I am clearly sacrificing all of my principles by merely doing such a video, but I am going to do a Reacts video to a video. That's less than a minute. I know it's a troll I know it's a joke, but I feel like I got to bring it up. I don't know why I'm doing this Yes, I know reacting is cringe zoomer tier. I know it's consumed product here I just feel like I got to do it. Okay, it's relevant. We'll make it a learning moment Okay, for those of you who are new to the channel This might be like I don't know Greek or something like that, but I feel like we need to talk about this I don't even remember why I looked up distro tube. This is another this is a channel. He does like Technology stuff. I mean, I've known him. We did a string together several years ago He actually was my first super chat way back in the day. Okay. In fact now his channel is almost as big as mine now Okay, so congratulations on success, but I just want to say I Know this is a joke. I know that I'm gonna watch this video What whatever we're just gonna look at it. Okay, we're just gonna look at it and well, you're gonna look at it I'm probably gonna have to hide my face. Okay. I just wanted to make one of these shorts videos about You guys that do shell scripting when you guys please stop using slash bin slash sh and the shebang of your shell scripts It makes no sense one thing sh is not a real show I think a lot of people think sh is actually a real show the real language That's not what slash bin slash sh is it's simply a similar to whatever your user's default shell is on the system And if it's a non-posits compliant shell, that's the default shell such as in my case fish It's not going to be able to run.    Okay, let's actually pull up a script Okay, let's let's look at it doesn't actually matter. Let's just open some script When you put up here been sh that says run this program with the pro or run this script with the program been sh Okay, and if you look up what been sh is on your computer You might get different things actually in my case as I just ran it I get this program called dash on your computer. You might get bash someone else's computer They might have zsh.  They might have fish.  He's correct to say yes It is not one single program, but it is part of the POSIX operating so the UNIX operating system In the sense that there is a standard of what kind of programs can be been sh that is when you write a shell script Shell scripts, of course have a set syntax You're not gonna write Python in a file that you write you have been sh at the top okay, you're gonna write a shell script right and When you put been sh at the top that says this is a shell script. Okay, that's it. That's all that means Okay, now you can do things like he said you could I could actually replace that with this with user been in bash Or you could just say you been bash or whatever like that You could do that and what that would mean is run this program as bash bash Can run any kind of shell script bash any kind of shell script Whether you have your default shell is bash or anything else bash will be able to run it. Okay, that's that's how it works bash is a super set of the POSIX standard So you have the POSIX standard of all the things the shell is supposed to have the program I have dash it's it has it adds on a couple little things But it's still very minimal and actually very fast the reason I use it is it's a lot faster than bash If I have system scripts running with this And then bash is something much bigger It adds on even more features and some of them make it easier to use and write in the command line But it is a little bit slower But it still is compatible any script that I write for in shell script shell syntax bash can read Dash can read ZSH even bigger than bash. It still can read any kind of shell scripting whatsoever. Okay Any of that syntax is all like when you put been SH you just say I don't care what the program is I don't care if it's dash bash in a ZSH or some other kind of shell Just as long as it is a shell it will be able to run the script. So what what about this program? He mentions called fish Fish I've done a video on it I actually sort of regret doing a video on it because I think it brought more people to use it Fish is called the friendly interactive shell, but here's the deal. It is not a real shell at all It's not a real shell. I mean it's a shell in the sense that it's a user interface thingy But it is not compliant what you know while bash add stuff on fish add stuff on and it also takes things away So there are a lot of things in this script. I don't know exactly I don't keep up with fish syntax because it's actually always changing But there fish cannot run these scripts at all. Okay, now you might say I think I said a second ago Oh, well if you are under the illusion that it is supposed to or that you're supposed to set your been SH as fish You're gonna be in a lot of trouble.  