Great to be here to see everybody. I think just bear with us as we get set up here. You can probably tell from this talk title that there's a product guy in the room. Used to be an engineer, so I had to really fancy this up and make sure I had something that was flashy. So bear with me. I'm truly an engineer, but I have a product title. The first shot, we did. All right, we're good. Kicking off day one with big bucks no wins. OK. Hi, everyone. My name's Tony Goslin. I'm a cloud engineer with the Ethos team at Adobe. I'm Joseph Seneville, and I'm with Adobe as well, principal product manager there. Used to work in a few different roles, part of an acquisition where we were like early Kubernetes adopters. At that time, we were probably a Calico user, and then eventually we've shifted over to Cilium. And also, we have a newly formed tab member group that has just started up. The CNCF has sponsored. I'm one of the tab members for the end users. I hope if anybody are end users as well, that you take a look at this. We're hoping that this is going to be a really great way to drive feedback into all the products across CNCF like Cilium. And then as well as, I'm with Sig release, a Sig release manager associate, how things get packaged and deliver like all the plumbing behind the scenes. I'm with that team as well. And always looking for individuals who want to get involved in that aspect of it as well. But just going back to what I was kind of mentioning here in the title, and I was really kind of thinking about the culture that we kind of come from at Adobe. At its heart, it's a company that is a design company. They have software products. But at the core, this is really what it is. It's also a company that's been around for quite a long time. I don't know if anybody was around in 1982, but that's when the two Johns formed the company. And they were like really early visionaries and very interesting individuals who really like similar to like the HP experience, that really garage idea, I want to spin something up. And I recently just was part of a 30-year anniversary of Acrobat and just kind of hearing some of the story around how they got started. They were really, it started from a, they wanted to create a product for the laser rider at that time, which was supporting PostScript. And one of them just really went with it, wrote a white paper, and then all of a sudden he created this vision, even a little bit of marketing. And then that became the product. So we've always had this kind of innovative ideas and really pushing things. And so even with an infrastructure perspective in the domain that we have, oftentimes it sometimes can feel like constraining because of some of the primitives we work in, especially when you think about the network. That's an area where, I mean, a lot of us who grew up in data centers, we know some of the challenges that come from it. So I love that we're kind of in this more newer world where we can actually start to higher level think of like what's possible, what could we possibly do so that we could ship great products, that we could ship things that we know our customers are gonna love and that our developers are able to really have the ability to really get their features out but then understand how things are happening when things don't always behave right or things scale. So it's kind of really the genesis of what I wanted to deliver this talk. But just to kind of get some backs up, I'm gonna give it back to Tony and I'm gonna let him kind of give you some a little bit about Ethos, which is our container platform. Thanks Joe. So yeah, Ethos is, it's not a product. It's an internal platform that we use to deliver a cloud native at Adobe. And the way that Ethos came about around 2016, 2017, we had developers at Adobe who were going through their cloud native journey much like everyone else had. They were trying to figure out how do I take my application? How do I use Docker to package it? How do I deliver it? How do I get metrics around it? How do I manage it? How does it work in this new kind of setup that's different from more traditional infrastructure? And a lot of those journeys kind of looks like this. Some mistakes were made along the way. The guy there in the back room fell down. That's actually Adobe security when he found out what some teams are actually doing with their applications. And the problem was, with a company like Adobe, Adobe's a big company. I've lost track with how many employees we have at this point. It's 20,000 or 30,000. It's a big global company. So we didn't have just a couple of teams doing this. We had a lot of teams doing this over and over and over again. So the genesis of Ethos was basically let's have an infrastructure team get together, solve these problems once, and then give this infrastructure to developers as a service so that they can actually use it and get back to actually developing applications. We actually started this in 2017. We originally made a big bet on Apache Mesos. We didn't go Kubernetes first. So we were one of the few Apache Mesos users. And the first iteration of Ethos was pretty opinionated. We made a lot of decisions for users. And it worked okay, but what we found was with such a diverse audience of users, we had a lot of users coming to us who either had no experience or a lot of experience. They either had one container where they were just saying, give me a pipeline and just host my container, make it happen, make the magic happen. Then we had other teams coming and saying, look, we've already stood up six of our own clusters. We need you to give us a cluster that's blessed by security and then we need you to kind of step out of the way so we can do our thing. Have our own pipeline, we have our own metrics, we have everything. And that's something we couldn't deliver the first time around. So about 2018, we kind of saw the light and we moved over to Kubernetes. And that's when we decided that we need to give a platform with more choice. We need to really be flexible for our audience and be able to deliver something where we can take those different users coming in and give them what they need, whether it's the novice or the user who just has one or two or three applications they need to host versus the team where their application is cloud native from day one and that's their entire infrastructure and they need to be geolocated and with data locality, they need to be in certain clouds with certain services and they really kind of have a high degree of complexity around what their implementation looks like. So today with Ethos, workloads kind of look like this. We do a lot of single tenant and multi-tenant. So for our smaller users, we might put a number of those users on the same cluster and we need to be able to secure those users and segment them apart from each other. We have applications that are both cloud native and legacy, I'm using my big air quotes here. It's the lift and shift that is kind of the dirty secret of cloud native. We have a lot of applications that are coming in that existed long before Kubernetes. So those applications needed to come in, they were kind of wrapped in a nice Kubernetes wrapping and then deployed so we need to be able to support those and offer tooling that would support those as well. We have untrusted workloads. We actually have one product in particular called Adobe Experience Manager and the fun thing about this is that this actually allows Adobe customers to deploy their own applications on Adobe infrastructure. So we again, needed a way to be both performant and secure with applications that we really didn't have any insight into prior to them being deployed. So we need to be really kind of focused on how we package those applications and how we presented infrastructure to them. We do staple workloads. We have a very large messaging pipeline and metrics installation that we use internally. And we also have a lot of kind of machine learning and inference workloads as well as more recently as with a lot of companies, we have a large generative AI presence which has been on Ethos since day one and cloud native since day one. Yeah, I think you're kind of like, I would say that's probably the big elephant in the room of like learning. And I think with all these things that you know, these types of workloads and I think probably a lot of you are using Selium have probably gone through different journeys with like the types of workloads. The generative AI has definitely pushed us into a different kind of like challenges. And I think across the community we're gonna probably talk about that a lot more. Selium, it held up. Definitely we were pushing a lot of packages per second. We're pushing a lot of different artifacts to a lot of complex kind of pipelines. And we once again, it's always kind of those things in my career I always feel like, all right, what new thing am I gonna learn today? But ideally, I like things to just be like, just work. But we did, we did found some areas where we, there was some areas of like, that we had some few outages, a few things that were happening along the line. So looking forward to kind of seeing Selium kind of get more features in there. I think also upstream as well with like scheduling and orchestration. There's a little bit more than just the underlying CNI. I think it's kind of like the