Welcome to Monet Café in a series of lessons I'm calling Down on the Farm. In this lesson I'll be doing some pastel sketching of this adorable pig. What should I name him? Like George. And this is part two. I have a part one of an adorable duck. I'll have a link to that in the about section of this video. Now this adorable pig photo is from Unsplash.com by Pascal de Bruner. Also, with the exception of speeding up a little bit of the sketch at the beginning of this lesson, the rest of the lesson is all real time. So just like part one in this series, it's a great lesson for beginners. And if you haven't subscribed to this channel, I hope you will. We have a lot of fun. Also, click that bell icon to be notified of future videos. For your convenience, I've already arranged an album called The Farm in my Unsplash.com account. You can find me at Susan Jenkins Artist on there. And you can access my album and use any of these images that I thought were really beautiful farm related images. You can find a link to that album in the about section of this video. Now let's talk about these supplies. For the first three paintings in this series, I'm using Strathmore toned gray paper. I really do like the fact that I can not only do charcoal sketches on this paper, but I can also do pastel painting. We think we have to use sanded papers, but we really can get some decent results on regular drawing paper. I like the neutral color of this rather than white drawing paper. The majority of the pastels I'll be using for this pastel sketch are Prismacolor new pastels. I like them. They're a little harder. They go on quite well on this paper. And I do use a few other pastels, but I'll try to point them out as I paint. Now I'm getting started with my adorable piggy George. I named him on my iPad. And by the way, there will be a link to this reference image in the description of this video if you'd like to use this same image or your own piggy photo. So I am just using a charcoal pencil here on my gray tone Strathmore paper. I believe I marked off an 8 by 10 area and I cropped my image. If you see the reference photo at the beginning of this video, you can see it's a wide format. I actually would really like to do a more serious painting, not just a pastel sketch of the entire image. It was really lovely with the other pig in the background and the shadows coming forward. So again, this is a 8 by 10 cropped image. And I often, I think I mentioned this in the last duck tutorial, that I often like to keep my proportions of my image and my painting surface the same. Kind of you can see what I'm doing here. I know that the halfway point on the image will be the same place as the halfway point on my paper that I'm drawing on. So it makes it for a real easy gauge for kind of measuring very quickly. And the reason I call this pastel sketching is because of course I'm sketching out the general image which I would most likely do for a more serious pastel piece. But we're keeping the marks very gestural and even when I get to the painting phase the marks will be more lively and it has a sketchy feel to it. Also because it's on drawing paper and we're doing them a bit more quickly which is kind of a little bit more like sketching and just having fun. I often get feedback from those in the Monet Cafe art group on Facebook and in my Patreon group of artists who say you just sometimes get out of the groove, you feel like you've lost your mojo or you know you're just not feeling the artistic vibes. And often doing some fun sketching and these little pastel sketches are great for getting out of that rut. And also you're not wasting a lot of money with expensive pastel papers. I do recommend to, you see how I'm holding my pencil, the results of your strokes will be more sketchy. Occasionally you'll see me grab it more like you were writing to get a more specific area or to get some more control but mostly giving these little, I've sped this up only slightly for the sketch part but mostly giving these little gestural marks and keeping it very very loose. This is not going to be the type of painting where we have rigid lines. I'm just giving a little shading here and this is a good segue to talk about the fact that this pig is what's called backlighting. You notice the sun is behind him. You can see the sun really shining brilliantly on the right ear, not his right or right. And so what results is the pig is pretty much in shadow. It's going to be a pretty dark image.  But this is back to that. Does anybody remember that famous thing on the internet that said is it a blue dress or is it a white dress?  The values are going to be darker and you'll see me as I paint I purposely make some of the values cooler in certain areas because whenever anything's in a shadow we can use cooler temperatures. I often like to say if you are in a shadow area under a tree for example you're going to be cooler because the sun is not shining directly on you so it's a neat little way to remember that you can break out your artistic license and often cool things off a bit when they're in shadow. Good colors for that are blues and purples. So I did kind of accidentally get my pig a little bit over too far to the right side. I don't know where I'm going right now. And then if I was doing something more seriously I would probably measure a little bit more but once again this is pastel sketching. We're having fun. It's okay if he's moved over a little bit. I did realize I wanted to change his eye. His eyes were really far, they're wide, they were like almost right underneath that little part of his ear right there. And so these are little things you can just kind of notice as you're sketching. I also love being an artist how you really become a student of nature, of landscapes, of animals and you really learn a lot about how things really look. I was sketching my dog one time that's a Boston Terrier and I realized, oh my goodness Jackson I didn't know your ears were that big. His ears are almost as big as a rabbit's, I mean very big ears. That's just kind of common for that breed. Now I'm just sketching in his little legs were just kind of interestingly shaped and he's got one kind of, he's got his two front legs that I'm doing right now. I'm not even worried about getting his hooves specifically right now. And then he had a little back leg, just kind of a little gestural mark to the back. Obviously it's going to be smaller in the back because it's further away. And then he's just got a little bit of his body showing because this is one of those really kind of neat front views that you see with dogs and with animals like that. Now I noticed I didn't have his snout big enough. That's one of the neat things to pardon my hair or head getting in the way.  But anyway, so another good thing about working with charcoal or willow charcoal, this is a charcoal pencil but either of them is you can erase them and you can kind of reconfigure some stuff. I think sometimes the lines like I'm doing here rather than getting each line specific lens to that painterly sketchy feel. So I'm just kind of getting some of the general ideas. Also right now I'm getting a little bit more of that gestural feel. His leg had a little bit more of a shape that was kind of cocked to the back there.  And hey, whatever, if it doesn't come out perfect, that's okay. But like I always say, get you a cup of coffee, I like to put on some music and have my essential oils brewing for a nice ambiance. I always say that it's about the experience as much as, if not sometimes for me, more than the final material product at the end. We can truly enjoy this rather than feel like, we've got to have this finished piece that we show the world on social media. Just enjoy being an artist and enjoy the fact that you get to create and have fun. As you can see, I've just grabbed here a middle value gray and now I just got a little bit of a darker gray. And what I'm doing is what I actually do for regular paintings is I'm just getting in a little value study. I'm kind of analyzing where my darker darks are. You can see that his ears are really dark. And they also have some light shining through them because the ears are thinner. But later I'll establish that with some pink tones. But you wanna go ahead and get those values in. We can get some layering. We talk a lot in pastel painting about how one of the neat things we can do with pastels is we can layer them to get different color interactions. And typically with pastel painting, we layer dark to light. It's pretty similar in oil painting and acrylic painting. It's the opposite with watercolor. So I'm just using this darker pastel to get in some of the areas that I see are the darkest values.  And so what this does is this very quickly establishes some of the basic values. If you hear some crazy noises while I'm doing this voiceover, it's because I'm in the midst of a tropical storm. I'm still staying at my parents' house. God, leave that wind is really kicking up. I'm staying at my parents. I'm a little scared. I'm staying at my parents' home still after my mom passed away, still here with my dad. We're just all helping each other through this. And I'm trying to make life a bit more, I don't know, easier for him to manage with some things, just practical. So anyway, it's really kind of crazy weather outside right now. But now what I'm doing is I'm still doing a value study, even though I've gone away from gray tones. But I'm using this pink to get in some of those other values that may not be quite as dark as that dark value that I had put in earlier. And now I'm using a little bit of a lighter pink to get in the light portions of the snout. And I do think I even darken this up a little bit later. But this gives me, once again, a good roadmap, a good guide as to some of these values, the basic structure of the pig and the basic shapes and some of the basic colors even getting started now. Do you remember when I mentioned about things in shadow being cooler? You remember the colors that I said are good to use when things are in shadow? That would be purples and blues. So in a minute, you're gonna see me actually get some purple. Well, there it is right there. Some purples underneath his chin or underneath his nose, that chin area, is darker and cooler in temperature. So I'm doing that under the shadowed area of the chin and in the shadowed area of the ears. And it really gives a believable feeling of something being more in the shadow than, for example, the upper part of his head. And it also gives a really neat fun color. So I often say that once you learn the rules of color and value, you can really get creative and have some fun and explore. And now I'm using a little bit of a warmer, pinky, kind of a peachy color. Remember how I said I was making the ears dark, but later I would come back and add some of that kind of fun color, like the sun is shining through his ears? Well, just like I said, the shadows are cooler, the sun is warmer. So that's why I went with a warmer, more of a peachy tone than a cooler pink tone for the sunlight coming through the ears. And once again, this face is in shadow, but it's not quite as dark as the shadowy area underneath the snout. So that's why I'm using this blue that is a little bit lighter in value. And it doesn't feel quite as dark as the area underneath the snout area. I'm going ahead and getting in a little bit of, I call these color notes or value notes. I sometimes just make little marks. It may even be a little light in value, but it gives me an idea of where some of the lighter values are.  This is, I believe, a black. I don't often use black in my paintings, but often I like to limit myself as with this little palette of new pastels you saw at the beginning. And I find there's a wonderful thing about limiting yourself is that it allows you or forces you to use color combinations. You sometimes, you get in the habits of using the same colors all the time.  