It does different things now the reason people use fish There you know, it's called friendly interactive is because fish adds these pretty features, you know, they have syntax highlighting I mean, I have syntax highlighting and stuff on my shell as you can see I I'm using ZSH. That is the interactive shell that I use And you can add anything fish has you can add the ZSH and it's ZSH is much more minimal Unless they're using oh my ZSH, which is another stupid. Maybe I should do that rant somewhere else But anyway What I'm trying to say is that fish and I know I know he's kidding. I know he has to be kidding actually I don't know this actually came up I had to look for these comments a million years ago someone said something I was complaining about snaps and flat packs and stuff like that and why I hate them and Someone posted on my channel district district who said if he would make a distro the district would be 100% app image based and I checked that video and in that video He also said so it was like what what would I do if I design my own? Linux distro and he said something like that and he also said that fish would be the default shell that is so I I know that he's kidding. So that's how I replied and I don't know I don't even know what's a real and fake. I don't know anymore But yeah fish is not a shell. Don't use it as a shell. Don't set it as your default shell if you want to use it I mean don't use ZSH and add in the if you want the you know Pretty syntax highlighting just added into ZSH, which is a real shell that can run all of this kind of stuff but fish is not It's not a shell. I mean it's it's not a POSIX compliant shell and for him to complain about it Hypothetically if he were not kidding, which I know that he is not not kidding But yeah, this is pretty much what everyone says Yeah Been SH should be a POSIX compliant shell. Yes. Duh, that's the point. Anyway, I Maybe someone has learned something from this video. I just felt like I needed to react to that. I don't know that I know It's I know it's a joke. I know it's a joke.  Don't use it use ZSH if you want something pretty if you want to brag to people on the internet use Use dash as your shell in the background as your bin SH and your interactive shell use MK SH That's like the oh, I'm really elite, but yeah, I have dash I think I've mentioned before the reason I have dash.  Dash bin SH This is a little program you can install if your arch or artyx Linux user it reroutes bin SH to dash The reason this is a separate program is because of post install hooks that if you update bash it'll overwrite it anyway The reason I have this installed is just to make all my bin SH scripts run faster And if I were to do what he recommended and stupidly rewrite all of my POSIX compliant shell scripts with bash All of them would have to be run in bash on my computer Meaning that it would be running like four times as slow people always say that bash is four times as fast as bash Or dash is four times as fast as bad Videos over


Hello everyone, I am Dr. Kshama Turan Karusoshi and I am a practicing consultant radiologist and fetal medicine specialist at Manipal Hospital, Kharadi, Pune. So do you all know that approximately 830 women cry every day due to complications related to pregnancy or childbirth. So with an objective to reduce maternal and fetal mortality, Safe Motherhood Day is observed in the month of April. So what are the six pillars of Safe Motherhood? The first and foremost is family planning followed by anti-natal, obstetric care, post-natal care, post-abortal care and prevention of STDs that is sexually transmitted diseases. Here I am going to talk to you about the imaging preventable aspects of Safe Motherhood. So Safe Motherhood practice doesn't only start with conception, it starts well before conception. So before conceiving, when a couple is deciding to go ahead having a pregnancy, the first and foremost thing is one should undergo one basic screening ultrasound of abnormal. Why is that important? Because at least we will have one baseline scan where we get to know about any pre-existing conditions like any gallbladder stones, any kidney stones, any structural abnormality in your reproductive organs like the uterus, ovaries or fallopian tubes. Why is that important? Because later in pregnancy, if you happen to have any pain in your abdomen and if we know that we have a report to fall back on, yes this patient was at high risk of developing maybe a ureteric colic, that is a stone coming down or any fibroid in the uterus which may grow later in pregnancy or any gallbladder stone. So at least we will have something to fall back on and correlate things better and ensure a Safe Motherhood practice. Similarly one should also undergo one basic sonomammography which is ultrasound of the breast. Why is that important? Again to rule out any presence of pre-existing breast lumps or masses, specially some conditions like the fibroidinobus which are benign breast lumps they are known to grow in pregnancy. So if we have something to fall back on when we know the baseline measurement of that lesion, we can code a little bit better that whether this is growing in size or undergoing any dangerous change which of course later will ensure Safe Motherhood later. Now let us talk about after conception. So after conception there are few scans which are very important, cannot be missed. The first and foremost scan is the dating scan. In this scan you get to know whether your pregnancy is in the uterus or elsewhere. It should be in the