Oh He's gonna to DME why would you if you had it? Why would you to DME don't hey? Don't do it if you guys are watching this in the beginning of the video. Just know he to you need me Guys, please don't be watching this at the beginning. Tell me I didn't put this at the beginning of the video If this is at the beginning of the video. I'm mad Don't do it, bro. You wouldn't dare not again Wait, is this the same ultra instinct I played a few days ago either way What's going on everybody dato do it here back again with some more Dragon Ball fighters ranked matches and today We are playing a team of Android 17 Goku Super Saiyan and Yamcha We've been playing this team a lot recently, but that's mainly because I just really like 17 I've always thought he was a really fun character. Oh my goodness. This guy's going in Okay, oh We actually hit a raw down heavy Hey, I'm cool with that Oh, he's gonna to DME. Why would you if you had it? Why would you to DME? Don't hey, don't do it. If you guys are watching this in the beginning of the video. Just know he to you need me Guys, please don't be watching this at the beginning. Tell me I didn't put this at the beginning of the video If this is at the beginning of the video. I'm mad Don't do it, bro.  I'm mostly impressed. Okay. Now. I'm mad. That was bad by me. I Try clicking a button. Who does this dude think he is? He's so good and he's playing Zamasu. Oh my god. I almost I Got a down heavy those dude Superdashing has really been getting me a lot lately like people that superdash it like um, not random times, but I Don't know. I always think people would opt for more like a um fireball in those situations Dude, why does this guy do the mind? Yo, Zamasu is crazy cool man, so it's it's I don't know why or what it is about getting my uh Getting beaten so bad by like characters That don't get too much play because they're not saying But every time I see like Zamasu do a combo like that or base Goku do something cool It's just like wow. I'm really playing a fighting game with dragon ball characters right now.  Hopefully not this video.  We still got the dive kicks into ex will thank fiss I don't know if that is the optimal thing to do after the ex will thank fiss, but by the way Hey, we got a character boys we in it Uh, but yeah, I don't know the optimal after ex will thank fiss because I know that's the only way to combo after dive kick Even though I would love to see some more options eventually Wow, he just did that I thought I was gonna regret that turns out we good Is your boy nice or is your boy nice? It's not killing Nice your boy is nice I'm just gonna I'm taking every compliment I could give myself today Oh, he's trying to protagonist me Where's the super dash? I'll take it Why did I click a medium that? Oh, dude. That was such a huge mistake. Nice combo Dude, I have to learn that now. Damn. I wish I didn't see that Oh, I have to learn that combo now. Was that optimal does that do slightly? Oh, we're still in it American resets I didn't know we were still gonna be in it. Oh Oh Okay, I like that at least I saw something that I saw that combo it opened my eyes a little show shocko Chaco Been a while since I've seen shocker's name right now like that.  I regret a lot of things. Oh my bad defense Holy bad defense No way Please don't tell me he blocked he blocked it. All right. I can't be random being random is not I actually have to like buckle down play some defense. See what happens If we just don't let ourselves get too crazy here. Oh six that was a great choice Overhead into six and that that was so tricky Because I saw either he was gonna dash in overhead again or go for a low A standing six and that caught me off guard All right. Well, we don't want yamcha out front. That's for sure I am not great with android 17 assist a block out of hold this And go for the grab. Where's the dragon? Oh, I got a block. Oh, that's bad defense. I didn't know you had to block that Ah, it was a lazy vanish lazy vanish Uh, okay, he's gonna get off to a quick two-oh start here or yeah, I got an early spark more He's getting to these late game stages with sparking. It's just not worth it I got a two in there. I expected the down buttons, but I I always underestimate the speed Level one how much damage is this combo gonna do wait a minute Level three level three. Just get out of there yamcha. We live in though. We're overhead Oh, he's really gonna have to put out the damage. He's gotta have to do a level one or something Okay, I'll take it. I guess I don't really have any other option Um, but I do have an option in what I do do afterwards. So let's take a sliding I'll take it. I'll take it As much damage as possible. This should be a knockout Yeah, it is Okay, we got another knockdown on zamasu Now if I could just play a little better with three characters If I could play a little better with three characters, maybe we could like get a closer game Let's go yamcha. Nice 2m. Oh, I was playing fast and loose at that range I thought I was safe. Honestly. I kind of underestimated his 2m That was sick throughout a whole leg. Oh god. These are the kind of games I live for though All right, third game. What can we do? Play a little better So obvious so obvious dude. I didn't I wanted to throw out the beam, but he started first They blocked out He just ex spinned at me, bro.   It took for that one way Come on. I didn't hold the back dash long enough. Three bars is enough to kill. Wow. He played so well Yeah, we almost lived it was closer than I thought Early spark got us out of the I don't even know if early spark was worth in that situation because he dropped it And then I kind of hit it out of panic I'll take it. I'll take a nice 2m Why didn't I blot? Is this another tod? Is this another tod? No down heavy. Come on. That's how my reacted. Oh god. We out. We out. We out There we go. Finally we get it. That's what I'm like. That's what I like to see I hate myself I didn't think that would actually hit Okay, okay. I didn't think that would hit that was real scrubby of me I did instant transmission coming at me out at the last moment. I didn't really know what my plan was Nice beam nice beam He did it again Having to learn that combo Hold that hold that hold that as well And then we just mash out Nobody plays offense like that for too long. He was definitely looking for a dragon rush Let me keep the same side same side energy Oh, no, that's way too early. I'll take that as well Actually, you know what? Hold on Hold on. I don't want him playing bardoc on point with a beam assist in the back Rough rough rough. I ran up. I didn't run up far enough. Ah goku bites the dust for that huge mistake At least we still had his goku on point, but I don't know 2v1. It doesn't really matter too much. Oh Superdash That's the extension goes to the corner looking to make a quick 3o Honestly, I do want more games with him. So I'm probably gonna revatch regardless, but it'll hurt. It'll hurt It's gonna hurt Our cancel out. Oh, he blocked it was obvious Oh, baby.   I knew I can't end on a match like that Not I can't end not blocking a beam assist, dude. Come on. Let's run it back One more time one more. All right, good. At least we got one more match Android 17, please do some work. He always starts off before me Don't do that.  Let's get it, baby No way No way. Oh, I thought we were getting killed either How he can superdash after that? That's pretty sick. I didn't know that I'll take it. I'll take it. I'll take that all the way to the bank Not that way. I'll take that never mind resets No down heavy. All right. It's unoptimal, but oh really bad I'll take it. I'll take it. We got super lucky here. I don't even want to count how many times I got lucky with american resets and the whatnot, but obviously it's bad Too obvious with my switches. I'm trying to beat him to that goku assist I don't know if you guys are noticing, but beam assist if you got a beam assist and you get it out first I know a lot of people like to wait on assist being used, but No down heavy again. Come on. That went. No, I'm dead. Oh, wow. He didn't punish me for that.  I mean that was really bad Don't get me wrong, but I knew the barrier would be helpful at least bra tag, baby. Let's go. Who's out tonight? Mm-hmm every time I miss a 2m he uh or 2h. Sorry. He goes for a super dive or 2m. Actually. Yeah, I was right 6m 6m gotta watch it. Oh, he went for the reset. I like it. That was a good choice Let's go All hands on deck all hands on deck kill this man. Take a win Take a win. Let's get it. Okay Okay, let's do one more match because it would be kind of I mean, I don't want to say what it would be But I definitely look like I'd look a little sus if I left now Let's just say that it would uh, it would it would call my integrity into question Oh my god. Oh no Come on a little too early on the on the deep down heavy. I must call it D heavy Oh my goodness. I'm loving life right now that I down tech here A little bit of defense never hurt anybody playing a little bit of defense Didn't block that Did not get that one Three bars. I don't think you can kill here, but I wouldn't be surprised I'll take it. It's a good chance to get somebody else up Get a little bit of that blue health up Okay Nice. I didn't I really wish I didn't get hit by the bar dock there, but I'll accept my fate Oh hard knockdown with zamasu. This is not gonna be good That's an early prediction, but this might be worth a spark Yeah, I always I always super dash after that. Oh get the delay Double three might kill. I don't think it will It does super electric strike. Okay 17 Now, how do we play a neuter here?  I love it Okay level three hard knockdown.  I panic vanished I was trying to get the things to go out be plus on block go for a 2m or something like that No way that was kind of sick. I'll give it up. It's probably like, oh I tried mashing. I thought he was gonna go for the quarter circle forward to extend the block swing because he had no assist But I read that situation wrong Got him Okay, I'm really looking for stuff now Nice That was good. That was good. I felt pretty good about that one. Unfortunately It's now a goku v goku off and he has sparking So while we have improved a little bit over the course of this match Nice nice jump. He jumped up to meet me in the air. That was great. Does he level three here? I probably would Too slow too slow Way too questionable all that that choice was a little too questionable Super saying goku wasn't I wasn't this is sick.  He got me, dude He got me good on that one. Uh, the guard cancel was awful. Let's just call it what it was It was a bad decision made made because I don't know dude when I see someone get me in the court I'm like if I guard cancel right now air in the corner, baby Uh, but yeah, man great matches can't thank you enough for the games. Hopefully you guys enjoyed it Uh, this is uh, this was a fun one If you didn't you enjoy the channel make sure to go down below in the comments Let me know your thoughts and also hit the like button and subscribe while you're down there Other than that, there is some more videos up on your screen right now Both dragon ball fighters and fighting games alike if you're new here and you want to check something out I recommend the guilty gear video or any of the dragon ball fighters one If that's more your style other than that, I've been dacha do it Thanks again for making it to the end of this video and I will see you in the next one