They also have a little gesture to them. They're kind of angled down, and he has like a little eyelash coming over them. So I'll be establishing his eyes. But once again, you have to really examine your subject matter when you do things like this, especially portraits of animals and people. I've so often heard new budding artists say that, wow, I'm really looking at the world differently and seeing more. So being an artist means becoming a student of our beautiful creation. And I think that's another element we should appreciate as artists. We really learn to see the world rather than how so many people seem to be more like just passing through. And with so much in the computer world today, with television and computers, we have so many things that try to steal our joy of experiencing creation in the raw. I like to say that because I mean we can watch a nature program on TV. We can enjoy someone else's nature photography on social media. But there's nothing like getting out there and experiencing it yourself and smelling the air and feeling the grass under your toes. So I really love that part of being an artist. Now you can see I'm working on the background here. I'm keeping that real sketchy quality. But right now I'm giving my lightest light. Remember how I said the sun was kind of shiny behind that one side of his ear? So I think even just these marks, if I just kind of kept this style for the rest of the painting, it's really kind of fun.  So fun and expressive is the feeling and the goal here. Now during this month of the farm theme, I do have some more, I call them serious pieces. I shouldn't cut more detailed pieces or pieces that are not quite so sketchy. And I already have two of them complete. So this month in the farm theme, I will do a little bit of a combination of some fun whimsical like this and some more landscape paintings on some sanded paper. But I do think that this type of pastel sketching and especially the real time that I'm providing in these first two, the duck and this one is really great for beginners. I hope you're getting a lot of content, information and instruction that will help you. Also too, if you're in the Monet Café Art Group on Facebook, feel free to share your recreations of this, tag me. I'm on Facebook. I'm the art of Susan Jenkins. That's my page name. By the way, go find me on Facebook, that page and follow me. I would love that if you share on Instagram. I love that you guys have been sharing, I have been tagging me on Instagram and I'm getting to see what you're doing from these lessons. I love it. So find me on Instagram at Susan Jenkins Artist and then I will get a little notification and I'll get to see what you've done. And I always love that. That's one thing I love about my Patreon Group. By the way, if you want to support this channel, the Monet Café YouTube channel, if you support me on Patreon for $5 a month, it really does help me to keep these free videos coming. For others, there are so many people, I get your beautiful messages about how you maybe live in a country where you're limited in instruction that you can receive. Many people are limited in their financial situation of lessons they can receive. So I love the fact that I am bringing this channel with so many free lessons. I have hundreds of videos on this particular channel here. I don't know, am I up to 400 videos? Probably. So your support on the Patreon channel not only helps me just to financially keep things going. I did lose my other job because of COVID. So this is my only source of income. But it also helps me to get better equipment and of course the supplies for these tutorials. But what I love about the Patreon Group is not only are you supporting this channel, you're also going to get some extra goodies. My patrons, we're just such a beautiful group and I love the artist in my Patreon Group. I get to see your work because I have a homework album just for my patrons and my patrons share their results from these lessons in the homework album. So it's a lot of fun and I give some prizes and I have extra instruction also to my patrons. So sometimes with these lessons, they'll get a little extra content. I've got one lesson coming up soon where I'm going to give them a little lesson in cropping a reference image and also how to alter it to make it more painterly before you begin a painting, things like that. So and my patrons are just wonderful, beautiful people. So I always want to give a shout out to them. Now you see this little purple that I'm adding. Remember how I set up maybe dark in that nose a little bit? I'm just going in and adding fun color now. Remember me mentioning about getting the values and a basic color foundation in and then I could get fun. And yes, I did put green in the face. I actually am seeing some green in the photo. We can fine tune our eyes to see little subtleties of color in photographs that you don't see on the surface. But when you really learn to examine these things, that's how you can get expressive with color. I even have on my Patreon page. Sometimes I like to give you guys little color tests. And some of these there's one. I'll go ahead and tell you guys. There's a little app you can get. I think it's Android and iPhone. It's called I love Hugh, H-U-W. Not I love you. I love Hugh and it's a game. You can play that really helps you to fine tune your visual acuity to see color better. So so that's really just some neat little things you can do to become better as an artist. OK, so I'm really got a crazy colorful pig going here. But it seemed like a lot of you guys like this.  So and also to right now, it looks like his that shadow under his snout. It looks like that's his mouth. That's just a shadow.  But I kind of blend that in, make it more like a shadow and add the little he's got a little chin under there under the nose that I'll add later. I'm getting a little bit more of that brightness around his ear where the sun is. Once again, I really want to do a piece that I spend more time on doing the whole image. I really liked this reference image. It was great. But check out that farm album I created on unsplash.com. I pulled out, I don't know how a lot of photos of some really fun farm animals and some beautiful farm landscapes as well. So so this is really fun. Now, notice, too, I am getting layering on regular drawing paper. I really love these new pastels by Prismacolor. I wanted to give a little bit of more indication of the shape to that eye. Remember how he said he kind of had like a little eyelash or a little area of highlight above his eye? So I'm just kind of fine tuning those things. Some of the areas in his ear were a little darker than I had them. I added more brilliant pink or brilliant and darker pink. And I'm just looking often when I have a color in my hand, I'm looking to see where could I use that value and that color somewhere else in the painting to give some color harmony. See how I added even some of it down in the ground that connects the painting so you don't have a feeling of segmented color throughout the piece.  I think I missed a little footage, but can you see here how I added that little highlight right over the eye? It's just a little gestural mark that really gives that feeling of the shape of his eyes and also that he has like a little lash that might be catching some of the sunlight filtering around him. Here's the painting at this stage.   I hope you enjoyed that and learned a lot. I also have another painting tutorial on the way that is also, yes, this was also done on the Strathmore gray tones paper. This one should be a lot of fun. All right, guys, I really am thankful that you joined me today for this lesson. So be blessed and happy painting.


What's going on, everyone? Sam here with late sports cards, ripping two boxes of 22, 23, Panini Prism, no, 22, 23, Panini Revolution Soccer Hobby for Kevin P. So good luck here, Kevin. Tag you off really quick and we'll get this going. Good luck here, buddy. See what we get. Two Revolution Soccer Hobby. Hey, what's up, Kiko? Or an auto, either one, or both. Why not both? The Cosmics look really good this year, apparently, or sent us a video. Kyle Walker, Charlson, Pina, let me just make sure there's no sunbursts. Oh, that is sunburst of 50. 35 of 50, my bad on that. Sunbursts. Not used to being in the front of the pack. And Diamond. Stefan Bajetic, Infinite, Pascal Graves, Ben Johnson, Garwin Nunez, Yuri Mina. Let's obviously leave that Diamond, too. Is that kind of like Fractal and whatnot? Super Sonic is Alan St. Maximon. Got Fractal of Emile Smith-Roe, Shay Adams, Chris Wood, and Brian Embuema, Tracto Corre. There's Bobby de Cordova-Reed on the Infinite. Kyle Walker-Peters. Face. Future Sergio Gomez from Man City. There's a Fractal, yep, Ruben Diaz, nice. Manuel Lanzin, Christian Erickson, and Mark Kugarela, a couple of nice names in that pack. Rookie is Zed Spence, Infinite's Levi Colwell on the Infinite Rookie. Said Ben Ramah, Ibrahim Ekonate, and Dominic Solanke. Face. Shockwave, Gabriel Martinelli, nice one there, Arsenal. Emerson Royale, Harry Kane, Jolenton, and Sergei Conos. Blade Anderson Rookie. Infinite, Rookie is Ben Pearson, Jose Sa, James Madison, and Jordan Aiu. That'll do it for box number one. So we got on box two here for you, Kevin. We've got a Cody Tramman that is Sunburst of 50, Ibrahim Diallo, Luke Thomas, John McGinn. There's an Infinite of Kiernan-Jewsbury Hall, Jean-Lucas Gamaka, Luqshaw, Mark Travers, Shockwave, Dean Henderson, Fractal, Vincente Gueta, Bernardo Silva, Ioanni Wisa. Over as Infinite is Aaron Cresswell, West Ham, Shana Romero, James Tarkowski, and Kaora Mitoma. Resonic Trent Alexander Arnold, Fractal in Andy Robertson, Holly Walkins. A few more packs here for you, Kevin. That's cool. Diamond again, Flynn Downs, Hugo Loris, or Larisse, Chris Richards, trying to retain as much soccer information as they can from the World Cup. Yves Vesuma, that is Fractal of Musa Janepo. That's Killman, Patrick Bamford, Martin Odegaard. Last pack of the night, good luck here, Kevin. Marcus Tavernair. There's an Infinite of Lisandro Martinez, and Lodi, Rodri, and Tariq Lampti. That'll do it for your break there, Kevin. Thanks again for the support, buddy. Get them right out,


My name is Malik. I manage the airborne product roadmap at Tel-Dyn Optech and Tel-Dyn Juicepacial more broadly. If you've encountered me in the past, you know me as the person that manages the development of airborne topo LiDAR sensors. That continues to be the case. I'm additionally involved in the development of airborne bathymetric sensors. And today, we're actually talking beyond the sensor. We continue to produce leading sensors for data acquisition. But we have also spent an enormous amount of time with customers, and we understand that there are issues that exist in the collection, but also after the collection. So today, I'll be talking about industries first and industries only, real-time processing, and real-time quality control solution for airborne LiDAR data. So for those of you who are not familiar with us, we're Tel-Dyn Juicepacial. We're a consolidation of two industry leaders. One is Tel-Dyn Keras, a leader in the production of software for hydrographic and marine processing, as well as Optech, who is a leader in the production of sensors, LiDAR sensors largely. We operate in most continents, and we are entirely passionate about solutions that span land and water. I'll start a little bit with a state of where industry is. This is kind of from the perspective of clients that we have spent an enormous amount of time with in interviews, in their shops, and being quite intimate with them. The state overall is there are many sensors on the market. They're all good sensors. They all collect data. But there is a sense of flooding of data, and turnaround time is quite challenging. There's this famous quote from a Deloitte report, which is, everyone is drowning in data, but starving for insight. And you add to that a problem of hiring. When we look at job postings, we find that, increasingly, employers are looking for anyone to do the job. You can see things like if you have a high school degree, if you're willing to travel, if you can use a computer. So we understand that there's a demand for industry, but also a challenge in finding the right