uterus, we rule out ectopic pregnancies in this scan and we do dating so that we know how to monitor this pregnancy throughout the 9 months. This scan is very important because later on it avoids any confusion regarding the dating of the pregnancy. Second scan is an empty scan which is done around 11th to 14th week. This is very important scan where we get to rule out basic abnormalities in the fetus and we get to know about the blood flow to the uterus. This is the earliest one can predict your likelihood of developing preeclampsia which is a condition where you develop high blood pressure later in pregnancy or there is a risk of developing fetal growth restriction later. So detecting this at an early stage can help us start your medications like EcoSprint which later on will ensure an eventful Safe Motherhood and uncomplicated pregnancy. The other scans which follow are later the anomaly scan where of course you rule out most of the structural abnormalities but not everything can be ruled out at that stage because some anomalies are evolving anomalies. So we later conduct growth scans where we not only look for evolving anomalies but also monitor the fetus' growth, the fluid around the fetus and other parameters. So these basic scans in pregnancy at least the dating scan, empty scan, anomaly scan and followed by growth scan as and when required are must to be practiced throughout the pregnancy to ensure Safe Motherhood. So with this I would like to conclude by saying that only following these basic guidelines getting a basic screening imaging test done one can help us identify patients at risk of having any complications later in pregnancy which can be addressed much in advance and we can be more vigilant about such patients thus ensuring Safe Motherhood reducing, unital and maternal mortality. Thank you.


As you said, I'm Jen Hadley, worked with Wisconsin Public Television for a long time. And I started off in print design. And one of the things that I learned in my transition from print to broadcast is that the limitations of the technology required a whole new way of thinking about working with type. And I'd like to go over some of those technological challenges. Manel explained some of them to you. Well, the printers aren't allowed the use of fine detail. Like these early engravings. But our television tools are so crude and clumsy by comparison. Because unless the lettering of the designers kept simple and bold, they may not be clear to our viewer. I love the cold, chill wind that he's so expressive. Anyway, so let's go back and look at those challenges and look at the history and see how we got from this to this to this. We're going to discuss some of the standard graphics that we use in television, titles, full screens, lower thirds, some of you might call them kairans or soups, and credits. The way that images were created in the 30s and 40s was by making something tactile. You could do that by hand lettering. You could purchase plaster letters that you could then affix to a board and light them, maybe move the light around so that you would get a sense of movement and depth. You could do type setting, printing, hot press type was very common, but no matter how you made the graphics, it had to be shot with a camera to get to air. So if you hand lettered, maybe you would then put it on board, put it on a copy stand, and shoot it with a camera. Or maybe you would take your hand lettered title card. You might shoot a slide of it. Make a glass slide, and then we would put it into a special little machine, shine a light behind it, put in a little wee camera, and the engineer could take that directly to put it to air. So let's see some examples of results that they would get with these sorts of methods. Stand by for the opening night of the National Television Service. Hello there, and good evening, ladies and gentlemen, and children. This is a CBS News special report. The Search in Mississippi, with CBS News correspondent Walter Cronkite. Good evening, ladies and gentlemen. Tonight's special features, the Coming Buyer's Market in Automobile. And this last one has no audio, but I loved the typeface and the title in particular, so I wanted to share it with you. So you saw a bunch of examples there, and they were all created with what we call in the industry TV magic, which is basically craftsmanship, creativity with whatever tools you have available. Those are the tools that they had then. And I'd like to show one of the tools you saw there was superimposition. This is an example of superimposition. That is me and my siblings. And the way that a superimposition would be created is you would take two cameras, one of which would be pointing at the talent, one of which would be pointing at your title card, and superimpose one over the other. And you can see some of the challenges that you end up with. The video gets darker, and the font is not particularly legible because it is by necessity transparent. So these were called superimpositions shortened as soups. And let's see some examples of how superimpositions can be used to make TV magic. Be sure to make that German R good and strong. Now I'll say the word first, then leave a little pause in which you are to say the word, and