Hi everyone and welcome to Premiere video tutorial part 4 and this is sound So this is sound editing and sound mixing rather than recording So yeah, let's get going on Premiere video tutorial part 4 sound So in this session we have wave forms and track heights Mute and solo Importing sound from iTunes Track and clip mixes track and clip keyframes and Then normalize and clip gain at the end. Okay So let's get going with this So wave forms and track heights. Okay, let's get into Premiere So you can see by looking at this sequence down here that These track heights are really small and it's difficult to see what that's actually going on with these audio wave forms So I'm just gonna expand the sequence out into full screen using the tilde key So now if I want to see what's going on if I'm editing in wave forms I need to expand out my tracks and make it bigger but also when I expand the track out it will Open up additional menus that are going to help me in what I'm doing in my audio editing and mixing So it's really simple. You just hover Your cursor over the little line between the two tracks until it changes shape and then you grab that and Expand it down Don't be shy with it, you know, you need to see what's going on so you can make those relatively big and You can see now that we've got this additional menu here and this little This little O menu I'll show you what that does later But first of all, yeah, that's what you need to do expand out your tracks so you can see what's going on and Then the other thing we need to do this little spanner menu here If I just show you what's in here. So if we click on this banner menu, we have Show audio waveforms and so that's already turned on and in fact it defaults to being on in Premiere so mute and Solo, I don't think I need to go into Premiere for this one On each audio track you have a little M and an S So M stands for mute and S stands for solo So mute will turn off that track that you're working on right there So that specific track Will be turned off when you press mute so you can listen to all of the others but not that one Solo does the opposite so solo will turn off all of the other tracks and just leave that one track on that you've Clicked solo on It's just something that you you'll you'll understand as you start mixing and Listening to your audio back, you know, sometimes you'll need to turn tracks off and certain ones on So mute and solo are just really quick ways of doing that And they're very useful, and I'm sure you'll be using them quite a lot in your audio mixing Okay So importing sound from iTunes any sound that you import into your project first of all, you need to make sure that that Audio file has been saved in a place where you can always find it Because in the same way that Premiere references video it references sound exactly the same so That means that if your sound file moves from where it was when you were editing Then Premiere will no longer be able to see that sound file and it will become It'll become missing from your project So Premiere always needs to know where that sound file is So the best thing to do with that is put it into the audio folder of the folder structure that we created right at the very beginning and Then import that file from the audio folder, and then you'll always know exactly where it is and where it came from Before you do that Importantly if you've downloaded anything from the internet, it's more than likely going to be an mp3 format An mp3 format is not the best format for for editing with In any kind of software to be honest So what you need to do is you need to convert that into either a WAV or an AI FF both of those are exactly the same type of format They're uncompressed audio and the way you do that in iTunes iTunes changes its menu quite a lot. So I'm not going to show you in iTunes exactly because it'll probably be different in the next version of iTunes basically so But at the moment what you do is you you open up iTunes You go into iTunes preferences in the iTunes menu in the top left hand corner you go into iTunes iTunes preferences and You go to this one here general and You go to import settings and You select custom. Sorry. First of all, you select import using AI FF encoder. So you select that from the drop-down menu Then you choose Custom select custom and this window will open. So you then select 48 kilohertz sample rate 16-bit sample size and Auto channels that means if it's mono or stereo, it will stay mono or stereo and then you click ok ok and ok and Then then what you do is on the file that you've imported into iTunes you right-click that file and select create AIF version and then it will create an AIF version or one version whatever Well, we selected AIF. I mean so AIF version And it will create an AIF version in your song list then you just simply drag from your song list into your audio folder and then import from Premiere directly from the audio folder into your browser window and there you go and I Know I can't go through all of the possible Software options and some of you will be using Windows Computers The main point is that you need to create a Wav or an AIF if you're working on a Windows computer It's more than likely going to be a WAV file, but that's fine as well With these settings sample rate 48 kilohertz 16-bit sample size or bit rate that sometimes called and Automatic channels So and And that's the format that you need to edit audio Once you import it into Premiere Okay So track and clip Mixers so this is getting into the actual Mixing of audio now So I'll go into Premiere the way the audio is mixed in Premiere It's kind of split into these two main categories So you have a clip which is each one of these individual little Clips here are called clips and then you have a track and that is each one of these a 1 a 2 a 3 a 4 etc. They're all tracks. So this entire set of audio is a track and Each one of these things is a clip Okay, and you can mix these These this audio either by track or by clip So let me show you if I go back into the main window So the idea I can mix in two ways and one is with a mixer and I'll show you the other one after that so You'll notice that if I Select a bit of audio here and go up to my source window I've got this little thing here audio clip mixer. So I'm going to select audio clip mixer and Every one of these clips has a little slider attached to it. So this one here Has a slider So if I can change the volume of that one, you can see that that this little line here goes down When I move the slider down and up Because this little line is also a level control So this slider is a level control and it's the same Same one as that basically those two are linked So I can turn up the level with that one and when I play that through So as soon as it hits the next clip it jumps down again, and that's because that clip It's level is still set at zero dB where it started. So each time we hit a new clip this Little slider jumps back to where it was or it will jump to wherever we place it So you can keep placing that slider in a specific position and Each time you play through it will remember those positions and play back So what you're doing there is you're mixing the volume depending on the position of that slider Okay And if I had more tracks Down here if I had audio on track 2 and track 3 then there'd be sliders along here as well Track mixer and the way I can get that one open is by going up to the window Scroll down audio track mixer and Now Every time I change one of these I'll put this back to where it was a slider Every time I change one of these so these are now linked just to the tracks So now if I play When this plays through to the next clip It doesn't change position because it's set per track Whatever you set it at it will stay at that for the entire track. Okay, so you can mix Your tracks depending on their relative levels Using these sliders like that and they will stay where they are for the entire track playback Okay, so that's how you mix using sliders or Mixers Just undo those put them back where they were so that's mixing with sliders and tracks So the next thing that we mix with is Keyframes so we also have clip keyframes and track keyframes In the same way that we have clip mixes and track mixes So back into Premiere.  I can grab them and I can move them up and down So that will automate my level control It will make my volume go up and down as it follows that sort of line there basically Okay, so one important thing to remember about these as well is as soon as I add a keyframe Onto my line here, then it will override anything that I've done in the mixer so When you're mixing you should only ever use the mixers or the keyframes Don't you you can't use them both at the same time basically so don't spend a long time setting the the audio levels levels with the mixer and then start adding keyframes because all of your work on the mixers will Be wiped out So basically these keyframes will override anything that you do in the mixers Okay So like I said, not only can you use clip keyframes? But if I go over to this O menu that I mentioned earlier So not only can you use clip free frames? But if not only can you use clip keyframes? But if I go over to this menu that I showed you earlier this O menu If I select that one and scroll down to track keyframes and select volume Now I get another line but this line Because it's a track line. It goes through my entire track and I can add keyframes to this In Exactly the same way, but now this is going to affect the entire track Okay So a couple of things important things to remember I'm going to go back now using the O menu to my clip keyframes and you can see that they are still there and Whichever one of these Views that I'm looking at either clip or track keyframes doesn't matter which one I'm looking at Both those sets of keyframes will still be working. They'll still do what they're set to do Even if you've got clip keyframes and track keyframes doing