kind of skill. So what we did is, as I mentioned, we spent an enormous amount of time in interviewing customers. And we understand from them that there is a need for innovative, not just hardware, not just software, but unified holistic solutions that do more in real time. There's a lot of dead time in the airplane that is not being utilized. Solutions that accelerate the workflow, not workflow in the office, not workflow in the airplane, but workflow from the airplane all the way to the office. And ultimately, solutions that instill confidence, that give customers and organizations the feeling that this data, I'm confident in it, I can move it in my pipeline, but I can also deliver it to my customer on time. So what did we do with this information? We introduced Galaxy Onboard, which is an onboard solution that extends our leading airborne topo sensor, the Galaxy. It's an enhanced flight management system that also processes LIDAR data at full resolution in real time without any decimation and also applies the quality control on the point cloud directly in the airplane. In essence, we are uploading what we do on the ground and in the office into the airplane with the overall objective of instilling confidence in data, increasing the ROI for organizations because they can deliver projects faster and, very importantly, opening this ability to deliver to projects that require real time data. You can think of emergencies or rapid response or something of that nature. So how does it work? In the air, data is being collected. That's gray. And in real time, data is being processed. We have about one second lag with most densities. And then as the data gets processed, it also gets QCED. So by the time this airplane ends the line, data has been processed, data has been QCED, and you on your disk have access to raw, processed, and quality-controlled data. So if there's anything you should walk away with this presentation is really these four key points that will come up on the slide, which is why is this relevant? Why is this such a big deal? And why does it move the needle for organizations? On-board reduces standby and rework cost. On-board enables organizations to do milestone billing, which we will unpack shortly. It enables not just organizations, but really this entire industry, to truly do real-time, rapid response for applications that truly require it. Many of us claim that we can do real-time, but no one until on-board has been able to truly deliver full resolution LiDAR data directly from the airplane. And then ultimately, on-board reduces the training cost because of the user-verted design that you will see shortly. OK, so as I said earlier, in the airplane, as an operator, you will get an indication of where the data meets the QC requirement that you have set in the office. This is QC for things like density and QC for things like gaps. You will also see where the data is mediocre. It's in a worn state. And you see where the data fails that QC spec. Right now, as many of you know, the only way for you to do QC is to land the airplane and do some routine of QC on the ground, which is many, many hours and much more cost incurred, and it happens after the flight. This happens in the airplane. So let's walk through a quick understanding of what this means financially. Our moderator initially said that we all care about the technical, but this is a session where we want to think about more implications of the data. So when we think of the cost, right now, you go fly a project, let's put a random number of $10,000 for five hours of flight. Unfortunately, you do not know the quality of the data, so you have to incur some cost in landing, doing some QC, paying hotel stays and field crews. And then you wait for the QC results, and you end up finding that I'm not meeting my specs. At least I'm not meeting it everywhere. So what you end up doing is you have to incur the cost of reflight. You have to do this all over again, and then ultimately do the QC again, because you're still not sure of the quality of the data. And only when it passes can you proceed. This overall kind of five hours of flight can cost $30,000 between collection and QC and cost on the ground. With onboard, it's a much simpler situation. Everything is zeroed out because the QC happens in the airplane. And if you do need to reflight data, you reflight right away. You tap the line that is red, then you reflight that line. So your cost is reduced quite substantially, and we continue to support customers on reducing their cost by up to 60%. Another thing that I mentioned is milestone billing. This is something that Galaxy on board, because it produces incremental QC reports every single flight, can give you the ability to respond to customers that say, we need a report every flight or every two flights, and we will pay accordingly. So this is something that you will get straight off the plane that will help your operation. And as I mentioned earlier, Galaxy on board is the first and the only system on the market that produces real-time data in the airplane. For applications like flooding or assessing damage in electric infrastructure, this is quite key. I'll show you an example later about key electric utilities that are utilizing this solution for detection of damage on infrastructure in real-time. As I mentioned earlier, this design was really fueled by sitting down with operators and pilots all over the world and to try and understand what gives them anxiety and what gives them a sense of productivity. So we have instilled an ability to reduce training cost as a function of Galaxy on board. I'll show you two or three examples of Galaxy on board in action, and then we'll wrap it up. So this is an example from a customer that said, hey, we flew in a mountainous area with a lot of turbulence. We had a new pilot, and the data came back. It had a whole lot of gaps. What can onboard do? Can onboard help us with this situation? Because it happens quite often. So you'll see the gaps here on the side of the swath. You'll see that due to turbulence and the pilot, the airplane was rolling up to 10, 15 degrees, in some cases, online. So we took the data and we ran it through Galaxy on board. This is what the operator would have seen. They would have seen that density and gaps are being identified in real-time. And they would be able to see when the pilot and turbulence cause a lot of deviations from the plan, whether it's roll, pitch, heading, or position. And you can see the quality of the data on the screen. Ultimately, we needed to know, is this actually finding the issues? So we took the quality control from Galaxy on board, who identified every area that has an issue. And then we matched it with the point cloud. And to the customer's satisfaction, when onboard said there was an issue, there was a gap, or there was a big edge gap due to roll or clouds, et cetera. Similarly, a different customer using Galaxy on board has issues with clouds and turbulence and water bodies. And they are never sure, is this a gap that's real? Is it due a lake? Can I fix it? So they provided this view, which is a density map, where green shows areas where density is being reduced. And also to their satisfaction, with Galaxy on board, you can see exactly where the lakes are and exactly where turbulence density reductions happen. This is something that the customer takes hours, sometimes days to produce. And with Galaxy on board, this is produced in real time and can help make decisions about what is happening where. Last but not least, as I mentioned earlier, the data is being produced at full resolution. We have a major interest from electric companies who have storms going through their areas. And then they find themselves in a position of which electric infrastructure has been damaged because we need to prioritize our forces there. This is data from Galaxy on board. We get the real time data. We stream it through an additional service that identifies damage. And you can see here, poles that are leaning and are close to being destroyed. This helps electric utilities identify exactly where things are so that they can prioritize a response there. Right now, this is a process that takes electric utilities weeks to months, depending on the impact and the size. With Galaxy on board, they take this down to 24 hour cycles. As I mentioned earlier, Galaxy on board is a productivity enhancing tool. It's a fundamental rework of workflow in our airborne industry. It aims to reduce cost. It aims to reduce standby and reflight cost to enable organizations to do milestone billing. It enables a true response to emergency situations and helps people adopt airborne geospatial technology with a much shorter cycle of training. I'll be in Hall 27. We have Galaxy on board, as well as Galaxy, the sensor on display. We can more than happy to do demos. Please stop by. Thank you very much.


Welcome to this ELC self-study video. Today we're going to look at the structure of a good workplace report. This can be tricky, especially if you've never written a report before. So let's start with the basics. The first thing to look at when writing a report is the structure. The structure is very important because it will help us to organize our thoughts and make it easier for our teachers to read our work, which will make them happier. A good way to do this is to use clear headings, subheadings, and numbering. Headings should be underlined. Now the first part of report is the introduction. This is where we will tell the reader what the report will cover. In other words, the scope. What is the purpose of our report? For example, this report examines the recently observed declining morale of our staff. The main aims of the report are to identify the causes of the decline in staff morale and recommend ways to boost it. This tells us exactly what the report is about. In our report, we should include any background information the reader will need to understand the report. That's the introduction sorted. Now let's move on to the next section. The next section is sort of like an extension of the introduction. It's the procedure. If we're writing a short report, we can include this section in the introduction to save space. Otherwise, we should give it its own section. The procedure shows our reader exactly how we gathered the data. Did we use a questionnaire? How do we find the respondents? What groups of people were targeted? How many people were surveyed? Did we perhaps collect data by some other means? Whatever it is, this is the part of a report where we would tell the reader exactly how the data was gathered. Once we have gathered our data, we will include it in our findings. This is the part of our report where we will tell the reader exactly what we have found out. What did our respondents say? Reports often use lots of tables and graphs to display information quickly and clearly. A finding section is where the main problems identified from the data are laid out. First, you need to describe the data. Then, you need to discuss the data. The important thing is to say what happened and why. We need to discuss the causes, effects and implications of the problems we encountered. The next part is the conclusion. This is where we summarize what we have concluded from data we have collected. What are the main findings? What is the link to the recommendations? Remember, the conclusion should discuss the information in the report, but we shouldn't introduce any new information here. The main purpose of the conclusion is to summarize the rest of the report briefly and clearly, as well as to provide the link between our findings and our recommendations. The final part of our report is the recommendations. This is where we provide solutions. Things went wrong, so how could we fix it next time? Each problem you identified in the findings needs to be solved in the recommendations. And that's it. That's the basic framework of a workplace report. Now, there are a number of other resources on the ELC YouTube channel to help with each part in more detail, including a look at the findings, conclusion and recommendation sections.