then I'll say it once more and leave a little pause for you to repeat it again. Let's do that real quick. Margarine, Margarine. I do that too. That's right. The shapes of Texas, Alaska, and West Virginia have one geographic feature in common. A strip of land projecting from the main body shaped hand handle is right. And Regis finishes with a total of 70 points. Five more to go over the top. Four more to go over the top at 269. The 501 figure, the last one we have, it's now about 10 minutes old. It puts them out pretty fast. And I have to show one more example from the German lessons. They're so great. Let's do that drill. Guten Morgen. Guten Morgen. Guten Morgen. Guten Morgen. This made me so happy. All right, so another TV magic solution that you saw in some of the title examples was incorporating the physical title into the opening shots. This is a title of a program that was done by my boss when I first got into the business, Sufei. She designed this title as a stone that was going to be carried around the country and put in different locations and shot as part of openings. And I remember her telling me that she wasn't really sure how she was going to like the light falling on it. So they did two versions, one where the title was engraved into the stone, and another one where it was kind of embossed up out of it. And that made me think, wow, Photoshop is a great thing. So this rock was under my intern desk when I first started. I thought it was made out of styrofoam until I kicked it accidentally, and it fell on my foot. So it now lives in Su's back garden where it can't do anybody any harm. So a little more TV magic. Full screen graphics, like you see in the news, pull results, maps, things like that. They had to find ways to make those, make them efficiently. And this is a technique that was used. It was called a pull away. And I just love this technique because of the craft that had to go into it. They had a department that would illustrate these maps, and it was kind of like a pop-up book where you could pull a little window open and reveal some text. The building and the quipping of statewide network is estimated at $3,494,600. That's pretty close to $3.5 million. And $3.5 million is the approximate population of Wisconsin, number of people who would be served by the network. So you can see how the skill and the craftsmanship and having to be hands-on on all this was so important. Credit, something that we do all the time. It was a little trickier back then. You either had to get a couple different ways to do it. In this particular method, you would hand letter or typeset or hot press a long vertical board. You would set it down on a table and then mount a camera looking straight down on it. And then you would slowly pull the long font past that camera. State radio council includes the governor of Wisconsin or his representative, the president of the university or his representative, the state superintendent of public instruction, the secretary of the regents of the state colleges. Another way you could do it is you could take that type and instead of putting it on a flat board, you could put it on a scroll. And that scroll could go into a special machine that could either be hand cranked to roll the text from one side to the other, or some of them had an electric motor. Here's an image of an original machine. And it has that little window in there so that the camera could frame right up on it. This is another technique that was used, both to do credits, opening titles, and full screen graphics. What kind of programs would this service offer us? What would it cost us to build and operate the network? And how would it be administered? Frame up, frame up. The experience. Got it. OK. Just something you still hear in control rooms all the time. Frame up. So, and this last one is a great example from the BBC. I'm guessing 1930s, maybe early 1940s, where they used that roll concept and superimposition to make some TV magic. And apologies for the really poor video quality. So I'll bet with what you've just seen before, you can tell. You can see the tools that they used to make that happen, which is pretty amazing to me. So some of the challenges that we've just looked at, some of the tools they had, let's look at some of the challenges that they were facing to getting quality type on screen. I think you could see how the skill of the craftsmen and the videographers made a difference. Let's look at what they were up against. One of the first challenges was interlacing. And if you were dealing with film, you had a series of slides one after the other, but that's not the way that television works. Television displays the information in scan lines. So when your television was drawing something on, these lines, much more quickly than this, 60 times a second, were reading across your screen. And this is slow down into version, of course. But you can see how that could be a problem for if you had thick and thin lines. Those lines are only showing half the screen at any one time. It helps with the amount of data that you have to get through the broadcast.  Another issue that we had is halation, which is also known as glow or light spill. And basically the problem with that is that home viewers are looking at images made out of light.  