the opposite thing That will they'll sort of work together and kind of cancel each other out and you know depending on what they're doing They will all be working at the same time. So just because you can't see them It doesn't mean that they're not working Okay, so just remember if you've got some weird volume thing going on that you can hear but you can't see You can't figure out why it's there then it's quite possibly because It's on a clip keyframe, but you're looking at the track view something like that. Okay, and And The reason why you would use these You'll probably come to understand it as you get editing But basically the important thing to remember is that track keyframes Always stay where they are. So if I move my clips around the track keyframes stay Stay there. They will stay on an empty frame other important thing to remember actually is I Can't actually move Clips when I'm in track keyframe view. It won't even let me select them. Okay So I have to go back to clip keyframes view and Now I can select let me expand this out so we can see it again. So I can move this clip And if I move this clip To a different track, let's expand that out one so you can see that one as well So because I'm in clip keyframe view This these clip keyframes have stayed with the clip and no matter where I put this clip The keyframes will stay attached to it Okay If I go back to track keyframe view now on this track You can see that my track keyframes have stayed where they are Even though I moved the clip that this that was underneath them These have just stayed exactly where they are And you will start to realize why that's important as you get editing So you could for example Be editing the level on a piece of music But however, you know that that's not the final piece of music You know that you're going to have to swap that music out at some point How but the the levels will still be the same whatever music you use because you might need to dip it out for a bit of dialogue That dialogue will always be in the same place. So the dip will always need to be there in the music But the music track you might need to swap it for something else. So if you take that track out Um, you don't want to have to redo all your keyframes So if you do them on the track Then you can take the music out add the next music back in and the dip will still be exactly where it was when you created it um Or you know conversely if you're working on a piece of music that you know is the final piece of music But it's not necessarily in its final position um Then and and you need and you're thinking well at some point I'm going to have to move this music But I don't want to have to redo all my keyframes when I do that Then you need to use clip keyframes because you can you know, you can move the clip And the keyframes will go with it. Okay so both of them very important ways of mixing your levels and Both of them important in their own way and depending on what you're doing You'll choose one or the other. Okay So one thing that I need to tell you at this point as well is as you're mixing your audio You may have lots of audio files or clips stacked up together um And each one of those might be at a decent level um but The more you stack together the more that level is going to go up the cumulative effect of of all those audio clips It's going to get louder and louder and louder You don't want your overall Volume level to get so loud that it starts distorting um so back out of that view and These level meters here if I just scrub through a minute You can see that these level meters Uh jump up and down with the green sort of lights And you need to make sure that your overall volume level Doesn't come above minus 12 So you might have to adjust each one So that the overall level doesn't come above minus 12 um So that's the sort of technical standard that you need to stick to the rest of it is just about listening to What's loudest, you know, what needs to be the loudest in in that particular part of the film, you know I can't tell you Exactly what your dialogue should be in relation to your music because that depends on How it fits with the with the you know with the dynamic of the of the film itself So you have to work that out um But the overall level should not go above minus 12 um Also, you need to keep that relative So if you've got a really loud part of the movie with loads and loads of clips all happening at the same time And that's at minus 12 Then later on another part of the film with uh, just a really quiet dialogue section Then that will probably need to be lower than minus 12 Otherwise your quiet dialogue is going to be the same level as your loud scene, you know And the film won't have any sort of dynamics if that's the case So quiet bits should be quiet loud bits should be loud Um, but the overall level should should not mix over minus 12 Okay so Finally normalize and clip gain. Um a couple of little tricks here, I suppose for you, um so if I Choose let me go back to clip view If I select I'm going to put that back where it was as well If I select this clip for example, if I decide That this clip is is basically too quiet and not only is it too quiet, but when I Raise the volume all the way to the top It's still too quiet. Um So there is a way around that Um, and I'll show you what that is. So if I right click on this clip I'd go up to audio gain Select audio gain I get the audio gain window and in this audio gain window I get to adjust the gain, but I can also Normalize so I'll talk about gain first. So gain is just another way of of boosting level basically So if I could put Three db in there and if I click okay You'll notice that the waveform jumped just a little bit. Um, let me just show you Let's do that again right click Audio gain Let's put 20 in there and it's highly unlikely that you would ever do that But um, just to show you what happens and then click okay And now you can see the waveform is much louder um So that's a way of boosting your gain. Um, or level Two words meaning the same thing. Um, the problem with this is Let me right click again audio gain Let's add another 20 in there. Okay, but now It's going way too hot. You can see that the waveform is practically white whiteing out. Um There's a really hard white line at the top of here, which means This audio is peaking way too loudly Um, it's going to go into the red and it's going to distort like hell and it's going to sound awful So like I said before anything that goes above minus 12 It's okay until it creeps up to the zero line as soon as it hits the zero line Then you'll get two red lights on the top of here And it will start to distort and digital distortion is horrible, you know, it just it's it's there's never a good good reason to use it. Um So uh, you need to avoid that at all costs. Um So rather than do the gain thing, let's just undo and undo If I right click that again go to audio gain So adding gain is fine, you know, if you do it in small increments, um But you you can end up going too far if you're not careful And let me just if you just see this little little peak here That's just a little peak where the audio gets particularly loud at one stage, you know um If I boost the gain to a certain amount it boosts the whole Um waveform an equal amount So, um, I might boost it so far And the whole thing will be fine apart from this little peak here that little peak might just poke up above zero and cause a bit of distortion and That's no good. Um So let me show you how to avoid that. So if I go again right click audio gain And if I click normalize this time Normalize maximum peak to zero db That means it will take this little peak here. Um, if that is the the maximum peak, which it looks like it is And it will raise that peak Up to zero db but not beyond it. Um, so that it won't distort it And it will keep it nice and happily just at zero db, which is the loudest possible um thing it can be And all the rest of the audio will be boosted up as well. Um, but Just just so you know, what's happening there is, um It's making sure that whatever the loudest peak is Is not going to distort all the rest of the audio will go as loud as it can Um, but that peak will not go above zero db If you're aiming to have your whole audio hit minus 12 Then why don't you? Normalize maximum peak to minus 12 Then you know that no none of that audio is going to go over minus 12 And the issue there is that you've only got one of these maximum peaks So there's only one point where your audio will actually hit minus 12 the rest of it will be a bit lower. So If we know that the maximum peak might be a bit louder Let's just do that to minus eight maybe Minus eight being louder than minus 12 And if I click okay now So that's boosted my entire signal so that this peak Should be minus eight and the the rest of it, which is a bit um quieter should be about minus 12 Or thereabouts And you know you can keep adjusting that Until you get it exactly right um just bear in mind that if I If I normalize again now, it's going to normalize on top of the normalization that I just did It's not going to sort of cancel that one and start again It's going to do it on top of the one that I've just done Um Okay So there you go. I hope that that is enough Tips and tricks for you to get mixing and editing your audio That's the end of premiere video tutorial part four sound um, there will be another um advanced sound tutorials. So look out for that one too few additional um tips and tricks in that one Um, but for now, thanks for listening to this and I'll see you in the next video. Cheers


With the increased chance of storms and cyclones this summer, all of our key agencies, including our police, are working in partnership to make sure that we are well-prepared for the coming disaster season. Queensland is the most disaster-impacted state in Australia. We've had, in the last 10 years, more than 80 major disasters. Clean up around your property, clean the gutters, but it's sometimes some of those larger items like barbecues, trampolines, outdoor furniture that can be really damaging and risky to life and surrounding property. So clean them up, make sure you're ready. It's already been a very challenging year for Queenslanders, but we need you to prepare well for the coming season. Step one is to prepare a household emergency plan. Step two is to pack an emergency kit. And step three is to check your insurance so that you know you're covered. Keep tuned in to the police, the Queensland Fire Emergency Services and your local council in terms of the available information for storms or severe weather events that may be coming. It's really important that we continue to work together and always look out for each other.