The Carpenters were an American vocal and instrumental duo consisting of siblings Karen and Richard Carpenter. Producing a distinctively soft musical style, they became one of the best-selling music artists of all time. During their 14-year career, the Carpenters recorded 11 albums, 31 singles, 5 television specials, and a short-lived television series. Their career ended in 1983 by Karen's death from heart failure brought on by complications of anorexia. Extensive news coverage surrounding the circumstances of her death increased public awareness of eating disorders. The duo's brand of melodic pop produced a record-breaking run of hit recordings on the American top 40 and adult contemporary charts, and they became leading sellers in the soft rock, easy listening and adult contemporary genres. The Carpenters had three number-one singles and five number-two singles on the Billboard Hot 115 number-one hits on the adult contemporary chart. In addition, they had twelve top ten singles. To date, the Carpenters' album and single sales total more than 100 million units. Musical and Lyrical Style Richard Carpenter was the creative force behind the Carpenters' sound. An accomplished keyboard player, composer and arranger, Richard Carpenter was called by music critic Daniel Levitan one of the most gifted arrangers to emerge in popular music. In a period when contemporary music was dominated by heavy rock, their smooth harmonies were not in step with the trends of the day.The sound the Carpenters were going for was rich and melodic, along the same vein as the harmonies found in their contemporaries The Beach Boys and The The Mamas and The Papas, but with greater fullness and orchestration. Most of Richard's arrangements were classical in style, with frequent use of strings and occasional brass and woodwind instruments as well. Richard's work with Karen was heavily influenced by the music of Les Paul, whose overdubbing of the voice of partner Mary Ford allowed her to be used as both the lead and harmonizing vocals. By use of multi-tracked recordings, Richard was able to use Karen and himself for the harmonies to back Karen's lead. The overdubbed background harmonies were distinctive to the Carpenters, but it was the soulful, engaging sound of Karen's lead voice that made them so recognizable. Karen did not possess a powerful singing voice, but close-miking brought out many nuances in her performances. Richard Coles, a musician and broadcaster, commented, No singer is so closely miked up so unforgivingly as Karen Carpenter. That is frightening for singers because the closer the microphone the more unforgiving it is in exposing the weaknesses in a singer's voice. Karen's lower register was warm and distinctive. Richard arranged their music to take advantage of the qualities of said lower register, even if Karen's full vocal range spanned over three octaves. Many of the Carpenters' songs are in the keys of D, U, there's a kind of hush, all over the world, E-flat, only yesterday, E, hurting each other, yesterday once more, F, I'll never fall in love again, and G, and when he smiles, reason to believe, for all we know, you'll love me. Richard is best known for his use of the whirlitzer electric piano, whose sound he described as warm and beautiful. He also played the grand piano, Hammond organ, synthesizer, and even the harpsichord with the band. In the recording studio, he often would overdub his acoustic piano parts with a whirlitzer electric piano to thicken the sound. From the mid-1970s, Richard also used Fender Rhodes pianos. While touring, he often would have a grand piano as well as both a Rhodes and a whirlitzer electric piano on stage for different songs. Karen was an accomplished drummer and initially only played drums, but soon began to sing for the group in addition to playing the drums. Before 1974, Karen played the drums for all their songs. According to Richard, she considered herself a drummer who sang.However, while Karen's vocals soon became the centerpiece of the group's performances, at 5 feet 4 inches tall, performing behind her drum kit made it difficult for audiences to see her. It was soon apparent to Richard and their manager that the audience wanted to see more of Karen. Although unwilling, she eventually agreed to sing the ballads standing up front, returning to her drums for the lesser known songs. As the group's popularity increased, demand for Karen's vocals overshadowed her drumming. Gradually, she played the drums less. By the time their album A Kind of Hush was released in 1976, she had not played the drums for the studio sessions at all, though she continued to play some during concerts. From spring 1976 onward, the tours would include a drum medley for Karen to play, and a piano solo number was included for Richard. Karen made a final return to studio drumming for the track When It's Gone, It's Just Gone, on the album Made in America, albeit in tandem with Nashville session drummer Larry London. She also provided percussion in tandem with Pauline Hoda Costa on the song Those Good Old Dreams. Pre-Carpenters 1946-1964, Childhood The Carpenters were both born at Grace New Haven Hospital, now called Yale New Haven Hospital, in New Haven, Connecticut, to parents Harold and Agnes. Richard Lynn was born on October 15, 1946, and Karen Ann followed on March 2, 1950. Richard was a quiet child who spent most of his time in the house listening to records and playing the piano. Karen, on the other hand, was friendly and outgoing, she liked to play sports, including softball with the neighborhood kids, but she also spent a lot of time listening to music. In June 1963, the Carpenter family moved to the Los Angeles suburb of Downey, California. In the fall of 1964, Richard enrolled at California State College at Long Beach where he met future songwriter partner John Bettis, Wesley Jacobs, a friend who played the bass and tuba for the Richard Carpenter trio, and Frank Pooler, with whom Richard would collaborate to create the Christmas standard Merry Christmas darling in 1966. That same fall, Karen enrolled at Downey High School, where she found she had a knack for playing the drums SFN Coleman 1994 P equals 51. Friend and fellow band member Frankie Chavez inspired Karen to play the drums. She would often borrow Chavez's drum kit when he taught her. She and Frankie, must have worked down the rudiments, the cadences and the press rolls for hours, recalls Richard. When Karen finally got a Ludwig drum kit from her parents in late 1964, she was able to play it professionally, in what Richard had described in their documentary, Close to You, Remembering the Carpenters, as exotic time signatures. 1965-1968, The Richard Carpenter Trio and Spectrum. By 1965, Karen had been practicing the drums for a year, and Richard was refining his piano techniques with Pooler as his teacher. In late 1965 Richard teamed up with classmate and friend Wes Jacobs, who played tuba and stand-up bass. With his sister playing drums, the three formed a jazz trio. In mid-1966 the Richard Carpenter trio entered the Hollywood Bowl annual Battle of the Bands. They played an instrumental version of The Girl from Eponema and their own piece titled Iced Tea. The trio won the Battle of the Bands on June 24, 1966, and were signed up by RCA Records.They recorded songs such as The Beatles' Every Little Thing and Frank Sinatra's Strangers in the Night for RCA. An RCA committee reviewed their recordings and chose not to produce them, and the Richard Carpenter trio were released from RCA. In 1991, some 25 years later, a couple of these recordings were released as part of a from the top boxed set of Carpenter's material. Later in 1966, Karen tagged along at a late night session in the garage studio of Los Angeles bassist Joe Osborne, and joined future Carpenter's collaborator and lyricist John Bettis at a demo session where Richard was to accompany an auditioning trumpet player. Ask to sing, Karen performed for Osborne, who said never mind the trumpet player, this chubby little girl can sing. Osborne signed Karen by herself as a singer to his fledgling label, Magic Lamp Records, and the label put out a single featuring two of Richard's compositions, looking for love and I'll be yours. The single was not a hit, and the label soon became defunct. However, Osborne let Karen and Richard continue to use his studio to record demo tapes. In 1967, Richard and Karen teamed up with four other student musicians from Long Beach State to form a band called Spectrum.SFN Coleman 1994 P equals 63 The group often performed at the whisky ago go SFN Coleman 1994 P equals 54 Spectrum member John Bettis worked with the Carpenter's until Karen's death in 1983, composing many songs with Richard. In 1968, Spectrum disbanded, and Wes Jacobs of the Richard Carpenter trio left for the Detroit Symphony Orchestra. Richard and Karen received an offer to be on the television program Your All-American College show in mid-1968. Their performance of June 22, 1968, was Richard's and Karen's first television appearance, with bassist Bill Sisoyev recruited for this appearance and their other appearances on the show in 1968.During this time, Richard and Karen continued to refine their craft and produced demo tapes in Joe Osborne's garage. One of these was heard by Ondem Records Herb Alpert, who was intrigued by Karen's voice. The Ondem CEO owner signed them to a record contract. Said Richard, we signed with Ondem. In came Herb and he shook our hands and said in so many words it was a pleasure to meet you. Let's hope we have some hits. 1969 1983, Carpenter's Richard and Karen Carpenter signed to Ondem Records on April 22, 1969, under the name Carpenter's. Since Karen was technically underage, she was 19 at the time, her parents had to see a sign for her SFN Colman 1994 P equals 76 Richard and Karen had decided to sign as Carpenter's, without the definite article. Karen said they had been influenced in the name by the pop music group Bread. In the album notes for their 2004 release, Carpenter's Gold, 35th anniversary edition, Richard stated. Another Carpenter-Bettis composition, Top of the World, was originally intended as strictly an album cut, but when Lynn Anderson scored a hit with the song in early 1973, the Carpenter's opted to record their own single version. It