a good supply of either, you know, have a bottle of vodka on hand, a decent two or three days worth of seltzer and spiked seltzer and lots of non-alcoholic seltzer. So I can't really say anything awesome about this. I can't remember what, how I felt the next day with these, but I just don't like even seeing the word corn anymore. So who knows, maybe a lot of, some vodka's are made from corn, potatoes, and you can go on and on and on and on and on and on about it. And then I probably lost all my readers. No one, no one's listening to what I have to say here. So I'm just saying it to myself. I rambled and that's it. Nothing to write home about. Have a nice week ahead or behind and ahead.


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