Hello, this is Nick from Laptop Media and today we will show you how to open the Acer Nitro-16. AN-16 72 To have a sneak peek at the internals, you have to unscrew 11 Phillips-head screws. After that, you can easily pop up the back side by carefully lifting it while holding firmly the two plastic exhausts on the back. Don't push too hard because you can break the plate close to the LAN connector. Use a thin plastic tool to pry the left side, the front, and the zones around the Ethernet port. Please remember, it would be of great help to us if you just hit the like button and subscribe to our channel. That would motivate us to make even more and better videos for you. The battery isn't fixed to the base with screws because there is a dedicated socket for it with soft padding on the inside of the bottom panel that fixes the unit to the chassis. The battery here is a 90.61 watt hour variant. To take it out, detach the connector from the main board and lift it away from the chassis. The capacity is enough for 7 hours and 9 minutes of web browsing or 5 hours and 53 minutes of video playback. To achieve that, you have to apply the balanced preset in the Windows Power & Battery menu and select the balanced and optimist modes in the Acer NitroSense app. Memory-wise, there are two so-dims for up to 32 GB of DDR5, 5600 MHz RAM in dual-channel mode. It's nice to see that the memory modules are additionally cooled by a dedicated thermal pad for each stick. For storage, there are two M.2 slots for 2280 Gen 4 SSDs. Our laptop has a pair of 2 TB NVMe's that work in RAID 0 and they are crazy fast in this mode. The cooling seems potent. It has two fans and a duo of heat pipes shared between the processor and the video card. There is another pipe for the CPU and two more dedicated to the GPU. We can also spot two large metal plates and four heat sinks.


Welcome to the session of introduction to the audio compression. These are the learning outcome of the session. I would like to ask the question, what is the sound? You may pause this video, think about this question and write down your answer in your notebook. Return to the video, then resume the video and see the answer. Let me answer the question. The sound is a physical phenomenon produced by the vibration of the matter such as violent string or the block of the wood. As the matter vibrates, pressure and variations are created in the air which is surrounding to it. The high and low pressure alternation is propagated through the air like the wave motion. Now when this wave reaches to the ear of the human, the sound is heard. The basics of the sound. A sound is produced by the vibration of the matter. During the vibration, the pressure variations are created in the air surrounding to it. The pattern of the oscillation is called as a waveform. The waveform repeats itself after the particular time of the interval which is called as a one period. Let us move to the frequency. The frequency of the sound is reciprocal value of the period. It represents the number of periods in second and it is measured in hertz or cycle per second. Kilohertz is used in order to indicate thousands of oscillations per second. That means 1 kilohertz will be equal to 1000 hertz. The frequency ranges are divided into infrared sound. It varies from 0 to 20 hertz. The human hearing frequency range is from 20 hertz to 20 kilohertz. The ultrasound ranges from 20 kilohertz to 1 gigahertz and the hypersound ranges from 1 gigahertz to 10 terahertz. A speech is an audio signal which is produced by the human or the music signals which have the frequency ranges in between 20 hertz to 20 kilohertz. The amplitude of the sound. The amplitude of the sound is also called as a loudness. The amplitude of the sound is major of the displacement of the air pressure waveform from its mean value. The digital sound. A digital audio data is actual representation of the sound which is stored in the form of samples. Samples represent the amplitude of the sound at discrete points in the time. The quality of the digital recording depends on the sampling rate. That is the number of samples taken per second. The PCM technique which is used for the audio compression. In pulse code modulation technique, the analog input signal information is converted into the binary coded sequence. That is once and zeros. The output of the PCM will be the binary coded sequence as shown in the figure. There are three main steps in the PCM technique. The first is the sampling, then quantizing and then encoding. Sampling is nothing but the conversion of the analog signal into the discrete samples. The quantization is nothing but the rounding of the samples to the nearest values. And then encoding is nothing but the each quantizer samples are coded into the binary data. So, let us move to the sampling. The sampling is a periodic measure of the analog signal. And it changed the continuous time signal into the discrete time signal. After the sampling, the signal value is known only at a discrete point in the time. These points are called as a sampling instant. Therefore, continuous time signal curve can be described by the sample values. The sampled values. The value of the function at sampling point is nothing but the sampled values. The sampling interval. The time that separate the two sampling points is nothing but the sampling interval. As per the sampling theorem, the band limited signal can be reconstructed exactly if the sample it is sampled at the rate at least twice the maximum frequency component which is present in it. That means fs should be greater than 2b that the b defined the band limited signal bandwidth. So, we know that the ts that is time period is reciprocal of the frequency. Hence, sampling interval will be 1 upon 2b. Let me ask you the question. The narrow band speech signal is limited to 0 to 4 kilohertz. What should be the sampling rate and the sampling interval? You may pause the video, think about this question and write your answer in a notebook. Let me answer the question. The sampling rate is 8 kilohertz because as per the sampling theorem, the sampling rate should be twice than that of the bandwidth of the baseband signal. So, if the 8 kilohertz is a sampling rate, then the difference between the two consecutive sample will be 0.125 millisecond. Quantization. Each accurate sample value is rounded off to the closest numerical value in the given numerical set. In quantizing process, the information in accurate signal value is lost because of the rounding of the and original signal cannot be reproduced exactly anymore. The more quantization steps can be used for the better performance. For the binary coded, the number of quantum levels are defined as q is equal to 2 raised to n, where the q denotes the number of quantum levels and n is a length in the beats of the binary words that describe the sample values. The difference between the quantization amplitude and the actual amplitude is called as a quantization error. So, more the quantization step, there will be the lower quantization error. Coding. The coding process will convert the discrete amplitude signal into the series of binary beats for the transmission and the storage. As shown in figure, the amplitude space is evenly divided into 6 different quantization step. Thus, 3-bit binary codes can be used in order to convert this analog signal into the discrete signal. So, for the first sample, the quantized amplitude is 0 and it is coded beats into the 1 0 0. For the second sample, the quantized amplitude is 2 and then it is coded into 0 1 0. The audio formats, they are basically two audio formats. The voice quality audio format and the CD quality audio format. The voice quality audio format. In this audio format, the 8-bit encoded quantization level is used and the sampling rate is 8000 hertz. This is considered as a fast and accurate enough for the telephone quality speech input, CD quality format. In this, the 16-bit linear pulse coded modulation technique is used for the quantization and the sampling rate is 44100 hertz. This is a block diagram of the PCM encoder and decoder. So, these are the steps. The low pass filter, this filter eliminates the higher frequency component which is present at the input analog signal. The sampler, this is a technique which helps to collect the sample data at the instantaneous value of the message signal. So, in order to reconstruct the original signal, the sampling rate must be greater than twice the highest frequency component of the message signal in accordance with the sampling theorem. Quantizer, the quantizing process is used in order to reduce the excessive beats and confining the data. The sampler output when given to the quantizer reduces the redundant beats and compresses the value. Encoder, the digitization of analog signal is done by the encoder. It designates the each quantized value by the binary code. Regenerative repeater, this section increases the signal strength. The output of the channel also has a one regenerative repeater circuit to compensate the signal loss and reconstruct the signal and also to increase its strength. Decoder, the decoder circuit decodes the pulse coded waveform to reproduce the original signal. This circuit act as a demodulator. After the digital to analog conversion, which is done by the regenerative circuit and the decoder, the low pass filter is employed which is called as a reconstruction filter. Pulse code modulator circuit digitizes the given analog signal, cores it and samples