was released in September 1973 and became the Carpenter's second Billboard number one hit, in December 1973. Now and Then There Now and Then album from 1973 was named by mother Agnes Carpenter. It contained the popular Sesame Street song Sing and the Ambitious yesterday once more, a side-long tribute to Oldies Radio which incorporated renditions of eight hit songs from previous decades into a faux Oldies radio program. The single version of the track became their biggest hit in the United Kingdom, holding the number two spot for two weeks, it was kept off the top first by Gary Glitter's I'm the Leader of the Gang, I Am, and then by Donnie Osman's version of Young Love. In 1974, the Carpenter's achieved a sizable international hit with an up-tempo remake of Hank Williams's Jumbalaya, on the Bayou. While the song was not released as a single in the US, it reached the top 30 in Japan, number 12 in the United Kingdom, as part of a double A side with Mr. Guter, and number three in the Netherlands. In late 1974, a Christmas single followed, a jazz-influenced rendition of Santa Claus's Coming to Town. The Singles, 1969-1973. The Carpenter's did not record a new album in 1974. The group had been touring extensively and the principles were exhausted. In Richard's words, there was simply no time to make one. Nor was I in the mood. During this period, the pair released just one hot 100 single, a Paul William Shroger Nichols composition called I Won't Last a Day Without You. Taken from their 1972 LP A Song for You, the Carpenter's finally decided to release their original two years after its original LP release and some months after Maureen McGovern's 1973 cover. In March 1974, the single version became the fifth and final selection from that album project to chart in the top 20, reaching number 11 on the hot 100 on May 25, 1974. Since Top of the World was at number 11 and falling in 1974's first week and Please Mr. Postman was at number 11 and rising in 1974's last week, the Carpenter's failed all three times, by one position each time, that year to reach the top 10. In place of the new album for 1974, their first greatest hits package was released, featuring new remixes of their prior hit singles, some with a newly recorded lead, and including newly recorded bridges and transition materials so that each side of the album would play through with no breaks, something that Richard would come to regret. This compilation was entitled The Singles, 1969-1973 and topped the charts in the US for one week, on January 5, 1974. It also topped the United Kingdom chart for 17 weeks, non-consecutive, and became one of the best-selling albums of the decade, ultimately selling more than 7 million copies in the US alone. Horizon In 1975, the Carpenter's gained another hit with a remake of the Marvelettes chart-topping Motown classic from 1961, Please Mr. Postman. Released in late 1974, the song soared to number one on the Billboard Hot 100 in January 1975, becoming the duo's third and final number one pop single. It also earned Karen and Richard their record-setting 12th million-selling gold single in America. The Carpenter-Bettis composition only yesterday followed Please Mr. Postman as the duo's last Hot 100 top ten hit, reaching number four. Both singles appeared on their 1975 LP Horizon, which also included covers of The Eagles' Desperado and Neil Siddocca's Solitaire, which became a moderate hit for the duo that year. Horizon was certified platinum, but owing to the disc's late release, after the second single was already dropping off the charts, it was their first album to fall short of multi-platinum status. The Carpenter's were among the first American recording acts to produce music videos to promote their records. In early 1975, they filmed a performance of Please Mr. Postman at Disneyland as well as only yesterday at the Huntington Gardens. A Kind of Hush and Passage Their subsequent album A Kind of Hush, released on June 11, 1976, achieved gold status but again owing to its late release, became the first Carpenter's album not to become a platinum-certified record since Ticket to Ride seven years earlier. Their singles releases in 1976 were successful, but at this time, contemporary hit radio was moving forward with changing musical styles, which ultimately caused the careers of most soft groups like the Carpenter's to suffer. The duo's biggest pop single that year was a cover of Herman's Hermits' There's a Kind of Hush, All Over the World, which peaked at number 12 on the Billboard Hot 100. I Need to Be in Love, Karen's favorite song by the Carpenter's, charted at number 25 on the Billboard Hot 100. However, it followed There's a Kind of Hush to the top spot on the adult contemporary charts and became the duo's 14th number one adult contemporary hit, far and away more than any other act in the history of the chart. The Carpenter's very first television special aired on December 8, 1976, and went to number 6 on the Nielsen's.Another television special, The Carpenter's at Christmas, aired on December 9, 1977. The disco craze was in full swing by 1977, and adult appeal easy listening artists like the Carpenter's were getting less airplay. Their experimental album, Passage, released in 1977, marked an attempt to broaden their appeal by venturing into other musical genres. The album featured an unlikely mix of jazz fusion, B-Wanna-She-No-Home, Calypso, Mansmart, Woman Smarter and Orchestrated Balladry, I Just Fall in Love Again, Two Sides, and Included the Hits, All You Get From Love is a Love Song, Sweet, Sweet Smile, and Calling Occupants of Interplanetary Craft. Calling Occupants was supported with the TV special Space Encounters, which aired May 17, 1978 with guest stars Suzanne Summers and John Davidson. Although the single release of Calling Occupants became a significant Top 10 hit in the United Kingdom and reached number one in Ireland, it only peaked at number 32 on the US pop charts, and for the first time a Carpenter's album did not reach the gold threshold of 500,000 copies shipped in the United States. In early 1978, they scored a surprise Top 10 country hit with the up-tempo, fiddle-sweetened sweet, sweet smile, written by country pop singer Juice Newton and her longtime musical partner Atha Young. The Singles, 1974-1978. In place of a new album for 1978, a second compilation, The Singles, 1974-1978 was released in the UK. In the United States, their first Christmas album, Christmas Portrait, became a seasonal favorite, returning Karen and Richard to platinum status. It was shortly followed by The Carpenter's, A Christmas Portrait, a television special which aired December 19, 1978. During the sessions, several non-Christmas songs were also recorded such as Where Do I Go From Here, Slow Dance, and Honolulu City Lights, most of which were not released until after Karen's death. Brief Hiatus. Richard sought treatment for his addiction to Quailudes at Atapica, Kansas, facility for six weeks starting in January 1979. He then decided to take the rest of the year off for relaxation and rehabilitation. Karen, at this point neither wanting to take a break from singing nor seek help for her anorexia, decided to pursue a solo album project with renowned producer Phil Ramone in New York. The choice of Ramone and more adult-oriented and disco dance tempo material represented an effort to retool her image. The album was finished by spring 1980, but Richard and Ondem executives voted to reject it which reportedly devastated Karen. The eponymous album was finally released 13 years after Karen's death, in 1996. Made in America and Karen's final days. Karen proceeded with plans to record a new album with her brother, who had now recovered from his addiction and was ready to continue their career. The Carpenters produced their final television special in 1980, called Music, Music, Music, with guest stars Ella Fitzgerald and John Davidson. However, ABC was not happy with the special as it was music from start to finish, unlike the previous specials which included sketch-based comedy. ABC felt it was too much like a PBS program. On June 16, 1981, the Carpenters released what would become their final LP as a duo, Made in America. The album sold around 200,000 copies and spawned a final top 20 pop single, Touch Me When We're Dancing, which reached number 16 on the Hot 100. It also became their 15th and final number one adult contemporary hit. The album also produced three other singles, including, Want You, Back in My Life Again, Those Good Old Dreams, and a remake of the Motown hit Beachwood 4-5789. The singles fared well on the adult contemporary charts. Beachwood 4-5789, the last single by the Carpenters to be released in Karen's lifetime, was released on her 32nd birthday. Promotion for the album included a whistle-stop tour of America, Brazil and Europe, preceded by a disastrous live appearance for a Japanese telethon event, filmed outdoors on the lot of Ondem in August 1981. During their segment, the last of the show, the playback audio cut out midway through their performance of Touch Me When We're Dancing. The ensuing scenes, along with Karen's reaction, left it obvious to viewers that the whole band had been miming. Three further singles from the album failed to ignite the charts. Karen sought therapy for her eating disorder with noted psychotherapist Stephen Lavenkrone in New York City. In September 1982, she called her therapist to say her heart was beating funny and she felt dizzy and confused. Admitting herself into hospital later that month, Karen was hooked up to an intravenous drip, she ended up gaining in eight weeks. In November 1982, Karen left the hospital and despite pleas from family and friends, she announced that she was returning home to California and that she was cured. Karen's Death On February 3, 1983, Karen visited her parents. The following morning, February 4, her mother found her lying unresponsive on the floor of a walk-in closet. After they spent 20 minutes in a waiting room, a doctor entered to tell Richard and his parents that Karen was dead. The autopsy stated that Karen's death was caused by emetine cardiotoxicity resulting from anorexia nervosa. Under the anatomical summary, the first item was heart failure, with anorexia as second. The third finding was catechia, which is extremely low weight and weakness and general body decline associated with chronic disease. Emetine cardiotoxicity implied that Karen abused Ipacac syrup, although there was no evidence to suggest that Karen abused it as her brother and family never found Ipacac vials in her apartment, even after her death. At her funeral, more than a thousand mourners attended, among them her friends Dorothy Hamill, Olivia Newton John, Petula Clark, Dionne Warwick and Herb Alpert. On October 12, 1983, the Carpenters received a star on the Hollywood Walk of Fame, a few yards from the Dolby Theatre. Richard, Harold and Agnes Carpenter attended the inauguration, as did many fans. Karen's death brought media attention to anorexia nervosa and also to bulimia. 