collective pattern of how we do this. So I'm really excited. And if anybody's doing these things I'd love to talk more about this because we definitely have some things where we feel like we want to improve on. But amazingly, we shipped major product this year, Firefly probably pushed our limits. And even in our journey with like using Selium, I mean, we've gone from being initially the largest customer, as Dan mentioned earlier and dipped the backup. And we really love that it's been able to kind of scale. And I think we're gonna talk a little bit more about some of those kind of nuances of what that is. Yeah, all in all, our fleet of clusters were running, I think today it's about 23,000 nodes just to give you an idea of scale. And that's spread across a lot of different tooling. Just to give you an idea, I was playing this slide together and I looked at this morning and I was like, this is starting to approach the cloud native landscape slide. The slide you see where the type is like six point you can barely read what's going on. It's not quite there, but we, I really tried to shove in a lot of logos here and we didn't even get all of them. But really what I was trying to illustrate here is we're giving a lot of choice to our tenants. We're on Amazon and Azure and our own private data centers. And even within the public clouds, we're both EC2 based and EKS. We're Azure VM and we're AKS. We even do some open shift. We support virtualization with Coddic containers and Kubevert. We support different container run times with Cryo Container D. We support both metrics as a service and bring your own metrics. We even support Windows as well as Linux nodes. And of course we support a number of different architectures with Intel and ARM and then a lot of different variants of GPU. Anywhere we can get GPU, we are looking to support it. So we support a lot of different options here and when you look at an ethos cluster, we often hear like, well, what makes an ethos cluster? What's your kind of, if you had to include just a few select tools, what makes an ethos? And it really comes down to two things for us. One is Kubernetes, that's kind of obvious. It needs to be Kubernetes. The other is Cilium. Without Cilium, a lot of how we present the infrastructure and secure it doesn't work. It's to a point where we basically insist upon Cilium as a feature with any new cloud that we're going to. When we looked at AKS, we said, this is great. When can we get Cilium? When we look at OpenSheff this way. This is great. Let's do Cilium on this. And the reason for that is simple. When we chose Cilium as our CNI, we were, and by the way, we were first consuming it as open source when Joe says we're a customer. We've only really been an enterprise customer. Thank the last two years. We've been Cilium fans for a long time. And for the reason for that is, number one, it's EPPF-based. That really gives a lot of interesting opportunities for integration, for insight into how traffic flows throughout the network, which is really important for us as infrastructure operators. We need to be able to have that visibility to be able to work with our tenants to show them how their applications are working or not working. The other was that it was very simple to pick up and very extensible for our tenants. It wasn't just a product that we use. It's a product that our developers use and that our sister or like security use in order to kind of meet their ads. So, you know, we kind of shopped around for a CNI. We were really excited about Cilium and we've basically been using Cilium since about 2018 and using it globally throughout ethos. It's one of the few constants we have in kind of our cloud-native infrastructure. Joe, I think you have a hot take. I have a hot take. I always have. I think I've done this. Hold on one second. I just wanted to qualify one thing there. You know, when Tony was talking about that, like one of the challenges too as well is like is because we are multi-cloud, hybrid cloud, like we're consuming this in a lot of different ways and I know maybe a lot of you are probably similar. Like, you know, you're probably, maybe you're in EKS and previous to that, we were running like our control plane. So we kind of are owning that part of it. We recently just had a partnership that has introduced the OpenShift and you know, obviously OpenShift has a very bespoke type CNI that's in there but we've made such an investment and I think that's where we keep further going with a lot of our doing, like instrumenting things. Like we have this kind of like domain knowledge and that consistency and this kind of leads me to my hot take. Thomas, you might like my hot take here. Celium is boring as a CNI. It is boring. I love it. But another hot take. Boring is good. Boring is good. Don't listen to the product guy. Don't listen to him. Listen to the operator. Boring is good and I'll tell you why. When there's an issue, what gets blamed first? Anyone? Anyone? Oh, it's a network. Oh, it's a network. Oh, my application doesn't work. It's a network. This is the battle cry for developers and it's something that we deal with in operations on a daily basis. Something's wrong. I think there's something wrong with Celium. I think we have to look at that. So when you choose a CNI, you really need to choose something that has great visibility and is stable. We really need to have a product that we can work with that's easy to debug. It's easy to configure. It's easy to point and look. This is how the traffic's flowing. This is how it works. And this is one of the reasons why it's one of the few pieces of the infrastructure that when we went to EKS, we didn't go with AWS CNI. When we went to OpenShift, we didn't go with Red Hat CNI. We insisted on Celium because without network, obviously none of this other stuff works. All of it is window dressing on top of the network. The network is the most important thing. So it's really important that you invest that domain knowledge into a product and then you use the same one everywhere. So as an operator, I really like the boringness that when we get out of it's more silly. It's more things that I know and that I can configure. Our end users like that as well, in terms of being able to use Celium to, again, configure their own applications, being able to approach Celium and configure their own L3 and L4 and L7 policies without having to learn yet another tool or use some sort of bespoke format for being able to write those policies. It's all JSON and YAML. These are all cloud native objects. It's UNIX, I know this. This is something where it's very easy for end users to come up to speed with, man, I just need to connect these two applications. How can I do it? Being able to pick up Celium is, we have some end user orgs that, frankly, are probably maybe even a little more knowledgeable in Celium than we are. And that's a good thing. We don't wanna be the gatekeepers of Celium. We wanna have a best of breed tool that basically meets our needs and our goals. And Celium does that for us. It's also very useful as part of our security foundation. I'd say probably more recently, gatekeepers has caught up here, but in the beginning, we were doing just a lot of basic workloads, segmentation, policy enforcement with Celium. And again, it's that kind of ease of being able to implement and understand how traffic flows and then allowing the developer to extend upon that, that really made it kind of the logical choice for us. I cover what I wanted. Yes, I think I did. You did. I did. And so really, what I really kind of wanna get more is like, and this is kind of where, when I'm talking to our overall platform team, our leaders, talking to teams that sometimes are actually struggling on this clouding thing. And I use this image only because we both came from an acquisition where we were in the original Pixar building where this film was made. And Pixar was kind enough to leave us some artifacts behind that to me are always like very inspirational. I love Toy Story, I love Buzz Lightyear. And I just wanna imagine that when I think of him that he probably had like Tetragon and he has all, he's has Celium and he has a mesh and he has all this cool stuff in his spaceship. But I think really about like, okay, what is possible? And this is where I kind of start to trickle down because we're going through a lot of change. Like we're seeing it, my roadmap was disrupted this year and I'd be all of a sudden thought I was doing something at the beginning of the year and now I'm going this direction. And I'm looking at things like Hubble. And when I talked about earlier, the CNI being boring, well, it's because now I'm able to look at more higher level things. So could I extend out? And we had this conversation with the Celium team a while back or Isabelant around like some of the things I'd like to see, you know? Like, could I start to see with the EBPF congestion? I wanna see like all the inner things so that before we get to these inflection points of failure, could I extend these things down so that we're getting less of those type of like toil questions? Can we push these things? And those are verbally in insights as well as like just the security aspect of things. Can we start to use these more? And I think this really when I was writing this up and thinking about it, I was really a memo to myself to say, hey, you're not exploiting the platform as much because that's really what's evolving here is it used to be just the CNI. Now, all of a sudden we have this platform that we could start to build features into our developer experience.  