it and then transmit it in the analog form. This whole process is repeated in a reverse pattern to obtain the original signal. DPCM technique, a differential pulse code modulation technique is a derivative standard of the pulse coded modulation technique. This technique samples the analog signal, then quantizes the difference between the sampled value and its predicted value, then encode the signal to form the digital value. For the most of the audio signal, the range of differences in amplitude between the successive sample of the audio signal is less than the range of actual sample amplitude. The sample of the signal are highly correlated with each other. The signal's value from present sample to the next sample does not differ by large amount. The adjacent samples of the signal carry the same information with the small differences. Hence, if the difference between the value is digitized and encoded, then the fewer bits are required than the pulse coded modulator signal at the same sampling rate. So, principle of the differential pulse code modulation is nothing but if the redundancy is reduced, then overall bit rate will be decreases and the number of bits required to transmit the sample will be also reduced. This type of the digital pulse modulation technique called as a differential pulse code modulation technique. A DPCM works on the principle of the prediction. The value of the present sample is predicted from the previous sample. The prediction may not be exact, but it is very close to the actual sample value. A DPCM encoder is shown in a figure. The PCM coded mesh signal is given to the substractor. Basically, a predicted value is stored into the register. So, the PCM sample and the predicted samples are subtracted and then converted by the parallel to serial conversion for the transmission. This subtracted value is also added with the previous value of the register in order to update the value of the register. At the decoder side, the data will be arranged to serial to parallel converter. So, this will convert that serial data into the parallel and then it is added with the predicted value of the register and then this added value is decoded by the PCM decoded decoder and we will get the audio mesh signal. So, what is the difference between the PCM and DPCM audio compression? The number of bits which is required for the PCM uses 4, 8 or 16 bit per sample, where in case of the differential pulse code modulation less than that of the PCM bits are required. Step size. The fixed step size is used in this PCM modulation technique. Here, the fixed number of the levels are used. Redundant bits are present. It can be removed permanently in case of the DPCM, quantization error and the distortion. It depends on the number of levels which are used and here in case of the DPCM, slope overloaded distortion and quantization noises are present, but very less as compared to the PCM. The bandwidth, the higher bandwidth is needed for the PCM and for the DPCM a lower bandwidth is needed. So, these are the references which are used for the session. Thank you.


Okay, if you're going to be wearing a tuxedo, there are some key decisions you have to make when it comes to a few specific styling details. These are important to pay attention to because these details have a huge effect on the look, feel, and overall vibe of your tuxedo. So in this video, I'm going to explain 10 specific tuxedo details. I'll introduce you to the terms you need to know, lay out the various options you have, talk about why you might choose one of those options over the other, and give you some things to always look for, as well as some things to avoid. We're going to quickly make you an expert here so you can make choices that best represent your personality and your personal style. And the result is that you will not only look great in your tux, but that you will feel comfortable and confident as well. We're going to start off with the tuxedo jacket. And the first thing to consider is the style of the lapel. The lapel is the most distinguishing feature of a tuxedo, and there are three different lapel styles. A notch lapel, a peaked lapel, and a shawl lapel. A peaked lapel extends upwards and forms a peak that points towards the shoulders, thus the name peaked lapel. This is going to be the most classic and timeless choice for a tuxedo jacket, never a bad option. A shawl lapel has a rounded shape, and while it still has the same level of elegance and formality as a peaked lapel, I would say that there is a little bit of a relaxed sophistication to a shawl lapel. So if you want that sort of casually elegant vibe, a shawl lapel is a great choice. A notch lapel is fairly uncommon for modern tuxedos. It is one of the most common and versatile lapel styles for suit jackets, but for my taste, it doesn't quite match the level of formality and elegance of a tuxedo, so it's not an option that I would recommend. Detail number two is the lapel fabric. So you've got two options here, satin or grosgrain. A satin lapel is going to have a smooth and shiny appearance. A grosgrain lapel is slightly ribbed, so it has a textured and less shiny appearance. Both of these lapel fabric options are extremely classic, so there is no wrong choice here. However, if you opt for a shawl collar, you're going to want to choose a satin lapel. Detail number three is the lapel width. The width of your lapel should be proportional to two things, the width of your body and the width of your face.  If you're a narrower guy, the lapel should be slimmer. This is extremely important because for a tuxedo to look perfect, everything needs to be balanced and nothing can throw off that balance more than a lapel that's the wrong size. Now one of the biggest mistakes I see people make is to wear a jacket with a lapel that is too narrow. So generally speaking, the safe zone for a proper lapel width is three and a half to four inches for a peak lapel and three to three and a half inches for a shawl lapel. Detail number four is deciding between a single-breasted jacket or a double-breasted jacket. Single-breasted jacket is going to be your most classic, traditional and conservative choice going to look good no matter what. A double-breasted jacket with its overlapping fabric and two sets of buttons is also very classic though it definitely has a more formal appearance. Ultimately, the choice comes down to your personal preference, your personal style and most importantly your personal comfort zone. If you've never worn a double-breasted jacket before and are kind of on the fence about it, I would advise you to choose a single-breasted jacket. On your wedding day, you want to feel comfortable and confident and if you're doing something new and outside of your comfort zone, that's going to affect how you carry yourself. Detail number five is the pocket style. Now there is only one acceptable pocket style for a tuxedo and that is a jetted pocket. A jetted pocket is just a very simple and clean line as opposed to the flat pocket or the patch pocket and the jetted pocket's trim should match the fabric of the lapel. Detail number six, the buttons or I should say the button. So while most suits will have two buttons, sometimes three, a single-breasted tuxedo has only one button and a double-breasted tuxedo with a peak lapel, four or six buttons, a shawl lapel, two or four buttons. And once again, just like the trim around the pocket, the buttons facing or the fabric that's around the button should match the fabric of the lapel. Detail number seven is the jacket vent. A vent refers to the opening on the bottom back of the jacket and you've got three options for jacket vents. No vent, a single vent or a double vent. A jacket with no vent is going to be the most traditional and old-school option. A single vent meaning just a single slit in the center is pretty uncommon for a tuxedo jacket and not what I would recommend. And a double vent where you've got openings on both sides is the most modern and updated choice. So if you want that classic old-school kind of vibe, I would go with no vent. But if you consider your style to be classic with a modern sensibility, I would choose a double vent. Now we're going to move on to the pants and detail number eight, side adjusters. Tuxedo pants do not have belt loops. And if your tuxedo pants do have belt loops, they're not tuxedo pants. In order to keep that simple and elegant look, tuxedo pants have side adjusters. You use the side adjusters to make fine adjustments to the waist size by either loosening or tightening them. Detail number nine is the fabric stripe down the side of the pants. Again, if your tuxedo pants don't have this feature, they're not tuxedo pants. And just like the pocket trim and button facing, the fabric of the stripe should match the fabric of the lapel. And finally, detail number 10 is the bottom finishing. Tuxedo pants should always have a plain bottom. The clean line matches the simplicity and elegance of the tuxedo, and it's the most formal way to finish the bottom of the pants. So there you have it. These are the 10 specific styling details that you need to consider when it comes to choosing your tux. Understanding these and paying attention to them will really help you nail the style that you're going for, resulting in you both looking great and feeling great. We're going to be diving into some of the other individual components of a complete tuxedo look next. And if you have any questions about these details, let me know.