1983–present, Post Carpenters Following Karen's death, Richard has continued to produce recordings of the duo's music, including several albums of previously unreleased material and numerous compilation albums. Voice of the Heart, an album that included some finished tracks left off of Made in America and earlier LPS, was released in late 1983. It peaked at number 46 and was certified gold. Two singles were released. Make Believe It's Your First Time, a second version of a song Karen had recorded for her solo album, and a song which had been a minor hit in 1979 for Bobby Vinton, reached number 7 Adult Contemporary but only reached number 101 on the pop side. Your Baby Doesn't Love You Anymore got to number 12 Adult Contemporary. For the second Christmas season following Karen's death, Richard constructed a new Carpenter's Christmas album entitled An Old-Fashioned Christmas, using outtake material from the duo's first Christmas album Christmas Portrait and recording new material around it. Richard Carpenter married his first cousin, Mary Rudolph, on May 19, 1984. Christy Lynn, which was the name Karen had chosen for a daughter if she ever had one, Little Girl Blue was born on August 17, 1987, Tracy Tatum on July 25, 1989, Mindy Karen, named after her late aunt, on July 7, 1992, followed by Colin Paul and Taylor Mary. Richard, Mary and their four daughters and one son live in Thousand Oaks, California, where the couple are supporters of the arts. In 2004, Carpenter and his wife pledged a $3 million gift to the Thousand Oaks Civic Arts Plaza Foundation in memory of Karen Carpenter. More recently, Richard has actively supported the Carpenter Performing Arts Center at his alma mater, California State University, Long Beach. He continues to make concert appearances, including fund-raising efforts for the Carpenter Center. In 2007 and 2009, the current owners of the former Carpenter family home on Newville Avenue in Downey, obtained permits from the city to tear down the existing buildings on the site to make room for newer and larger structures, in spite of ongoing protests from fans. In February 2008, a group of fans got their protest campaign covered in the Los Angeles Times. At that time an adjacent house that had once served as the band's headquarters and recording studio had already been demolished and the main house was on the verge of being demolished as well. The original house was immortalized on the now and then album cover and was the place where Karen Carpenter died. In the words of one fan, this was our version of Graceland. Logo. In 1971, the Ondem Graphics Department hired Craig Braun and associates to design the album cover for their third album, entitled Carpenters. I recognized it to be a great logo as soon as I saw it, says Richard.In addition, the logo was used on every Carpenter's album since the third one as said by Richard, to keep things consistent, though, every Carpenter's album from the logo's inception shows the logo. The logo did not appear on the front cover of their album passage but a small version appeared on the back cover. Promotion and Touring. Although the Carpenters had a rough start in 1969 with the lukewarm reviews of their first album, offering, they tried to promote themselves by being Bert Backerach's opening performance. In a live concert in 1974 at the Riviera Hotel, Las Vegas, Karen Carpenter explained. Then, Richard took over, and said. Quote He wanted us to put together a medley of his songs, any tunes of his that we wanted to do, and it took a couple of months. We arrived at eight tunes. The medley eventually was abridged and released on their eponymous album Carpenters in 1971. The song was shortened from almost 13 minutes to five minutes. The band maintained a demanding schedule of concert tours and television appearances. Among their numerous television credits were appearances on such popular series as the Ed Sullivan Show, the Tonight Show starring Johnny Carson, the Carol Burnett Show in 1971 and 1972, the Mike Douglas Show in 1971, and the Johnny Cash Show, also in 1971, where they played their hits for all we know and rainy days and Mondays. The duo appeared in a television special on the BBC in 1971 where they performed songs live. They were also the featured performers in a summer replacement series, Make Your Own Kind of Music, which aired on NBC every Tuesday at 8pm. In the United States. Both Karen and Richard would later state in a 1980 radio interview that they were often taken advantage of in their dealings with television during the early 70s and wanted more control in the production of future projects. In May 1973, the Carpenters accepted an invitation to perform at the White House for President Richard Nixon and visiting West German Chancellor Willie Brandt. The Carpenters played numerous concerts from 1971 to 1975. By the mid-1970s, extensive touring and lengthy recording sessions had begun to take their toll on the duo and contributed to their professional and personal difficulties during the latter half of the decade. Karen dieted obsessively and developed the disorder anorexia nervosa, which first manifested itself in 1975 when she collapsed during a show in Las Vegas. Exhausted, Karen was forced to cancel concert tours in the Philippines, UK and Japan. Richard has said that he regrets the six- and seven-day work schedules of that period, adding that had he known then what he knows now, he wouldn't have agreed to it. Karen looked noticeably thin although not sickly in the music video produced for the only yesterday single. Richard developed an addiction to Quailudes, which began to affect his performance in the late 1970s and led to the end of the duo's live concert appearances in 1978. Public Image The Carpenters' popularity often confounded critics. With their output focused on ballads and mid-tempo pop, the duo's music was often dismissed by critics as being bland and saccharine. The recording industry, however, bestowed awards on the duo, who won three Grammy Awards during their career, Best New Artist, and Best Pop Performance by a duo, group or chorus, four, they longed to be, close to you in 1970, and Best Pop Performance by a duo or group for their eponymous LP Carpenters in 1971. In 1974, the Carpenters were voted favorite pop-rock band, duo or group at the first annual American Music Awards. Richard would often state in interviews that many critics usually judged them to drink milk, eat apple pie and take showers. In Coleman's The Carpenters, the untold story, Richard stressed repeatedly how much he disliked the on-dem executives for making their image squeaky clean, and the critics for criticizing them for their image rather than their music. In a documentary about The Carpenters, musician and songwriter Paul Williams stated the duo was often labeled as being too vanilla. Williams supported them by saying, �Yes, but what an exquisite flavor vanilla is.� Legacy Karen Carpenter has been called one of the best female vocalists of all time by influential media as diverse as Rolling Stone magazine and National Public Radio, and Paul McCartney called her the best female vocalist ever, saying that she was the best female voice in the world, melodic, tuneful and distinctive. A critical re-evaluation of Carpenters occurred during the 1990s and 200s with the making of several documentaries produced in the United States, Japan and Great Britain, like Close to You, Remembering the Carpenters, United States, The Sayonara, Japan and Only Yesterday, The Carpenters Story, Great Britain. It has been said that Karen's signature vocals help spur more contralto singers into pop music such as Ann Murray, Rita Coolidge and Melissa Manchester. Despite contentions that their sound was too soft to fall under the definition of rock and roll, major campaigns and petitions exist toward inducting Carpenters in the Rock and Roll Hall of Fame. In 1990, the alternative rock band Sonic Youth recorded tunic, song for Karen, which depicted Karen saying goodbye to relatives as she got to play the drums again and meet her new friends Dennis Wilson, Elvis Presley and Janice Joplin. A tribute album, If I Were a Carpenter, by contemporary artists such as Sonic Youth, Betty Serviert, Shonen Knife, Grant Lee Buffalo, Matthew Sweet and the Cranberries, appeared in 1994 and provided an alternative rock interpretation of Carpenters' hits. Several of their songs have achieved the status of popular standards. Superstar has been covered by numerous artists, with popular recordings from Luther Vandross and Ruben Stuttered to Bette Midler, Shonen Knife, Sonic Youth and Colleen Hewitt. Both we've only just begun and, they long to be, close to you have been honored with Grammy Hall of Fame awards for recordings of lasting quality or historical significance. Modern entertainers such as Christina Aguilera, Gwen Stefani, Shania Twain, Jan Arden, Anastasia, The Cores, Mary J. Bleach, Alicia Keys, Chrissy Hind, Gloria Estefan, Laurie Morgan, Leanne Rimes, Michelle Wright, Katie Lang, Kelly Jones of Stereophonics, Christina Perry, Beyoncé, Johnny Borrell of Razorlight, Joe Omira from S-Club, Carney Wilson from Wilson Phillips, Mandy Moore, Michael Jackson and Madonna have listed Karen Carpenter as a huge influence on their careers. Grammy Awards and Nominations Throughout the 1970s, Karen and Richard were nominated numerous times for Grammy Awards. Richard Carpenter was also nominated for a Grammy Award for their instrumental song, Flat Baroque. They won three Grammy Awards, and had two songs inducted into the Grammy Hall of Fame.