How do I support these teams? And obviously this is growing right with us. We're learning things that we just don't know what we don't know. And then the edge is just becoming more and more of a thing. And I think lastly, like the biggest thing, which I'm actually really excited and maybe you're also hearing this as well. This is just coming from an internal product person, but all of a sudden now I'm getting a lot of questions around supply and chain security. Like I would, I'd bring these things up on my roadmap, but no one would jump on it. And now it's like, hey, we need MTLS between us and this specific tenant or customer. Or we need to know like, how are you building these artifacts? What are the secure things that you have in there? I love hearing it because as I look at this platform where I see it's going or I imagine it's going is to a zero trust architecture. So when I see the vision of where these things are lining up, that's where I want to be. And that's where I really try to push my organization to be like, we made this investment. And I think lastly, you can hit my last slide. There's two other things that I just cannot emphasize enough. I love this community. This community is amazing. I've learned so much in regards to how we implement some of the challenges that we had. And I think being able to contribute to these companies that are investing in this space is very valuable. And I look at the individuals who are in it, who are just amazing and it's a great community. And I think that's what's really critical, especially now as we've seen some companies where licensing change happens. And I think I was looking briefly at like the Isabelan page and one of the things they happen about open source is that they, we think innovate and breathe open source and we are fully committed to the principles and values. And I'm gonna hold you to that because I really believe in that statement. I love it. So I'm really excited that we're able to kind of be here. We just gave you a brief glimpse of where we're going. I think in a year it'll be exciting because it will really start to ship a lot more of our Genitive AI apps. We'll probably learn new lessons. And as I mentioned, being part of the community means we bring these things back. We create issues. We really help elevate each other so that we can actually all grow together on this platform. And final thoughts? Oh, I think that's it. All right. I don't know if we can end this. Thank you. Amazing. So yeah, we have a fair bit of time. So I'm hoping there might be some Q&A. If you do have a question, there's a mic in the middle of the room. If you are able to go up to that, that would be amazing. I hope you don't mind taking some Q&A. No, we got time. Absolutely. Good morning. Good morning. My name is Dotsonath Midoi and thanks for sharing your experience with Adobe. I just have two questions, actually. You showed us a picture of Ethos, your platform. With that size, you must have had some unique problems, especially with Celia. We can out into Celia. And the two things that bother us a little bit. One is, have you ever run into Royal of IP addresses? And two is DLS, DLS resolution problems. My question is, can you just share one or two things that you're running to that was coming across all your platforms and maybe guide us into how you resolve those? Sure. So the first one, well, I'll take the second one first. Did you ask if we ever had DNS problems? Yeah. Yes. Yes, 100%. Absolutely, every day of our lives. Yes. Yes. And we've gone through multiple, like we had somewhere, and this just predates myself. And we've done things like DNS mask. We've also hit the length. It was like some of the challenges. Some of it was us as well, like not really realizing it. We had some alpine container issues as well. So we had to kind of really work through that. But we've kind of like to have internally, have like kind of an internal, like it's a DNS mask right now. And then we're revolving towards kind of like, as we move towards like mesh and stuff, we'll be leveraging that for more DNS. Not saying that that's going to make our DNS problems go away, but we're hoping that that's kind of like the pathway for us to have experienced less of those things. Great lead into my question. I was going to ask you, have you had any experience with service mesh like Istio, VS, Sillium, and how do you handle the policies? Yes, so as a platform, we've had to think about this one quite a bit. And as I think Tony mentioned earlier, we also are like a product of acquisition. So we have one of our solutions, which is, you know, they're using Istio and they're using, you know, like they have certain requirements that require them to use it. And right now we've just started to adjust it. And then as far as like our multi-tenancy aspect of it, like there's certain elements of mesh that we have in there, but not Istio, meaning like we have like MTLS in there. Now where I'm going with it though, is that direction. Like, and I think what's interesting is that as you see like ambient mesh emerge, like there's elements of Istio or Sillium with, you know, the Istio, you could also go to the Sillium, so like the Isovalent route as well. And I think we're looking at both of them. So haven't fully implemented that across our multi-tenant part of the platform, but it is coming now. As I was mentioning earlier, I would say quite a bit of like user requests have come in where I have to like now actively implement that. So we're definitely looking at what we have from our existing Istio implementation. I think the team there is, you know, from an upgrade perspective, that's probably like where some of our challenges are at is like maintenance. And so we really leverage our partners to help us there. Let's say this team that's implementing Istio is probably the first team that's come to us with an actual user story around why they wanted to use Service Mesh. We've had teams that have come to us in the past and they're like, we really want Service Mesh. They're like, cool, tell us what it is. And I go, I don't know, I really want Service Mesh. I just want it in my soul. And this is the first team that's actually kind of challenged us with an actual user story around that. We do have like service to service calls that need to be optimized. The way the things I'm looking at as well is like upstream, like multi cluster service API. Like we want to be able to have that cluster. Let's break beyond those boundaries. And I think that's where our opportunity of what we see is not only from the policy perspective, but then what we get from the across cluster. Were there any gotchas that you had to watch out for? So far, I haven't, I mean, we just started like doing our initial POC. So I'll probably have a better, check in with me in a month and I'll probably have a better story for you. Now you mentioned Zero Trust. How does that work with Sillium? And how did you implement that? I mean, that's a broader, probably broader story. Like when I bring that out, it's kind of like, I always look at like, what's aspirational? Like where do I, where can I get us to? And I think I look at this like, gives somebody a security observability that it plays into it is where I'm looking at it. We have other areas where EBPF plays a role because like Tony mentioned, there's like untrusted kind of environments. And we want to have some of those insights. And so that's where we think like EBPF is the area where we can kind of like, track those in kernel type events that we want to be aware of. So that's me like, it's just like many, many things that we're stacking up to get to that overall goal. Are you using like partitioning techniques? That is one, that is one of the environments we have to. Yes, not everyone, not every environment. And how about zero day? Those would probably be more like my security team. So I'd have to, they probably like, yeah, tackle that. All right. Thank you. I had a question as well. You mentioned that you have developers who are writing their own layer three, four, and seven policies. Do you give them templates or guidance on how to do that? In some cases we do, in some cases we don't. We have an internal tool, or internal set of infrastructure, it's a development pipeline that we call Flex. And it's based on Helm and Argo CD. It's a way for tenants to come in and be able to kind of extend upon those Helm charts to be able to deploy their own applications. And part of that is they're able to use some of those templates to deploy their own Helm charts for network policy.  So yeah, yeah. Taking back on that question, how do you stop somebody from creating a node policy that allows everything? Do you have old policy in there, or what is stopping somebody from doing something nasty? What's our default policy? No, what is stopping from somebody making an allowed policy? I believe we have, I'm so, I know we have some gatekeeper controls in place that kind of restrict what users can do within their own namespace, and I believe we also have some. Are you guys using Coverno or OPA? OPA, yeah, yep.