I'm Vice Admiral Nora Tyson, Commander of Third Fleet, and I want to take a minute to talk to you about how our Navy is transforming its energy use to make us better warfighters. We're using more efficient technology like the hybrid propulsion systems onboard USS Macon Island and USS America, and implementing additional shipboard energy-saving measures. We're also optimizing fuel consumption and aviation units through the U.S. Navy Aviation Energy Conservation Program. Through this program, we can ensure the right amount of fuel is available to sustain mission readiness without adversely impacting safety or mission execution. By optimizing our energy use, we can increase our operational range, our endurance, and payloads, turning energy into a force multiplier. The transformation is underway. Let's all do our part.


So I'm just at home today and I wanted to get a little pole jam built. I don't have access to working with metal like welding and cutting and stuff. So I thought it'd be cool to figure out how to make a wooden pole jam. And there's a bunch of scrap material at the house we have here. I'm gonna go check it out right now, see if we can conjure up any kind of ideas to make this wooden pole jam come to life. So I've kind of got a rough idea of how to build this thing. I mean, these are metal ones. I'm trying to make it wooden. So first option is to build it like this to have the main piece of wood, maybe some angle on the sides of it so you can grind it and then some supports and then another block of wood with some rubber underneath so it doesn't move around or to kind of make it like an A frame and then put another wooden support beam through the middle there, but basically like this. Here are the really terrible kind of mockup sketches of what I'm trying to achieve here today. Here's some more. Yeah, they're pretty nasty, but it just gives me a rough idea of how to put this thing together. So I'm gonna go check out the wood and see what we have to play with today. I might have to go buy a hacksaw to cut up the angle, but yeah, should be an interesting video. So this is the wood and stuff I've got here. Play around with a fair bit of wood. I thought I could have used this angle or this metal here to make the angle, but it'd have to be cut down the center there. So I'm not too sure how to achieve that. But yeah, this is what we're working with today. All this stuff here. I've got an assortment of bits of wood here. I'm gonna show you guys a really, really cruel, crude, rough mockup of how this is gonna come about. So basically, hang on, give me a second. I might have to put the camera down. So basically this is how it's gonna work. We're gonna have the base here, the footing. There's gonna be a support beam there. This is gonna be the main pole jam thing. So this is what you're gonna pole jam up. And then there'll be another support right here.  But yeah, that's a rough idea. I've just got to do some beveling. So I'm gonna have to figure out how to bevel this edge so it sits flush up against the main bit.  But yeah, that's roughly how it's gonna come about. I think it'll work pretty well. I might have to do some dumpster diving at Home Depot to find if they have any loose bits of angle iron or bits of iron that I can use. I was gonna use that metal piece off the bed frame, but I don't think it's iron. I think it's aluminium. And aluminium doesn't grind. So yeah, I'm gonna have to go to Harbor Freight, get an angle grinder, and then do some dumpster diving at Home Depot. This is a spot right here, guys, for tools. I think Harbor Freight have their own line of basic tools. This was a $20 angle grinder. It's got a cord though. It's not battery operated, but I mean, come on. For 20 bucks, if you're just doing small stuff around the house, these are like perfect. So come on, bunnings, step your game up. $20 angle grinder. Beat that. Well, we've got a lot of wood, but no metal it seems. Trying to keep this build as cheap as possible. So I had to buy the angle iron. It was like 13 bucks for this five foot length. I don't need five feet. It was just cheaper to buy one whole five foot length than it was to buy two four foot lengths or three foot lengths or whatever. So I've got to get this cut down for this. So it all matches up. But the plan is to pretty much get this cut and shut. So it's, ah, come on. What's going on?  Cause if it was just wood, you'd probably get stuck. Just a little disclaimer here, guys. Always remember to use the correct protective equipment if you're using any types of power tools or anything like that. A pair of glasses, a pair of earmuffs goes a long way. I'm totally just freestyling this. There's no straight edges or triangles or whatever I'm working with now. I'm just trying to eyeball it. All right, change your plans again. We're just going to do one support this way and then have the base. And I bought some rubber stuff to put under the base and the other bit. So it doesn't move around. I think that should do quite well because it's quite sturdy already. You're skating it for like two seconds. You're like pole jamming up it and that's pretty much it. So if you hit it at the right angle, it should be able to stay place, I think. But this is where we're at so far. I've just got to figure out how to bevel this piece here to get it flush with the base and then that part there. So as you guys can see, you can set an angle on the circular saw here. And I've just kind of lined it up so the blade, so that the guide, sorry, is sitting flush against the wood and the blade is, yeah, just on top of that black line that I drew earlier. So that's how I'll be able to cut it precisely. I've got these little L brackets here.  So there's a decent amount of support going on right here. And then I'll be able to draw through some screws into the base plate here. But so far, so good. Looking pretty sketchy, pretty DIY. Wonder how this thing will ride. Kind of made a bit of an oopsie here, guys. The screws I used are too long and they're sticking through the other side. So I'm just gonna angle grind them down. How sketchy is that? So I'm not too sure if it's a common thing to get frustrated and to kind of just rush through what you're building, to kind of just get it done, get it bolted in and get it finished. But damn, this thing tested me like, it's a shame this video is gonna be, this part of the video is gonna be edited so bad because I'm gonna try to make it look like it was smooth, but it was the opposite of smooth. I had to re-cut and re-drill things like three or four different times. Finally got it sitting now. I've just got to add on the rubber padding underneath. Finally got it to where it's like decent enough to be able to skate. Check it out. This part's pretty much flush with the ground. The base plate's pretty flush. This is all screwed in. Pretty gnarly woodwork here. These are all screwed in as well. The screws I used were too long so I had to angle grind them down. What else could have gone wrong with this project? So pretty much this rubber matting comes in like squares so I'll have to cut it to size to fit there and I'll have to cut a little bit off to fit onto here as well. So I'm gonna get that done. So it moves a tiny bit, but I'm sure if you put it on like a rough bit of concrete like in a car park or something, it should sit pretty well or you can just adapt to it moving around. I don't know. So not that I wanna do any more building today because I'm pretty burned out right now. I think this pole jam needs an extra bit of support. Just like a single parent at Sandlink, I need some support right here guys. So I'm gonna have to bevel this edge here then drill this in here. I think that's a lot better. I don't know why I didn't think to put that in to begin with, but I stood on it and it bent a little. So if I stand on it now, if I stand on it now, good as gold. Look at that. 67 kilos and this thing is holding up. So I think we're good. Here we go. We've got it chalked up against the little manual pad slash ledge here. I knew this was the right man to see about a pole jam. You're gonna go into it. Oh my God. How do you feel? It shoots you out.  See if you can do it off the drop. Oh, switch. I've never done a switch pole jam. Just glad to get to my head. Get a hit. Oh my God. That's so intimidating to go back in. Like go down it. It's like a two foot year. Like this, who did this? Oh, Louis-Bart, look, put down. Is that a no comply pole jam? That's cool, no? No comply pole jam. No comply pole jam. Can you back 180 or front 180 off it?  Damn, we got food on deck out here, Redlands.  Yeah, into the bank or off the stair? Like the gaffer. Ah, I get you. Up the euro will probably be pretty cool. Oh my God, look, dude, no way. That's a big hop. Damn, you got this. Like this, so it's gonna be a bit offset. Are you hopping out of it or is it just like a- I'm kind of ollieing a little bit. Like you gotta like push yourself up it. I think it's easier out of the bank because you're already kind of going at it. Don't fail. Can you do that? You've pole jammed this thing before, right? Yeah, I've done it. It's no different, don't fail. He likes to shake things up a bit. You will go and he will stay.  I'll hold this thing anyway you want. Is this better for you? Oh, hang on. Do you want me to do that? Do you want me to do it or do you want to do it? He wants to do it. Okay. He wants to get a pole jam for us on video. You green sack. All right, dude. All right, go. I'll hit you.  Worth it. You got this. That was easy. I'm better than him for that trick. Mine was more work. Yeah, first try. I'm so glad that was first take. Dude, me too.  Had a ton of fun building that pole jam kind of. It was fun, but it was frustrating, but now it's done. I'm glad it's built. I can just not worry about it and I can skate it. I didn't find any other wooden pole jam videos on YouTube, so I figured I'd make one myself. Literally and figuratively made the video and the pole jam. Had a super fun time, but yeah. Hopefully you guys enjoyed this video. I'm super happy you guys are digging the longer videos because it's more fun making more content for you all to watch, but yeah. Cheers for watching the video and I'll hopefully see all you guys in the next one. That was easy. I'm better than him for that trick. Mine was more work.