Let me introduce myself. I am Awuba Korsidik Angu, developer evangelism program manager at GitLab. And I'm also a Google developers part for cloud, things around scalable infrastructure, and a CNCF ambassador. Lately my interests have been in supply chain security and I've been sharing quite a lot of content around that also. I'm based in the Hague Netherlands. Yeah, just around two, three hours flight from Dublin. But hopefully get to see you to next time. You can always check me up on my website, which is on abuangu.me. Now, today we'll be talking about containers and container runtime. What exactly are containers?  Basically it takes up the whole machine, the whole hardware. That is if you are using a metal server. Now, but things evolve to we have virtualized deployment where you have on your metal hardware, metal server, that's your hardware server, you'll have installed your operating system, then install a hypervisual, it can be VMware or virtual box or KMO or whichever one. And with the hypervisual, you can then create individual virtual machines. Now, these virtual machines are completely isolated from each other, each having its own operating system and the binary is needed for your applications including your application and its runs. This is how most cloud environments work. You can create VMs, you can go on GCP or AWS or any of them, create VMs. These VMs are running on top of a hypervisor that is able to provision those servers almost on request. Now, but things have evolved to we have, yeah, we all know this term of, a, a better application, but it works on my machine. But now, how do we ensure that what works on your machine also works on live environment? Basically, we should just ship your machine. And that is the concept around containers, not that we are going to take your machine and put it online, but the binaries and everything the setup that ensures that the application runs on your system is replicated online and using what we call containers and container on time. Now, the way it works is you have your hardware, you have your operating system installed, then on top of that layer, instead of a hypervisor, you have a container on time. Basically, the job of the container on time is to take the specification that has been set by your application definition, then talk to the operating system to provide the resources that your application needs, to provide the different components that your application would need to run while your application comes with the necessary binary, binary it needs to run and starts running within the environment created for each by the container on time. So basically, your application is not running isolated, your container is not running isolated. It's running alongside other containers, sharing the same resources with the host operating system that is provided. Now, your operating system can even have access to some of the processes or some of the files that have been generated by the containers. And your container can even communicate with one another. So basically, a container is a bundle of your application and all the binaries it needs to run while the container on time ensures that the operating system is able to provide everything that your application needs based on the specification provided. Now, let's go through in the past, the Linux update has been several ways the community has tried to replicate containers. Right from the inception of Linux, there has been ways that, oh, we need to restrict this process or this application to run within a sandbox or within an environment. And there has been different ways to jail processes to certain parts so that there won't be conflict or a process won't tamper with another file or something else that another process needs. And the concepts like CH routes have been coming up, jails have been coming up within the environment right from the early 2000s. And it evolved into C groups where Google introduced, okay, on this server, how do we restrict the amount of RAM, the amount of CPU that a process needs? How do you make sure that a process that is running does not overuse beyond what it needs? So that's where C groups came in, introduced by Google. And more things that were introduced include namespaces. Namespaces involve a group of resources within the Linux operating system. Can be, you can create a set of resources within the Linux operating system that it can be accessed by a process. So, and they can easily be identified that, okay, this process, this is the, maybe host resources or networking resources or any other resources that it needs. And with C groups, you are able to then limit that, okay, this resources that you are consuming, this is the limit you can reach and this is how you can enjoy them. Then there were more advances to using all this growth that have been coming up within the ecosystem like C groups and new spaces. Now applying them to, okay, let's now see, use all this concepts to create containers. That's where it is like the LXC came up. And that is the stage from which Docker became a thing. Now, let's dip down a bit. The concept of CA shoot. Let's add in the image here, we have our root directory on our system, which is the slash. And from there, you have your normal Linux directors like the bean, home, user. Now let's now assume there's a user called me and a folder has been created called test. From this folder, we want to jail a process that is running on a Linux machine to this test folder. And I ensure that any time it tries to access root, instead of taking it to the main root folder, tests, the test directory becomes its root. And all the binaries and files it needs can be referenced from there. So let's say it says slash bean, instead of going to the main slash bean, it stays in its own slash bean, which is actually slash bean slash me slash test slash bean. So this process only gets access to file storage, the file system that has been restricted to it. Now, let's look at it a different way. We have our root folder in yellow, the slash in yellow. Then we have with the regular system files on the file system. From there, we go to home, then we'll go to Joe. But within Joe, we created another slash, another root directory with bean and all the files that regular operating system file. So now if there's a process that has been jailed to the root folder within Joe, any time it tries to access any system resources, it only has access to the one within the Joe home directory. It cannot access the ones outside. This way, a process is unable to tamper with the main operating system or access the files or resources of another process. Now, then another concept that is very crucial to our understanding of containers, its namespaces, there are different resources on your operating system. We have like the PID, which is the process ID. We have network resources. You have users and groups within the system. We have mount point. We have system V and a couple of other things that the system needs like information about the host system, the system's domain name, etc. Now, all these namespaces are different resources, different grouping that can happen within your system. Let's say, for example, we have PID1, PID2, PID3, PID3, PID3, PID3, PID3, PID3, which is the units that starts every process within the system. But we already have a one PID, process ID1. Let's say within your container, within your gel environment, you want to create a new process that will have a PID1. There'll be a conflict with the main system resources. Now, but what if a namespace has been created for your application that wants to run? And everything around process ID, starting from one and so on and so forth, is only limited within that set within that group. The same thing with network resources. Okay, what are the different network resources or users or groups that can be accessed by your process that can be used by a process or mount point? So with namespaces, you are able to create a set of resources that can be accessed like a group of resources that can be accessed referenced and accessed by different resources within your system. Now, another thing is C groups. Now, what C groups brings is setting limits and restrictions. Let's say for example, a process wants to use memory. Hey, it's request for memory and let's say like 10 in the image you can see here, thanks to Julia Eva, she's a very good artist and she check out, she tries to describe a lot of Linux and technology based information in graphical interfaces that you can easily understand. Now, here's an example of them. Let's say a process wants to use 10 gigabyte of memory and the Linux or Pitcher system tells it, oh, I can only give you one gig, it gives it one gig. Then you now have a group of resources, a group of processes, we call them C group. In this group, everyone can then can say, hey, we need resources, but for that C group, you can restrict and say, oh, all three of you can only get 500 MB of memory with set limits. So if for any reason one of the processes now uses a lot of memory, like one gig, it can be queued, OOM, out of memory. And if it is using too much CPU processes, it gets slowed down, its request are no longer prioritized or it's hits by a particular quota. So this way, different components within the system that are grouped together can be limited by how much resources they can consume. This concept is used for containers to say, oh, we have these processes for this particular container. Let's give it this memory, let's give it this CPU and they should not go beyond those resources that has been allocated for it. C groups bring this concept for, container technology. Now, let's now go deep into containers itself. When, from the image here, we are all familiar with Docker. Docker made container cool. Docker made container approachable and usable by everyone, by providing a lot of binaries and other components that users can use. To create containers, oh, you can just Docker image pool, Docker run this, Docker and so on and so forth. And immediately, you can easily create a container. But Docker is doing this by having what we call Docker demon, a Docker engine that is installed on your system that does all the things that you can do that does all the receives requests from you, communicates it to the runtime that is running the container, the Docker engine and tells that tells the operating system, oh, create this container image, do this and do that. Now, one of the, we will have noticed recently the issue in the Kubernetes community where Docker was deprecated from Kubernetes and it became an uproar on Twitter. It's because when Kubernetes was originally developed, Docker was big into it, it was hard-coded into it. But it came to a point that it was adding and they had to introduce a layer within Kubernetes that translates requests and other things from Kubernetes to Docker. And a lot of other organizations started, since it's not only Docker that's available as a container engine, we want to use other container on time that are available out there. It became difficult for Kubernetes to not say, okay, let's allow some of this other container technologies. So that extra layer called Docker shim had to be introduced that then translate all commands and all requests to Kubernetes. So it's one of the reasons why new container technologies and a lot of others that would not be hearing before came up. But if we are looking at what basically happens, when you execute a Docker command in the image here, you will see we have the client tool, which is what talks, what you use, what you call when you are running your Docker command or you need Docker interface. It talks to another tool called container D. And this container D is like the high-level runtime that receives your requests and translates it to tell the low-level runtime, which here we call run C. Which in turn tells the operating system, this is what you need to do. You need to create this container. These are the resources you need to add for it. These are the applications you need to do. Now, from there, your application starts and it runs. So basically container D manages your container, how it's running, how it's executing. But run C at a low level initiates the creation and preparation of the container. Now, Docker made a lot of contribution to the ecosystem. Initially, they decoupled their Docker engine and removed container D and run C and contributed to the community. And this contribution that they made led to collaboration with other entities to now come up with the open container initiative. Now, the open container initiative then created a standard to say, what should a runtime do? What should a container look like? How should they all communicate so that we have a standard across? That way, an application or a service or some orchestration to whatever it is can easily understand any container that is created by any runtime or any clients to. Now, like I was saying in the beginning, Docker was made to be very easy to use by everyone, but it came at a price. Automation became difficult. Several layer of abstraction had to be added before it can be used. So Docker recognized this and that was one of the reasons why they decided to contribute to run C and container D to the community. Now, basically, any runtime that was creating a container can be able to create, start, get the state of it, kill it or delete. And it does all this talking to the container image and the container that is running. This way, with this standard, any container can work the same way, either on a laptop or anywhere. The same standard is maintained. Basically, the OCI is saying this is how a container should be created and this is how it should run and execute. And that standard is maintained across all environment that a container needs to run. Now, there are different types of container runtimes. We have container D, which was open sourced and currently maintained under the CNCF. Then we have the QAIO. Now, container runtime interface. Oh, I can't remember what the O is. This, the Kubernetes community discovered, okay, we need a way to be able to, for the Cubelets component of Kubernetes, to be able to execute container commands with the runtimes in the Kubernetes cluster. Now, okay, let's say a Cubelet has received the specification, deployed this container. It uses QAIO to now say, oh, QAIO created this container for me. QAIO talks to RunC, RunC creates it and deployment happens. Now, there are different types of runtimes from the low level to the high level to those that have specialized functions. Now, if you check the CNCF landscape, you get information about different types of containers that are out there, but we'll be looking at a few of them. At a high level, the most common one that you have is container D. Now, from the images we've seen previously, we see that your clients too, which can be anyone, but in this case, Docker speaks to container D. Oh, I need this container to run. This is my image. Then container D sends it to the low level. The same thing with QAIO, the same thing with Docker and Podman. There are different