Minister for Health, Wellness and Elderly Affairs, the Honourable Moses Jabhatis, recently visited the Heronora International Airport Public Health Facility to get a better understanding of the experience of travellers to St. Closure and to work towards improving the service. The Honourable Moses Jabhatis says it was a pleasure to meet the Port Health team and to gain the opportunity to discuss the challenges faced on a daily basis. Well, I'm very happy to be able to witness the facilities and to discuss with the nurses and those who operate the facilities, the challenges and also the advances which have been made over the last few months. I think it's important to look at the facilities, all health facilities and this Port Health Facility at Heronora International Airport since COVID has been very useful in terms of ensuring that our Port Health is maintained, that our surveillance activities are always on par with the best in the world or we try our best to make the surveillance activities as good as we can make them. The Health Minister says his government remains committed to making the necessary changes to improve the travellers' experience to St. Closure. Since assuming office, we have had complaints from both visitors and residents about the process through which they board planes and come into St. Lucia. We know a lot of work has been done. The staff here at the Port Health Facility have been working very hard and even today they indicated to us the changes which have been made to make passengers more comfortable and also there were several discussions over the last few weeks with Ministry of Tourism, Ministry of Health, SLASPA and so on to improve the passenger experience here. The Honourable Moses Jabatis was also joined on this tour by other officials within the Ministry of Health including the Acting Permanent Secretary, Jenny Daniel. Reporting from the Communications Unit of the Ministry of Health, Wellness and Elderly Affairs, I am Penal Neptune.


All right, it's actually working pretty well. I get, yeah, the filter order was too high before, so it's essentially filtering everything out. When you go log scale in the filter is a bit odd. Ah, that's the whole spectrum. So that's the whole spectrum, that's more a larger window. That's actually a seizure there. So, yeah, the scroll doesn't work. I have to fix that. But essentially the purple line, there's the whole spectrum. Yeah, we have to limit this at lower frequency, going up to like 50, 50 hertz or so, because that's most of EG stuff. A linear log works okay. Yeah, so when you go in linear, it should limit that the frequency access, the x-axis to go up to 50 hertz. That should be better in log. Well, same thing, we can limit that at about 100 or so. So we see more difference in there. And the window size is limiting us at 60 seconds top. But we should be still able to scroll through the file. Right, so the problem before was that the filter order was too high, this specific filter, just the way it works, play button. Yeah, play button doesn't work as well. It's kind of obvious because scrolling doesn't work. And make sure frequency scale is changing. The x-axis, no, the x-axis shouldn't be changing. It should be time, obviously, currently it's data points, a number of data points. I think, no, it could be actually time because yeah, that's a very long file and we skipping in the file to this particular second that has, yeah, that's right, that's the beginning of it. So this is seconds actually. It's just a very long, a long data file. So we have 400, it's actually 399, whatever, 0.99, whatever, doesn't matter, 400 should be good enough for our purposes, purposes. And then this is the start time just because that's where the first seizure starts in that file. I think that file has more seizures in it so we can, I don't wanna overload the server so it's only displaying whatever up to 60 seconds of data but then we should be able to scroll through whatever currently being loaded. Such a window size. Yeah, this is sending something, let me clear that terminal. Yeah, it's sending stuff in but it's not, it's taking channel one. You can change channels. This is that same seizure in another channel. Yeah, we have 16 of them. So actually we need to add, can just add all of them, add all the other channels. Oh, come on, don't do it, line by line. How it, surely, ShGPD can do a better, a better work. Let's see, I'm gonna do it manually. Right, that's right, that's how we do it. GitHub co-pilot is doing things line by line. This is how it's done. It's actually did all of them. Save that, we should have fresh, yeah, we have, because the first eight channels, yeah, that's 16 channels, including zero. So the first eight are on the left side of the head and the second eight are on the right side of this filter order in our HTML filter order. This default value should be around two for it to work better. A whole spectrum, well, the whole spectrum is essentially just the sum of all parts. I channel eight as this funny, funny business. So this is not published yet, hopefully publishing it today. The whole data viewer is available already in production. Yeah, this needs improvement. It's actually should not be loading like that. It's actually in the scene doing something with the CSS changing colors and things. This is how I wanted it to be to load. Yeah, that's the channel eight as this funny deep. It's a flatlining, a clipping signal. I don't know if it's a motion artifact or something. Yeah, it's that red line there. This one you can group a line by line. It's side by side, so left and right separately. Yeah, so it's just a viewer and this thing would be now should be called different name. It's actually add the description to this right now. Load channel, load channel, whatever, six. Linear log, log scale, all spectrum, yes, no. Yeah, most of what you can see is in Delta and there's a bugger all in the other bands. But once seizure comes in, you should see more of the other bands going through. Yeah, so you saw the elevation in Theta, so higher frequency. So again, this would be, so let's make it log scale, frequency, scale, option, log should be the default value in Bumpa Bump.