What can you do in five minutes? We have five minutes. What would you do if you had five minutes? Each one of us can close their eyes and think, if I had five minutes, what would I do? So some people would like to do some meditation. Some will drink water. Some will stretch. But I propose something else. At Stordot, we allow you to charge your car in five minutes. And in order to charge your car in five minutes, we have had to totally reinvent the battery. The battery of the car is the bottleneck of the adoption of electric vehicles, because it's inconvenient to charge overnight. Or not everybody even have a garage to charge overnight. So we are right in this perfect storm of fast charging. We're basically the connected car and the shared riding and the autonomous are all happening. But for this to really take on in a serious way, people need the convenience and the lack of anxiety in charging in five minutes. And this is our goal and this is what we are doing. So this is not an easy task. We've already invested about 100 million years of R&D into the research of these new materials. These are novel materials that are a combination of some organic material that is new, that was never used before, and some inorganic particles, let's say silicon, and other materials that are known to be with good energy density. So what we were able to show for the first time ever, and this is how we obtained a recent investment from Daimler for about 60 million dollars, is we took one cell of electric vehicle that we had produced in our labs. This is just one cell. It's not the entire pack of, let's say, all the chassis of a Tesla. We took one of these 400 cells that is in there. We took a charging station. Now this has to be a very powerful charging station. This is not even your supercharger of Tesla, which is 120 kilowatts. We are talking 350, 400, 500, and more of kilowatt that is going into the car, which is very serious and very new, but there are already charging stations like that that show the feasibility of that. And with that, we did the five minute charging of the cell. Now if you can charge one cell, you can charge the entire pack. Same goes for the phone, by the way. You can charge your phone in five minutes or even in one minute. The chemistry of the battery is what allows you to charge fast. Okay, it's not only the charger, it's not only the connector, it's not only the materials, it's the entire battery set with the new chemistry and new physics that allow you to charge fast. When this short video is over, your electric car will already be well on its way to a complete charge. Here's how Storedot's groundbreaking five minute full electric vehicle charging works. This pouch contains Storedot's flash battery technology with nanomaterials and a layered structure and proprietary organic compounds, representing a radical improvement over the traditional lithium ion battery structure. Together with additional pouches, it makes up a charging module. 40 such modules are placed in the car's chassis and connect to its battery management system. The flash battery technology allows for unprecedented charging rates. Within five minutes of charging, the car is fully charged and ready to go. Five minutes that just bite you an average of 300 miles. Storedot. So in five minutes, what we have done is that we have shown that the power that is being supplied through the charging station can be accepted by the materials that are new materials that are inside the battery. So we call this a flash battery. This is a flash battery technology that allows to take this 350 kilowatt plus power and absorb it into the battery like in a sponge. Also the issue of safety is increased because we do not use graphite. In traditional batteries, and this is like the Note 7 story and the likes, if you use graphite and you're trying to charge it fast, you have the risk of thermal runaway. You have the risk that there'll be some metalization, some plating it's called, between the lithium and the graphite. So in our batteries, there is no graphite at all. So it's important to understand that, you know when people tell you that they charge fast, need to, including the phone by the way, this cannot happen with the existing technology of batteries. Something fundamental needs to change and this is what Stordot is doing. So we are innovating materials, like you do in a drug discovery or like you would do in a biotech, but instead of let's say looking for a vaccine for Ebola or Zika or whatever you, we are looking for new materials that will move the ions faster and will be safer with less resistance with higher temperature of combustion inside the battery. So in order to do that, we really had to invest seriously in a state of the art laboratory in Israel and whoever comes to Israel is welcome to visit us. This is really a very unique facility that combines the nanotechnology together with the organic chemistry that these materials are synthesized together in order to allow for the battery to be able to charge fast. So we are working in six teams because we are totally re-innovating the battery. So in a battery you have an anode which is the negative side and the cathode which is the positive. You have the electrolyte for the charge transfer. You have the structure of the battery. You have the electronics. You have the charging stations. You have the manufacturing itself. Each one of these teams is headed by a top scientist, people that have published papers in nature and publications like that coming from Berkeley, from MIT, from Moscow, from London, from Germany. We have collected them from around the world. Each one is an expert in his field and he's totally redesigning that element of the battery. And then we have a system team exactly as you're doing software. We have to take the system and make it work together. Just to give you a flavor of what we are doing, for example, in the anode, we are talking about a gradient layered material meaning that you have coating of the active material. Let's, we took the example of silicon. So let's say you have a 100 nanometer size particle of a silicon, but if you will charge it fast, it will inflate and it will crack. What we did is we created these materials that coat this nanoparticle and protect it during the charging. So this is like a buffer zone. And you have here the image of how it looks under a scanning electron microscope showing the buffering zone for the active material with the nanomaterial combined. Also, we have several patterns. We have total of 15 and another 25 in process that show the way that we structure the relationship between the anode and the cathode in a way that allows the functional compounds to be safe and reactive during the charging. As I mentioned, this is a safer battery by essence because we do not use graphite and there is no metallization and so no plating, so no dendrites. Dendrites is those nails that puncture holes through the separator from an anode to a cathode. We do not have this phenomena at all. So we also need to think about what is needed in the infrastructure because the battery was the piece that was missing. Now that Stordot has shown to the world that this is possible, a lot of other things need to happen. And for that, we are very happy to work with Daimler and others on the entire ecosystem where you need to solve the problem of charging at home, which is an AC charging, which typically will be slow charging because people don't have in their neighborhood the infrastructure for fast charging. At the same time, you have the DC charging stations in airports or anywhere in the city so you can think about all the gas stations that you see around the city today. In 10 years, they'll be redundant. All the charging stations that we see, all the gas stations that we see, nobody would need them because you will not be even allowed, let's say in China, in 10, 15 years there will be no combustion engine at all. So what do we do with all the gas stations? This gas station essentially become a charging station. But in order for it to become a charging station, you need the infrastructure, you need the grid, you need it to be smart, you need to work with the government, you need to work with the electric company. So all this we've already started to do. Few words about standards. Nobody thought that charging can be so fast so we are pushing in the standard bodies in Europe and in the US for each 100 kilometers, now three to five minute charging and the next generation is one to two minutes of charging. For that you would need about half a megawatt of a charging station. And this is very serious and this is why we cannot do this alone. I mentioned the IP, we are looking at the car as a mobile device. A car, the car is connected like your phone. It is autonomous, it's already semi-autonomous, it will be fully autonomous very soon.  So we have a full set of IP portfolio that covers all the aspects of the mobile device which is the car.  So thank you very much.


This study estimates the global electricity consumption due to communication technology, CT, from 2010 to 2030. It considers three scenarios with varying levels of device sales, network traffic and energy efficiency. The results show that the proportion of electricity used by consumer devices will decrease over time, while more energy will be consumed by networks and data centers. In the worst case scenario, CT could consume up to 51% of global electricity in 2030. Additionally, this study finds that CT could account for up to 23% of global greenhouse gas emissions in 2030 under the worst case scenario. This article was authored by Anders S.G. Andre and Tomas Ebbler.