reasons why some of this were created. Docker engine was like the most popular one before container D. Now, Podman was introduced because most of the others require root level access to be able to create those containers. Now, Podman, because it's only a Podmanager, it only runs at the high level, making requests to the low level container runtime. It doesn't require privileged access. Now, also, at the higher level, the higher level container runtimes are also called container managers because their work mainly is to, oh, you're creating, you're starting, you're stopping, and so on and so forth. Now, at the lower level, we have Run C. Run C is like the standard. Now, it's like the main low level container runtime that most other applications use the program. There are others like RKT and so on, but a lot of the other low level runtimes have been deprecated or no longer maintained. Now, container run C is like the main one that container D and Docker are based on. So let's say you execute a Docker command from Docker itself. Docker talks to container D, container D passes its run C at the lower level. You can even use run C directly, but it's too low level for most use cases, except if you are using a container manager to communicate with run C. When container D says, oh, I need a container, here is the specification. Run C takes it, creates the container and stops and passes the rest of the functionality to container D to continue execution. Now, another type of container that we have is sandbox container runtimes. For the containers created by run C and the low level container runtimes, like we saw from the beginning. Where your containers are not completely isolated. They are just a group of processes that are running to solve a particular task, but sharing the same system resources. And oftentimes there are resources, that's why if I did a jail and they are within namespaces, their resources can, they can share resources and depending on the level of, on what the application inside these containers are doing, they can actually access or affect the host operating system or affect other containers. So there are other solutions that provide an extra layer of protection or like isolation to ensure that applications don't go beyond where they are supposed to work or affect host operating system. This comes in various formats like the device or I think it was introduced by Google and it's only way it works is it creates like a proxy to the canal to ensure that your request and your to create to the request by the runtime to create resources. And all these calls it makes to the canal and send directly it passes through the device or proxy, which talks to the canal that way there's an added layer of security before things hit the canal without escalating issues. Then we have firecracker, which has which create uses came to create like a virtual environment is sandbox environment for your container to run. Then Qatar, basically uses virtual machines, virtual machines are created for your containers. That way, there's complete isolation of your container. There's no way some of the activities it does impact the host operating system or other containers. Now, there are two major use cases for using container runtimes. The first one is built for build systems. As a developer, you want to be able to run your applications, build your setup, create builds for your application or create standard environment stats. Anyone within a company, let's say for example, can easily kickstart a project or start working on a project because they already have a container that contains everything they need. So an major runtime requirements here is to okay, you need a runtime to build your images, you need a runtime to run it and you need maybe a tool or runtime to distribute the images. Then the second use case is container orchestration. These are where, okay, after in some situations, your container might not need some serious orchestration. Basically, it wants maybe your use case is just run your container within your cluster, provide the necessary port forwarding for it. And your application runs maybe on port 80 or port 8080, just a single container or a couple of containers and you are fine. You don't need a lot of scalability. If you need skill, you need a way to be able to create your container images. Pass it to an orchestrator, for example, Kubernetes, and it takes that image, deploys it as a container on the port and it runs. Now, one of the major requirement of container runtimes for the for chest crystals are basically to be able to get images and run your application. The image is not necessarily a function of container orchestrators don't need to create images images will have already been created past to it, and it runs the images. Now, for build systems. This image is not too small. There are the main way that almost everyone is familiar is basically buying by using Docker. Oh, my stylus isn't working. No problem. Now, you run your Docker run image, which is Docker CLI in the left side of this image is the Docker CLI. Now, once you talk to the Docker CLI, which is the client to Docker CLI will then talk to Docker engine. And that Docker engine talks to continuity. Container D then executes, prepares the instruction and passes it to run C and run C talks to the Linux channel. But this is for Docker and Docker comes with a whole suite of tools, the Docker binary comes with the whole switch to put the client, the Docker engine to build the containers it is here and before it talks to container D. But if you are not using Docker or probably due to licensing issues or due to company policies, you need other tools, especially that are open source to be able to create your containers and we have for you for images, talking to image registry publishing to them or pulling from them, we have scope you with scope you can communicate and interact with container registries. Then we have pod man, which is a container manager, you can use it to create containers, you've pulled your image. Now you want to create containers you want to check pods. You want to do ex ex ex is seen to them and so on and so forth. Then if you want to build images, we have builder with builder you can build container images. Let me try that. Oh, it's not working. Awesome. Okay, we have builder and builder here. Build that builds basically builds your images, but pod man is the one that talks with run see build out can build your image scope you can publish it to an image registry, but pod man pulls the image and passes it to run see to communicate with the most kind of. So if you mostly your choice is the way, why do we have different tools for different things. It's basically using the Unix philosophy, doing one thing and doing it well. So instead of a bundle solutions doing a lot of things like the way doc adders. The, oh my my stylus. Okay. The next thing is, but when it comes to container illustration, we looked at, let me use my keyboard, we looked at on the build system. You can use all of this, but on the orchestration side in a Kubernetes cluster will see here that normally if you use Docker, when Docker was being used, it communicates with container D, Docker D, which talks to container D and runs it with run see to create the containers, but Kubernetes has created with Kubernetes is having container runtime interfaces or runtime interfaces are those runtimes that handles the communication between like, like a standard that handles communication between the Kubelet and the runtime environment run see so Kubelet can use container D to talk to run see or use create I create to talk to run see that that way there's no restriction or a specific lock in for a particular Docker clients that needs to be used or runtime that needs to be used, unlike before, where Docker was built into Kubernetes. So now, you as an individual can decide, oh, I need performance speed and so on I want to be able to talk to run see directly.  And you require a container manager, podman does it for you, and podman communicates with container D in your system which in turn talks to run see to build your images. Now, alternatively, if you have to use Docker or you can still use Docker, it's available though there are restrictions on what you can do depending on the size of your company, you can always use Docker but one using Docker is not the alternative, you can use podman with scopio and builder, but on the content restriction side, you can decide to run. Oh, I'm using kiblet with container D or I'm using create create on the record, Kubernetes documentation, you can have several documentation on how you can set this up. Now, if your requirement requires more sandboxing or more restrictions around security on the continent, which is creation, you can use device or use cutter in Kubernetes you can create a runtime class. And specify device device so so that anytime kiblet is deploying containers into a pod, it ensures that they are using device or instead of run see to deploy your applications on Kubernetes. So that's the end of this session. I hope you've learned it, you know, to on different container on times that we have, and how you can make a good choice in which one to use for your project or for your deployments. I'll be available for questions and looking forward to hear from you. You can follow me on Twitter at 30k247 or check out my website abangub.me. Talk to you soon.


How do you make a film that teaches people about science? I think it's an important question, and I think it's a timely question. Given that, well, video is exploding everywhere on the internet, and there are new initiatives popping up, like Ted Ed. Now, this question, how do you make a film that effectively teaches someone something about science? That was the topic of my PhD. So I'd like to tell you what I found out. I went to the University of Sydney, and I took all the first-year physics students, and I tried to teach them about the basic laws of motion, Newton's first and second laws. So I sent them away to their homes, and I asked them to go online and sit a 26-question multiple-choice test. Here's a sample question, just so you get a feel for what I was asking them. Imagine a basketball player shooting from the free throw line. After he releases the ball, the forces on the ball are A, upwards and constant, B, upwards and decreasing, C, downwards and constant, D, downwards and decreasing, or E, tangent to the path of the ball. I want you to take a minute and think about what you would answer, and think about what you think other people might answer. Then we would get the students to rate their confidence in their answers. How confident are you that this is correct? I should mention that that is not the exact Likert scale that I gave them, but it's, you know, that's the idea across. Then I would randomly assign these students to watch one of several videos about Newton's first and second laws. They lasted about eight to ten minutes. So in a standard exposition video, I would say something like this to them. We would state Newton's laws, and then we would apply it to a real-world example, like a juggler. I can't juggle, so I've got one ball. Anyway, so we would say something like, while the ball is in the air, there's only one force acting on it throughout its flight. It's the force of gravity, it's constant, and it's downwards. We'd actually animate a little arrow on the ball as it goes up and down in slow motion. Okay, so obviously the answer was C, whereas most people usually pick B to that question. Okay, so after watching this video, the students would sit the exact same 26-question test. I wanted to see had they changed their minds about any of those questions. And I also interviewed a couple students to see what did they think about the video. Did they like it? Did they think that they learned something from it? And here's what they told me. Well, they said, Derek, that was a great video. It was clear. These are the most common things they said. It was clear, it was concise, it was easy to understand. Good. And then I looked at their confidence scores. How did that change on average? Well, on average, it improved by about a point. Okay, everything's looking good. But how much did they learn? Well, on the pre-test, they scored six out of 26. And I can tell you there were basically direct answers to at least 14 of those questions. But how much did they pick up? The average on the post-test was 6.3. What happened? They thought they learned, but their scores didn't change. Well, one of the students told me in the video it said, the ball is slowly decreasing in force. They thought there was some upward force in the ball and they thought that was presented to them. I couldn't even correctly remember what was presented five minutes earlier. And I had sat in the room with them and they watched the video. The thing is, in science, students don't know nothing about what we're trying to teach them. They actually know lots of things through their interaction with the world. It just turns out that these things are wrong, scientifically speaking. So when you present something, the student thinks they already know it and they don't really pay up most attention. They don't realize that what's being presented differs from their prior knowledge and they just get more confident in those things that they were thinking beforehand. So actually, a clear expository summary is worse than no instruction at all. I mean that very seriously. So how do you get students to engage? Well, I tried a different approach. I put two people in a video and I got one to voice the common misconceptions. And then the tutor would kind of indicate, okay, that's not quite right, and they would work it out through a social dialogue. But I mean, we would even animate the misconception on the ball without telling anyone it was a misconception. So I had to work that out through the social interaction. So this was the very same setting that the other students watched the exposition video. What did the dialogue students say? Well, no one told me that it was clear. No one told me it was concise. No one said it was easy to understand. In fact, most of the time, they told me it was confusing. Man, maybe this backfired. So how do they go on the post-test? Well, their scores nearly doubled to 11 out of 26. Okay, it's not 26 out of 26, but it's a start. And what was the difference? Well, after the video, I asked students to rate their mental effort. How much mental effort did you expend while watching that video? And the students who watched the dialogue invested significantly more mental effort in engaging with that presentation than students who saw only an expository summary. So to me, there's a really important message there. Depending on how you present, you can change how your audience watches and thereby how much they learn. And I'm now applying this. I've got a YouTube channel. It's called Veritasium. And I've made nearly 100 films, which have been seen over 4.5 million times throughout the world. And you know, you always have to start with the misconceptions. Thank you.