Good afternoon. You must be Mr. Wang. Yes, good afternoon. Pleased to meet you. I'm Mrs. Clark, the bank manager. Please, have a seat. Thank you. So, tell me a little bit about yourself, Mr. Wang. Well, I grew up in China and studied accounting. Then I worked at an accounting firm there for two years before coming to the States. I work well with others, and I like to challenge myself to constantly improve my skills. That's great. As you know, this job is for a bank teller. What would you say are some of your strengths or skills that might help you succeed in this job? My biggest strength is my attention to detail. That has helped me a lot in this line of work. Also, I work well under pressure. Wonderful. And what would you say are some of your weaknesses? One of my biggest weaknesses is asking for help when I need it. I'd like to do better at that. I appreciate your honesty, Mr. Wang. What can you tell me about some of your goals over the next few years? My primary goal is to gain more work experience. So a position like this would help me meet that goal. I'd also like to learn more about the different aspects of banking. I think those goals are very smart. I also want to ask you what salary range you'd be most comfortable with. I would be hoping to start somewhere between $35,000 and $38,000 a year, which is based on my experience in education. Thank you. Those are all the questions I have for you today. Do you have any questions for me? Can you tell me about the working hours? We'd like whoever fills the position to work nine to five each weekday. There may be some occasional overtime. All right. Thank you. And when do you expect to be making your decision? We'll give you a call within a week and let you know. Do you have any other questions? Not at the moment. Thank you. Well, if you think of any more, you're always welcome to call me. Thank you so much. It was great to meet you. Thanks for coming in today. Thank you. It was a pleasure meeting you as well.


Jake Gyllenhaal began his career as a child actor in the early 90s comedy hit City Slickers before moving on to bigger roles as a teenager in films like October Sky and the cult classic Donnie Darko. From there he transitioned into becoming one of Hollywood's most in-demand actors and well-known leading men. Today Jake is worth an estimated $80 million and over the past few years he's been living in a New York City condo building that's often been described as not only paparazzi proof but also referred to as the dorm of the rich and famous. Prior to moving to the Big Apple Jake had been living in Los Angeles for nearly a decade in a small but stylish place that he'd later put on the market and reap a tasty profit from. In this video we'll be checking out these impressive spots where the actor calls home. In these videos we don't reveal any addresses and even though I've done a house tour of my own place please do not show up at any private residences because it's not safe for anyone. Hey guys it's Cara the Vampire Slayer back with another exclusive house tour here on Famous Entertainment today seeing the properties of Jake Gyllenhaal. Why did Jake make the move from the West Coast to the East Coast and who is he rumored to be shacking up with now? Well today you're gonna get those answers and more. As always don't forget to like, subscribe and follow me on Instagram to chat and now let's get into this video. Back in 2005 Jake Gyllenhaal was having himself a year. Not only had he just finished starring in the blockbuster The Day After Tomorrow but he'd also wind up nominated for an Academy Award in the category of Best Supporting Actor for his performance in End Lee's Broke Back Mountain. Recognizing that he was on the fast track to success Jake settled into Hollywood and picked himself up a place to call home as his career exploded. He found his potential dream house in the neighborhood known as Hollywood Hills. Of course an area flush with the homes of other stars like Julianne Huff and Jack Huston. Jake would pay 2.5 million dollars for this ranch style abode that sits on two acres of land in a gated compound with two bedrooms, two and a half bathrooms and just under 3,000 square feet of space. The home also hosts a series of other attractive features like a camera equipped security system as well as a gigantic great room that's fashioned out of classic high beam ceilings. Then there's the office area and media lounge with all the built necessities that promise that highest quality in both picture and sound that a movie lover like Jake no doubt demands. Outside there's not only a separate detached office space that could be turned into a guest room there's also a teardrop shaped swimming pool and cabana alongside numerous outdoor lounge and terrace areas. All these entertainment spaces out here provide remarkable panoramic views of the nearby canyon and the mountains. As one of Hollywood's most eligible bachelors Jake lived in this home for nearly 10 years all by his lonesome up until 2014 and the release of the movie that features one of my favorite roles of his night crawler. Seriously if you've never seen Jake in that film then you haven't seen him at his best. So creepy. After blowing critics away with his performance in that picture Jake put his Hollywood Hillsome on the market eventually selling the property for 3.5 million dollars and earning a cool one million dollar profit in the process. Then Jake packed up his belongings and moved to the opposite coast. As someone who has been part of the Hollywood ecosystem for so long Jake knows all too well about the invasion of privacy that comes along with the territory of being celebrity. That's probably why he's so good at avoiding normal pitfalls most famous people fall into when they allow the media to control the narrative of their careers. Compared to most Jake's name doesn't pop up as tabloid fodder all that often. A big part of that especially over recent years might have to do with the fact that he moved into 443 Greenwich Street in New York City. This spot well it's built as a paparazzi-proof building a haven for celebrities of all types. It's a marketing tactic that's really paid off and over the years if you watch this channel you've no doubt seen this building. The likes of Justin Timberlake, Ryan Reynolds, Harry Styles, Lewis Hamilton and many many more have called this former factory converted into a Tribeca condo space home. Now you can add Jake to that list after he picked out an apartment all in his own and paid 8.6 million dollars in the process. Often referred to as the dorm of the rich and famous Jake's building was first built in 1882 as a book bindery. In the early 2000s the building was vacated and about 10 years later totally renovated into a series of 53 condos including 45 loft style homes and 8 penthouse suites. Prices for each unit range from around 8 million dollars up to 44 million dollars for the penthouses. Jake's own pad is one of the loft style homes and it's located on the fifth floor with over 3,000 square feet of space which is already bigger than his entire home back in LA. This place also features an extra bedroom and bathroom compared to his former residence coming in at 3 a piece. When the building was converted into a living space the exposed beams were kept around to help cultivate a trendy rustic look. Meanwhile the majority of the condos feature an open floor plan with hardwood floors and wooden arch windows that led in a ton of natural light from the New York City skyline. The full-sized primary bathroom is a work of art that features not only custom cabinets but also a lot of luxurious materials like marble and glass. His kitchen houses all top of the line stainless steel appliances that you would expect for the home of a celebrity where a lot of the cooking is probably done by hired help. It also flows seamlessly into all the other living areas allowing for an airy spacious feel. In terms of building amenities this place has all the bells and whistles you'd expect. Not only is there a 24-hour dormant and concierge there's valet parking and a live-in resident manager. Plus if you're looking to break a sweat there's a fitness center with private studios, a Turkish spa room and a gigantic 71 foot swimming pool. Oh and did I mention the wine cellar, courtyard and nearly 5,000 square foot landscaped roof terrace? Sounds like paradise right? That might be why over recent months Jake has finally picked himself a roommate, his new girlfriend, IMG worldwide supermodel Jean Kajou. According to the Daily Mail Jake and Jean first got together in December 2018. As I've been mentioning all along Jake is notoriously private so this relationship was kept under tight wraps for a while. In fact these two are rarely seen out with one another at all. That being said all reports suggest that they now live together in Jake's NYC condo as the majority of Jean's modeling gigs take place in the Big Apple too. After dating more than two years these two finally made things official in May of 2021 and just a few months ago they were both seen out at their red carpet debut for the lost daughter which is directed by Jake's sister Maggie. In terms of what the future holds for these two I don't want to get anyone's hopes up but it could be big things. During a recent interview with Howard Stern the shock DJ dropped a big question on Jake's lap but man oh man was he ever ready for it. That being said Jean is not only a supermodel but also only 25 years old by my count that gives her at least a few more years to book in as many gigs as she can so that baby well might have to hold off a little bit longer. Unless Jake can be persuasive and something tells me Jake can be very persuasive. Alright guys that's gonna bring this Jake Gyllenhaal house tour to an end for today. After seeing his former Los Angeles home and his current fancy loft like apartment in New York City which did you prefer. I mean they're basically opposites so you've got to have a type. I like them both but I think I'll pick the Los Angeles spot. Be sure to let me know your thoughts on Jake's homes in the comments down below or tell me which celebrity homes you would love to see next on here. Thanks for watching don't forget to follow me on Instagram and I'll see you all in the next video. Bye!