Right. Here we go. Mr Lewis, how do you feel about roller coasters? Oh I like them, roller coaster of love. Let's roll. I've got a bone to pick with you. Oh that's unusual. We don't want to get on, just fine. Well like, because I've been watching you. That's a bit weird. I've noticed that you've been engaging in some degree of babel activity. I've been using a bit of the ES6, ES7. It's not quite as terrifying as I thought it might be in this. But you, you're the kind of person who says, and I've heard you say this, that you don't like writing code that isn't the code that ends up being executed in the browser. Correct. Like you don't like those little middle steps. You're kind of anti-transpiler. I am sort of anti-transpiler. I want to feel like the code I write is the code that runs, and I'm happy for a little bit of wool to be pulled over my eyes, but I want to feel like I can back out of it. So I don't think that's changed. I think for me, when I look at something like Babel, or Babely Fire or any of that, one thing, I feel like, well, I feel like I could switch it out for Tracer or I could switch it out for something else. Because, yeah, because it's an open standard, I guess there are independent implementations of that standard. Exactly. So it's like, it feels like this is the JavaScript I'm going to be writing, right? So, a while from now. So it's like, if it's going to get me there, then that's fine. I'm okay with that. And then the other thing is, if you look at the ES5 that it generates, it's like, it makes sense. It's fine. And I feel like when you look at some other things, whether that, I don't know, CoffeeScript or TypeScript, something like that, you can never say that, because it's like, you're always going to be transpiling across. I had this issue, actually. I was using a project, NPM installing something, using it, and there was a bug, and I thought, as a citizen in the internet, I am going to do a pull request. I'm going to try and fix that. And when I got onto GitHub and click, click, click, CoffeeScript. Now step one of making this fix is learn CoffeeScript. And it's like, unless I really, really care about fixing the bug, it's not. For me, it's like JavaScript become ES6, ES7, ES whatever. But like you say, this kind of, let's learn TypeScript or CoffeeScript or anything else. It's just like, I've got to really want to go off and do that for some reason. And I don't see what that reason is, because JavaScript, for me, for everything is fine. I actually really liked Babel, for no other reason than its source maps were just super. So even though I wasn't really aiming for that, when I did get an error, it was like, whatever.js line, whatever. And it was like, yeah, that is the correct line. Well, even if you're not using source maps with Babel, the output is actually pretty sensible for the most part. As you say, source maps just make it completely transparent. It's almost like you're not using a transpiler at all. Exactly. So I'm happy with the illusion of it, I think. That's probably what it comes down to. But as I say, you're right. If you look at the actual code it generates, for me, I was just like, yeah, that's not necessarily code I'd write, but that's okay. It's just about manageable and readable. So go on then. What are your big hitters in ES6 and ES7? Well, what's your favies? My faves. Contentious one would be classes. I actually really like classes because people are like, what's wrong with the prototype? You're turning your back on prototypes. I'm still using the prototype. It's just sugar. Yes, exactly. But a nice sugar at that. Very nice. Yeah, because I don't know. Refine sugar. Like if I'm doing something.prototype equals object.create the thing I'm extending, and I keep forgetting the prototype on the end there. But that's one of about... It's really difficult. It's really awkward. Compared to class thing, extents thing. But that's the one way you do it in ES6. Like with the ES5 you've got 11 billion ways of doing it and not all of them are good necessarily, or readable, or what you want to see if you're looking at your own code six months from now or somebody else's code. So it kind of felt like it was more like the code I want to write, more like the code I want to read. It's where we're going. It's a feature. It's not like somebody just went off-piste and did something that they wanted to do. And I can barely remember how to spell function now.  There's arrow. Fat arrow function was something else I really liked. Yep. Yeah, we love a bit of fat arrow. Yeah, because a number of times I use request animation frames, set timeouts, set intervals, something like that. And it's like, oh, all of a sudden I'm on the window scope, am I? Great. Thanks for that. So bind. It's like, don't worry.  It's better than var that equals this for me. You don't like that. No, I don't do that equals this. I will give it a specific proper variable name. Like what? It's based on the name of the class. Okay. Jakey this, var jakey this equals. So if it's class vehicle. Yeah. Inside that I will do var vehicle equals this, like lowercase vehicle equals this. And it's, yeah, but it makes sense then. I don't like that because it's like, well, that's just, because this is a problem in JavaScript, I think. Yes. So this, what? Like, and that's what, one of the things that arrow function solve is you, there tends to only be one option for what this is, and it's the instance name. Yeah. Which, yeah, that makes way more. So it works for me. I really like that. Destructuring I like. Beautiful. Especially for option objects. Yes. At the end of a function. With defaults, right? Took them. This is it. It becomes self-documenting. You can say, right, this is optional, but inside this object, here are the properties that I'm looking for, and here are their defaults. Yep. But in any case, I feel like, coming back to your original question, it's like the reason I would use a transpiler today is, and if and only if it lets me experience the future now, get used to like the future now, I think it's where we're going. Which you get with source maps. It feels like you can almost ignore the transpiler. Yeah, exactly. And as I say, the code that it generates makes sense to me. So I'm all up for that. Yank the transpilers. Yay. Cheers. We need beers.


Studying Romeo and Juliet? Here's how you can analyse our 3C5 The scene begins in Juliet's bedroom They can hear morning birds and Juliet tries to convince into Romeo that it's the nightingale not the lock She uses language belonging to the semantic field of birds to try and make Romeo not leave so soon Yet Romeo knows it's the morning and he uses metaphorical language here to talk about the fact that the dawn has started and he has to leave Romeo then uses these oxymorons to say that the lighter it gets, the sadder he becomes because he has to leave Juliet The nurse interrupts them by hurrying in and she uses this alliteration to tell them that Juliet's mother is on her way to Juliet's bedroom This leads Romeo and Juliet to speak in these exclamatory sentences to say goodbye to each other The stage directions here show that Lady Kaplet has entered Juliet's room and she speaks in this exclamatory sentence to show that she's quite emotionally cold towards her daughter Juliet speaks formally using this noun in this close relationship Lady Kaplet asks this rhetorical question and this is her way of criticising Juliet who she thinks is mourning Tybalt's death way too much Lady Kaplet then insults Romeo and she says that it's annoying he's still alive even if he killed Tybalt She then speaks in the iambit pentameter here to basically say that Romeo will be killed because they're going to send a murderer to Mantua to kill him and avenge Tybalt's death Juliet pretends to hate Romeo to tell her mother that she won't be satisfied until she knows that Romeo is being killed Lady Kaplet then changes the subject and she speaks in iambit pentameter here to basically tell Juliet that her father has decided to marry her off to Paris She uses the rule of three to praise Paris as a worthy husband Juliet is shocked and horrified she speaks using caesura to ask why her parents want to marry her off so quickly Juliet is quite headstrong she speaks using this imperative sentence and she basically asks her mother to go back and tell Lord Kaplet that she does not want to get married yet Lord Kaplet then enters and he speaks using this exclamatory sentence as well as alliteration here to ask his wife if she's delivered the news Lady Kaplet tells her husband that Juliet has refused to get married Lord Kaplet is furious he asks these rhetorical questions basically to say that Juliet is really ungrateful for refusing to marry Paris yet Juliet remains headstrong and she speaks in iambit pentameter here to basically say that she does not wish to get married this infuriates Lord Kaplet even more and he speaks using this abusive language to insult Juliet he uses this imperative sentence to tell her that if she doesn't get married he will disown her Juliet grows desperate and she begs her mother not to disown her with this exclamatory sentence yet Lady Kaplet refuses to listen to her the nurse tells Juliet that since Romeo is banished she may as well marry Paris Juliet pretends to agree and she says that she's going to confess her sins to Friar Lawrence