I'm looking at bright lights right now, they're glowing. And if you think of looking at a light bulb, it's not the shape of the light bulb. It glows out beyond that. If you take a look at the cross lines over here, you can watch them glowing. And you see the interesting effect that where the two lines meet, the glow is broader. And that's the same thing that happens to text on screen. And you can see some of the examples here of halation and interlacing together and how it can affect how well you can interpret the letter forms. If you combine halation with its cousin Fade, you have even more challenges. If you take a look at the top line New Hampshire, you'll see how it's uneven along the top. And if you look at the X in the middle of Nixon, you'll see that it's bright in the middle and then disappears at the end. That's because where the light is coming through, where it gets skinnier, where there's less light coming through, especially since those interlacing lines are turning those little things on and off, our eyes just don't see it. And so the letter forms become uneven. And lastly, a problem that you couldn't solve no matter how good your design was, no matter how good your broadcasting equipment was. Home television sets are all different. They're all of different quality. So you have the problem of the sets were curved. So any font that you had on screen was necessarily going to have some distortion to it. Plus those home sets, as you can see in the example on the far right, that part at the edge would get cut off. In the center, what we have is an example of a safe title. And the rule was if you wanted to make sure that something was going to be legible on screen, it had to go in safe title, which was only about 60% of the screen. So if you're looking at legibility, you want big, thick letters. If you want to get lots of letters on there, well, good luck, because you've only got 60% of the screen to do it in. So if we take this period of time when all these major networks were becoming a force and they were starting to compete with each other, we're looking at the late 1940s, the early 1950s. We're looking at a situation where competition was creating the need for people to be able to compete for eyes. And at the same time, it was a golden age for Hollywood. They were doing the same thing. They knew you all had TVs in your homes. They needed to get you in there. And so these famous show titles by Saul Bath helped to brand and create excitement. And television wanted to do the same thing. We also found that it was a golden time for graphic designers. Post World War II art schools began to focus on applied arts. And there was a new generation of professional graphic designers who were available to the television industry. Add on top of that, sales of televisions were booming. So you had a situation where all these elements combined to create a market for professionalism in television design. So this is Rudy Bass, No Relation to Saul Bass. And it's a self-portrait he painted. And he was the first director for graphic arts at CBS in the mid-1950s. He was also the first broadcast designer that I could find who really began to analyze the technological challenges to good typography that we've discussed. Previous designers understood the limitations and they did their best to design around them, but Rudy took it further. The first thing he did was to design a font called CBS 36. And his goal was to create a font that was professionally and clean, but still had presence and had a consistent line weight and dealt properly with light bleed. So he began with News Gothic Bold and then he adapted it. As we saw in the previous example, where two lines come together, the light bleed multiplies and Bass's solution was this. Bass took those corners and he made tiny punch holes in the letter forms. And by doing this, he balanced the amount of light that would come through. And he fooled our eyes into seeing a consistent line. And these little holes are called light traps. And those of you who are in print design may be familiar with this, with the concept of ink traps. This is Retina by Tobias Fair-Jones and it was designed to be used at a 5.5 point size on newsprint. And the strange letter forms are meant to be filled up with ink. They are ink traps and Rudy Bass modified that concept to control light. If you look at the example on the left, the comp font, you can see, this is what it looked like before it was broadcast.  On the right is what it looked like after it was broadcast. And it would smooth it out and create even glow. This concept ended up being used at other stations as well. This is NBC's version on the right. Unfortunately, I couldn't find the designer's name. This result certainly looks more sophisticated in this use, but I haven't found an example of it being broadcast. So I can't say if it worked as well as the CBS version. So back to Rudy Bass.  