Hi everybody. My name is Sharon Sherry. I'm the Director of the Jones Library here in Amherst, and I'm here at Levelers Press with Steve Strymer, the founder of Levelers Press, and Anna Mullen, one of the worker owners here at Levelers. And I thought we would sit and chat and learn more about your organization. And I thought we'd start with you, Steve. Talk about the history of the press. It's interesting. There's so many different ways to think about how it happened, because it kind of happened and grew on its own. I've been a printer since 1973, offset presses and things like that. I was in another worker co-op. And part of my job there was to shoot film for producing halftones, photographs in printed material that was a camera operator, a plate maker, and that kind of person as well as a press operator. So I learned offset. And I loved the way of making photographs in offset and the impression of putting the ink into the paper and having the dots just right, you know, all that. So I came over here after 20 years offset. I came over to collective copies in 1997. And it was a really different world. We were still at 300 DPI. I think people out there know what DPI is. Still at 300 DPI, when I came, we were still, we still had floppy disks. We still had all, you know, we had no, I think we might have just started to have PDF files, Acrobat files. None of them were very stable. You had to watch them like a hawk. So, but gradually, as we worked on, we got color copier. We had our first color copier. I'm majestic. It couldn't do anything. It couldn't print on cardstock very well. It was constantly jamming. Color wasn't good. But then we like to call it the Rico Suave game. There's all these brands. And right now we have a lot of, I'll say it's Xerox machines. But the Rico Suave was the first machine production copy machine that could print at 1200 DPI. And it allowed photographs to be produced almost like offset. Not quite, but almost like offset. So as a camera operator and somebody cared about halftones, it really kind of floated my boat. And within short order in 2004, we had this series of books for the Northampton Historical Commission. And we're able to produce some of Stan Shearer's photographs here at that higher resolution. And it just became very exciting. So it was really at 2004, we started to print books. And one of our very first books that we published, not yet as levelers press, but as collective copies still, we published six books as collective copies. And this was the first one. No kidding. Okay. Beautiful. One of the sort of cutest titles ever for a book, right? Amherst, Massachusetts 01002, one of the best small towns in America. Absolutely. Okay. So that was in one of our great local folks, Vince Cleary wrote the book. And it remains a decent seller. But it's one of our books that went over 1000 copies and sales over time, which is pretty impressive. And that we were able to print it. This is a Badoni typeface, very fine serifs. And have the serifs be nice and clear. This really gives this fellow's heart, you know, flew in his chest to know what we could do, right? So by 2009, a friend of mine on the Sojourner Truth Memorial Statue Committee approached us about publishing his book. And this was our first book as levelers slavery in the Connecticut. And he encouraged us to think of a name. And so I had had read a little bit about the levelers in England, who fought to preserve the common land against the encroachment of the nobles. And I thought that would be a good name. I like the name. But plus, the idea that, and very quickly dawned on me that leveling the playing field in publishing, because at that point, and it's continued, you know, big publishers, the nightmares a lot of our customers were having. Because we would publish manuscript after we print manuscript after manuscript as they were pitching their books to big publishers. And even if they got picked up, they complained to us about the process. So we wanted to make a process that was happy and author friendly. And Robert and Bob Romer, he wanted his periods outside the quotation marks. No kidding. And I said, okay, we'll do that. That's the English style. He wanted it done that way. So that's how it started. And 100 or more titles later. I guess one of my other questions was, so in all your years, what changes in the technology or in publishing have you changed? There must be immense, other than just the DPI. We're up to 2400 DPI now. Very good. Crazy. And I don't know how technical you want to get about to be about this. But we can print and the sheet size changed. The biggest sheet size used to be 1117. That was a typical one. And I don't want to get too technical about it for which when you ran in 1117, you paid twice as much as you did for an 8th envelope. They then moved up to 1218. The RICO Squavé could do 1218, which was great. And then they moved up to 1319, which allowed you to print a standard trade paperback book, six by nine, four up. Right? And I'll just put it out there for one service click, for one, as though it was an eight and a half, 11. That's really what made things possible. And that became the way Xerox and Canon and RICO and all those companies were competing with each other. So they all sort of together went down that road. And that allowed a lot of things to happen. I think another challenge that I see kind of on the horizon is thinking about to what degree we want to solicit and by solicit how we want to solicit new work. How do you know? What voices are we are we looking for that we don't already have? And how do we kind of keep the literal means of like book production accessible to people who come in off the street and have an idea that they want to share? So how do you balance that accessibility and a certain kind of like equity in publishing with maintaining certain standards and doing it with, you know, when you're understaffed? I don't think those two things are in any way naturally at odds, like having, wanting to make yourself accessible to people and wanting your books to be good. But it's a problem. It can become a problem to be solved. I suppose in certain instances where you have two values, two collective values that can be at odds, which is we want this person to be able to distribute their work and how involved we want to be in it. Do we want to just be printing the books? Do we want to be printing the books and be a semi-distributor responsible for maintaining a catalog? Do we want to indefinitely maintain books on our shelves? And, you know, that answer really varies on a case-by-case basis. And I think having that flexibility to respond on a case-by-case basis is important, but streamlining that and making it more clear from the intake process to customers is something that we're going to be working on, I think. Does that make sense? Yeah. I mean, this is a whole new step for us because more people are involved. This kind of used to be my baby and the collective as a whole kind of said, yeah, you take in the titles you want and, you know, make them work. But it's something different. It's becoming something much different. So it has to become clearer. And we need to listen to each other about what makes sense and what we should be doing and all that. And do you all agree mostly? Do you all agree mostly? It's new enough. This may be our third book committee meeting as the larger group, something like that, something like that. So we're still finding that. I'm not too concerned for the scale that we're operating on. I think it's a sustainable model. People want books. The more the world becomes isolated and isolating and that experience intensifies for people, the more important it is that they have handheld things. And we get to do a lot of that work here. It's really exciting. Well, I have to say that's such an awesome response, right? We get in the library where we get to ask this question all the time. What are you going to do when the books are no longer needed? And it's just not the case. It's not the case. People need stories, people need, and the physical book. It's not going to be replaced anytime soon. No, I don't think it's going to be replaced ever. I think that the way in which we publish is going to change dramatically on a global scale. In terms of what we offer here, though, I think the demand is only growing because people really want to see their words and images bound in a book. And we kind of accelerate that process and I think make it more intimate. And there aren't a lot of places that do that. So to be able to, within a couple of weeks or, you know, a month, take something from a digital file to a product somebody can hold is not a feeling that I think is, you know, the demand for that feeling is not shrinking. If anything, I think it's growing. And how amazing that was feel for each of you to be able to work with these authors and to start with, you know, these are their babies and for you to bring those babies to life, that must feel so good. Yeah. Oh, it really does. And to live in an area where there's so many people who have those skills and talents and, you know, they're variable. That's part of our job is to figure out what they know, what they can, what level of, this is another big issue before us is what level of editorial help we can be or want to be and be able to build for, you know, that's, we're coming to this as a copy shop. You know what I mean? That's not an editorial house or it's not even a design house, but it's pushing us that way because it keeps happening. And a lot of us are, you know, read a lot and know a lot as we're succeeding kind of beyond, I mean, what do you do when something succeeds beyond your expectations? Like when you're chasing after it. Yes. That's, there's another challenge. It's a great problem to have. You think so. I'm sure it's exhausting. You think so at age 70, you know, I'm kind of thinking what is winding down a little bit. I'm not wanting to wanting to wind down a lot. I'm so lucky to be doing what I love. Right? But I don't really want to have the stress that some of the stresses that happen. And I probably don't deserve not to have them, but I kind of want. The other interesting thing, an interesting problem for us compared to other small publishers is that we have no relationship with any national distributor. You probably know all about Ingram and Perseus and those kind of places because as much as we've been able to have our cost be affordable, the unit cost on short run printing, right, our average run for a book as it launches, it's maybe 250 in its first six months. Okay. That's might be the average. Well, that doesn't allow you to have a unit cost that lets you use a distributor who wants to buy your books at 45% of the retail price, which is below cost. So we can't even do that. So back to the challenge. How do you not have that reach, right? And part of our mission from the get go is to have this ferment of the Pioneer Valley and here get out beyond us to get our authors out into the world. How do you do that when you don't have that reach? I don't want to say this, but one of the only ways we can do it is to and we're fighting, we're dealing with this right now is to go with Big Brother. And that is difficult for us because we want people and it makes sense from a retail. We want them to buy from us at full retail. We don't want anybody to take a cut. That's a different thing. That's part of it. We want them not to go with Big Brother who's taking over everything. But like I said, I deem a book a success when it sells 250 copies. I'm not saying after that it's all gravy because some of these books want to do more and deserve to do more and you wish you could know what to do to have them do more. And I'd say we're redeveloping our e-blast list and trying to have it be look more professional and having people opt into it. It takes time to rebuild a list that was just all my friends and emails back in the day. Now it wants to be we want to gradually build a almost like a subscriber list. We haven't talked about what we might do to have people look forward. I always imagine levelers finally to be where people would look forward to your next title and want to get it. But don't you also want to attract the authors that you're interested in publishing and so going back to that small town feel, is that fair? You know if you were distributing more and more books per year does that take away from what authors are looking for and why they're attracted to you or do you think not? I would say not on the scale we're talking about when you talk to like in you know 2000 is really not that big of a run. That's a small run in our world. That's kind of the regular run for small publishers. Yeah so if we're talking about the difference between us selling 250 and 2000 we're gonna want to you know sell more if we can. But yeah I think everyone has a different every author walking through the door has a different number in their head in terms of what they're already thinking in terms of their network. Some people come in and they want to have a perfect book ready for Christmas for their whole extended family. They want 45 copies or something like that and then some people come in and they're like I have a mailing list of 1500 people and like let's go with this number. So I think I don't think that the way we're talking about scaling detracts from any of like the small the small feel of what we're doing when you're back there in the bindery it's all kind of once you reach a certain quantity it's all kind of the same work it's all the same right when you agree the only the only difference I feel like it's where do we put the books? It's like a big thing like storing 2000 books is different from storing 200 books. I mean until we go out to offset this is back because this just really happened this it's brand new discussion right so and this is for people through the off the common through the off the common where they own the books where everything is a bill to them they're the publisher we assist them in that we'll get it right. If they commit to a thousand books we can print them as long as we keep them in stock they can be virtual they you know they the collapse of the wage function it becomes a book as opposed to storing boxes and boxes and books as long as as they commit to that count and the other thing it does sometimes they can and this happens a lot they can change that typo on page 150. That's true yes I could see the benefit to that sure sure it's it actually I get I get a kick out of doing that you know and and having because usually oh gosh we can we can do that thanks for the technology do you feel like you've talked a lot about your new ideas and plans and do you think if you had to guess right now do you think you'll outgrow this space? No okay we um no I mean I don't want to I I'll answer first you can I don't want to outgrow this space because one of the things we're committed to turns out we're committed to is Amherst you know and I was talking to this about a coat right having Amherst as being where we're from Amherst has its own panache you know it's a great place to have a publishing company be from if you're going to be in a small place there's hardly a better right to have it be from so that's fantastic to be on the common you know this is not a cheap space you know what I mean yes and but so outgrow and there's a fair amount of space okay right I would imagine us having if we ever really grew beyond we would have an additional space we have a shop in Florence which is another space to to distribute books and all that but it would be a while before we outgrow this space if we ever did okay okay and and I think you would almost go into offset you would have an offset component and I don't it won't be on my watch it won't be on my watch I'm never going back to offset ever yeah yeah it's a different culture too right oh yeah it's so it's so compartmentalized press operators are up against the binary workers and they're up against the film people play people there's no crossover fascinating well um except except in worker co-ops where there's other worker co-ops that are offset presses red sun presses the sister shops i'll say they're pressing Chicago their sister shops with us yeah and they have this kind of being able to move between departments as part of their well one of the things you all said you would do is show us what you do back there oh are you going to walk with your steady can yes all right so we'll give you a little tour of what the levelers off the common binder is you can see all the book covers up here that we've worked on which we need to update it because we probably have another 30 beyond this but this is where they typically happen one of the books one of those early books that we were very proud of is Paradise Printed and Bound it's the story of printing in Northampton which was part of that early thing early books that we printed our folks in Florence lay this out they brought it over here the digital files came here so i i laid it out and printed it and got it ready and now i'll not move too fast i'll move slowly so you can going off to our new little cutter which i'm so proud of all through my printing career i