It is the 1968 election and CBS was looking to cover the Democratic and Republican National Conventions. And he had to find a way to superimpose possibly up to 4,000 names. He did not want to have to make those all by hand. Rudy wanted to be able to generate an electronic font for use in television, something that wouldn't need to be composed by hand on board and shot with a camera. He knew that at train stations and at airports, the arrival and departure boards used a machine called a Vidiac to display information. But it was all monospaced and they're based on maestrical structures. And as we've seen, Rudy Bass was concerned about typography. So Rudy wanted to be able to use proportional width spacing and he partnered with Stanley Barron from CBS's television engineering department to discuss how it could be done. And since Stanley Barron was an engineer and not an artist, he didn't have a self-portrait. I didn't find any image of him, but this is Barron Stanley. Not sure where he came from, but that's, so we do. Engineers don't paint self-portraits. That's what we got. Working together, they created the Vidafont machine. And this was the first character generator for broadcast television. They also created CND 36, which CND stood for CBS News Division. Bass's custom-designed electronic font for use on the Vidafont. And the result was so successful that CBS sold the Vidafont to many different stations. And memory issues were still a big problem. You could only use one or two fonts at a time, but all of a sudden stations had this new way to get text on screen. And new stations in particular saw this as a great way to expand their service. Lots of other companies jumped on board to create character generators. The Dubner, the Chiron that I mentioned earlier, even 3M had a character generator. What we did not have was designers who were trained on computers who knew how to use them. I think it shows. This is CBS. Coming tonight from the news center, Houston police are still looking for that escaped suspect being questioned about the arson murder of... Just so lovely. So, designers in all fields were still working with spec type and T-squares and X-Acto knives and paste-up boards. And suddenly, designing type for television meant sitting down with your engineer. And finding out what your character generator could do. And today's sophisticated character generators provide clear, legible characters, letters and options such as multiple fonts and variable height and width characters, built in colorizing, automatic centering of words and lines flashing and a memory to store hundreds of pages of graphics. Designed like a typewriter, character generators are easy to operate and of great value when added to the editing system. The amount of type styles, effects and pages of memory are proportionate to the price of course. This was, that was not a joke. That was from like a promotional video for... Anyway, just because you can doesn't mean you should. So, it was a fluke that I fell into broadcast design. I, you know, from print design, it just happened. But I had a benefit that I was natively trained to design on computers. So at least when I came to my first Chiron Max, I was not completely unaware of what I was doing. But the interface was terrible. Everything about it just screamed engineer. In fact, our chief engineer gave me some design advice. He said, do that. He said, he had determined this was the most legible font. This was the best way to do it. And we've moved forward since then. A few years later, we got a new Chiron. And this is the sort of thing that you would see in the 80s and 90s. You can see there's a lot more finesse to the letters, to your options. But broadcast quality still was a problem. It was still causing halation and interlacing. And the set quality still told us what would be legible to the viewer. Between 2000 and 2010, most countries switched to digital broadcasting and high definition signals. And this greatly reduced or eliminated almost all of these problems. We are now at a point where we have the technology to create live graphics that would have been unimaginable 20 years ago. Home television monitors can display HD digital quality images that allow designers much more freedom. And most importantly, we have designers who have the computer skills to work directly with the tools. And once again, elevate television design to the next level. So these are from a Chiron, same machine that I was working on all those years ago. So our next step is augmented reality typography. This is from a video from a company called VisRT. They also create a character generator. And these sorts of special effects have been seen in post-production for a long time. But the amazing thing about what you're gonna see is that these are live graphics. These are graphics that respond to where the camera is. These are graphics that can be updated on the fly as new information is coming in. Thank you for walking through this history with me. I hope you enjoyed learning about this as much as I did. I wanna give a quick thank you to my mentors, Sue Fay and Lisa Curran. Sue came from the design world and fell into broadcast. Lisa started with as a videographer and the production side. And this history of the engineering and the design coming together, put them both in the same office together where I got to learn from both of them. So thank you very much for your time. Oh, and I have PBS Nerd stickers available for anybody who wants them afterwards.