bought used equipment because new equipment was so expensive but uh people finally convinced me that rather than trying to repair old equipment all right occasionally if it's not too expensive you want to get a new piece of equipment so this is a nice digital cutter i kind of made this book everything so it would lay out well you know straight eight and half eleven format this is the guillotine this is awesome this is a guillotine you can see why it's called a guillotine right so there you go so we cut this we printed this two up and one of the great things about these machines so on page five of this there's one picture in color right and so we have our book block here and this this is you know again i don't know how how you get into fast production on this but this is our scoring machine and it puts two crimps it puts two crimps in the cover like that okay and so because we're waiting for our perfect binder to to warm up i'll show you here's our here's our paper down here i'm going to throw a little more in and um yeah papers that come already pre-cut to size this is that size i was telling you about 1319 we also get big mill sheets oversized but one this size more or less yeah and then cut them i'm coming around so most of our books we run four up four two sheet and that's about sheet size all right so we're we're going to uh we're going to this machine's waking up i forget that's from some kid's show you know it's like pwee's pwee's playhouse so this this i think if we can figure out some way to convey it is part of the beauty of everything that's going from this computer i talk to all of our machines so and we name all our machines this one that i'm printing to you now is called shadow fax okay and here's the job that i'm going to print for you so i i was making up some sheets that i had to repair but now i'm going to print a whole set and it's all programmed uh size wise uh whether it's color black and white where i'm going to tell it to deliver to the image quality all this kind of stuff is done from here and i just hit print and it's all in register and it goes there and i can move that job to bob the server if that i want to bob bob is our other one and uh snoopy is our newest machine so um it gives you a lot of flexibility it was a reason in a way to go with one company zero this is basically a xerox kind of setup and we've been with the same company for 15 years now or more um so that's good so it's it's it's processing again but once it's there it'll move right along and this is where uh we are for showing you this is the layout of a four-up book these are you know this is the the customer from california by the way one of the wonderful things that's happened ups and even the postal service we could compete to you know new york next day ups ground gets to new york city the next day so we do a lot of work in new york and this fellow is a great these are all these kind of uh really smart new urban designers uh from from uh california and so we're doing their book and they because we turn their books around so well they they tend to think we can do it all the time that's great so this book came in yesterday it has to be in san francisco on wednesday next week no kidding so my goal is to ship it today so it gets there without it being like overnight and so how many copies we're just printing sixteen now for him to take to uh norway with him no kidding that's really you know it's just like yeah our customers do exciting things a lot of our customers do really exciting so that's their job and how does that make you feel to know that your outreach is worldwide again to be from in this little town you know a very special little town a very special little town i agree one of the things you're you're always wanting to check is how your your job lines up here oh okay okay um i didn't go full tilt i could move this over a smidge but it's you know what i mean well that's incredible that you can hide that and just know yeah so you know in that where i was over there i can just move that over okay just move that yeah we're making adjustments at like every step of the way and here's the here's what it can do for photographs it's gorgeous yeah that big sheet like i said coming off helps us do what we're doing how are we doing over here this it's doing this is a self testing mode and it's getting the glue stir you see the see the glue getting stirred in there it goes back and forth it wants the glue to be nice so it's ready now so i just open up the clamp see i would love to have more kids coming through to show them this i love it you know it's just another thing we could do yeah fun check because it's almost like you might get them early get them into books early yes making books i was gonna say i know a children's librarian that would be able to hook y'all up yeah the problem is how many different things can you do you know it's still being what you're normally doing all right so now i'm hitting the start button and what you're going to hear is that sound or this wheel down here and it'll do it when it comes back again it's waiting for the cover now it's not changing it's not changing the book i think i'll stop it and show it to you just for y'all to say okay so what that just did was to rough up the spine you see that that's where so the glue goes in there okay okay um and that makes that makes it that perfect by perfect conversation but i don't know i can imagine a perfect calling this a perfect line all right so now i'm just getting this in position by getting that the scores we made lined up just where it wants to be for the book so you have to do that all by hand every single title every single book yep yep that's why they cost something we charge for our later that's good once you go beyond six by nine really or six and a quarter by nine and a quarter it might as well be eight and a half eleven for what it's going to cost you because we can then only print two up as opposed to four up you know what i mean so if you want your if you're close to a six by nine book don't go to six and a half or six and three quarters but i'm sorry or talk to me i'm the one who's got a name for myself already for designing weird size books and so do but do some people come in and actually want a bigger book i yeah and we do that we can still compete because they know it's going to cost okay okay yeah so it's fine so i'm just going to trim it down yeah usually we've got a nice we've got a nice laser light one of the things i like about this cutter is that it tells you right where it's going to cut so i'm going to i know where that's going to land you're making it look easy but i think um the things i'm going to do which i should have thought of there because i'm not cutting it with any slip sheets is to change this cutting stick see how it gets worn after cuts and cuts if you want to keep your your final sheet on the stack of paper you're cutting nice you would do that how often do you have to change the blade um you should we change this we change blades about once every three weeks out there out there where we cut more back here not so much not quite as much so maybe once every two months on this machine trying to standardize our practices so one thing i can do is after i've cut off see i've just cut off all the crop marks right but i can eyeball an eight right we're trying to make standard bleed as an eighth of an inch border okay i should do it the proper way you're always cutting to have the blade come into the spine of the book to have the least amount of nick on the book okay and it doesn't wiggle around no that's what that's what this clamp is doing so i'm bringing it down to a final size of 10 inches here's our book you watched it from start to finish that is so much fun most people have never seen anything like this it's an honor for me thank you for walking me through all this here you go that's for you guys that's so cool i love this yeah so before we say goodbye i actually um have something that i want to kind of brag about i want to take the opportunity to invite viewers to attend this year's samuel minot jones awards for literary achievement it's the jones library's annual um literary gala and uh this year steve will be accepting on behalf of levelers press and anna too and anna thank you you're welcome that's awesome uh the 2020 sammy for significant contribution to emmer's literary culture and it will take the event will take place on april 30th which is a thursday over emmer's college and we are really looking forward to having you yeah it'll be fun this has been so much fun thank you so much you're welcome thank you you rock