Why use a target camera for load development? Longshot LR-3 & 243 Win Telekinesis Rifle

Why use a target camera for load development? Longshot LR-3 & 243 Win Telekinesis Rifle


Howdy, guys and gals! Welcome back to
the Social Regressive where we’re taking a look at telekinesis; first
rounds through the rifle. just about an hour ago I put the first rounds through
it so I could do my break-in I just got some factory ammo and got all the little
burrs out of there lapped up the barrel and so it should be good to go and we’re
gonna do some Satterlee tests now behind me here we have 105 grain Hornady boat
tail hollow points and then here we have some 87 s and some eighty seven grain
VMAX these are all with reloader 16 and these should all be very precise the
quick load recipe was looking very good on here and as you may have seen in the
past with 65 Creedmoor reloader 16 is great for these medium cartridges
especially some of these that have a little bit lighter weight projectiles
now these are heavy for caliber but still you know smaller than 308 this is
the target vision target camera so we have our unit right up close here this
is the one that is our little Wi-Fi router going back to the tablet all of
it comes inside this neat case but then way down range we have the the camera
unit and that one is very high resolution I’ll show you here in a
second on the tablet all this comes in one kit there are a couple different
levels this one is the long-range version that can get out past a mile
they actually have a two mile guarantee on this and of course we will be testing
that eventually maybe not with this rifle but with that 65 Creedmoor again it is really bright out here I’ll do my
best to show you the interface though I gotta get you inside the car here
alright so here’s the group that I just shot and this is the way that the
interface looks when you’re actually in here now first off if you want to take a
still shot of this target so you want to be able to just grab it
it’s that center button right there that’ll allow you to save a screenshot
now one thing to keep in mind is that it’s going to take a screenshot based on
whatever zoom you’re at so if you take this screenshot you’re not going to have
all this data this is actually quite large I’ll put an annotation of the
actual dimensions you can get the pixel dimensions because this is a very sharp
camera and I think this is one of the things that really sets it apart from
all the others out there this is very high resolution as you can see these
little six millimeter holes in here are showing up nicely now if we wanted to
mark some of these shots that we could keep track of them which is a big deal
for me in a Satterlee load work up then what I
could do is I could just zoom in on these and then start clicking them one
two three four if I make a mistake I can just press that to back up try it again
see I can start marking all these up so I can know which ones this is very
important for Satterlee because those those hits can actually kind of move
around here in ways that you don’t really expect they can actually start
coming down and then come back up it really gets into some weird harmonics if
you want to hide these shot markers all you have to do is hit the eyeball right
there they go away hit it again and they come back and all of this can be
controlled right up here you can choose your marker color marker size now right
here if you click new session this will allow you to save everything that you do
so all of your screen shots will be kind of saved inside here and you can keep
all of your data one thing to keep in mind is that that shot marker is not
saved in any way unless you take that screen shot and then you can see it in
the picture we’re going to interpret the data while
it’s still fresh but before we do that I wanted to take a close look at some of
the gear that we used out there this longshot lr3 is such an amazing little
piece of gear for just for this kind of work where you can’t necessarily see
your holes and we’ll talk about that but first also I wanted to show off
some of the things that I configured here on the the telekinesis rifle again
this is a savage 12 F V and 243 and the big thing that we’re really testing here
is that preferred barrel this is from preferred barrel blanks beautifully cut
it’s a 3r rifle and it’s a one-in-eight twist 243 Winchester it’s not you know
anything really fancy you like 243 ai or anything I just really love 243
Winchester it’s a wonderful cartridge and what we have sitting up on top here
this is the Bushnell match Pro scope I still think that this is not yet
available for sale I’ve been doing some kind of pre testing on this and I am
blown away by it this takes pretty much all the tricks
that you can get from a Bushnell scope and then compiles them all into this one
6 to 24 by 50 package so this absorbs a lot of light it has just a ton of
resolution going on and this is going to be great for you match competitors but a
lot of us varminters as well really cool scope make sure that you keep
watching make sure you like share subscribe and hit that notification bell
because eventually I will release the full review of this scope also out on
this end this is the yhm phantom muzzle brake this is also the attachment for my
silencer this one can go it’s a sound so that goes up to 30 caliber and this is a
currently muzzle threaded for 5/8 24 so eventually I can start to work a little
bit more quietly with this I’m really looking forward to that especially on
prairie dogs that is gonna be a whole lot of fun alright so this right here
this is the longshot lr3 there are a couple of different models make sure you
go check out their catalogue I’ll put a link to long shot down below and this
one is kind they’re the highest end model they have
one that’s just set up for you know benchrest competitors that want to be able
to very quickly patch into this thing you just put the camera down range and
then you can you know see your targets within probably about 300 yards and
actually that product is in this box right now so that’s gonna be the camera
unit and you can see that number one it’s it’s very stylish-looking they
obviously went to some lengths to make it look good and it’s just you know very
solid overall this is partly weatherproof so if it does start to
drizzle on you you’re not gonna lose your camera it’s not gonna blow up or
anything and yet everything is just very neatly squared away on here inside the
the case you do get a charger and this is gonna work for both units if you want
to be able to charge both pieces at once you probably need to purchase a separate
charger here but you do get one see yeah just plugs in right down here and then
this is your switch for on and off very simple it’s just gonna light up and tell
you how much battery you have left so actually after our session yesterday
okay we have about half battery left it’s giving us two dots of battery
indication also once you power this up these are gonna start to light up to let
you know number one do you have power are you connecting and this is not just
that camera but it is a Wi-Fi router as well you’ll notice there are no wires to
hang off this it’s all just neatly in one piece and what you do I set it up on
this tiny little tripod out by your target and then this is going to get you
a little bit of space up above the ground a little bit of clearance this is
built so that you know as long as you have pretty good line-of-sight you’re
gonna get a decent connection but I will say that part of the reason why they
have these is Fornells own interference and Fornells own obstruction and if you
want to check out some little things I can put a link down below to
how those work but sometimes out over flat farmland you can actually get into
interference where you can start to lose connection so make sure you don’t just
put this flat on the ground use these little tripods it’s gonna at
least hopefully help to keep from those obstructions oh one thing I should point
out here the camera once you get it in place
the back of this kind of faces toward the sportsman it faces toward you and then
if you want to be able to angle the camera to point toward your target like
you want to be able to put it kind of off from the target a little bit so you
know maybe if you drop a round it’s not going to go through the unit this is not
armored at all but you can actually aim the camera left right up and down
depending on what you’re doing and I might as well mention that this is
threaded right here for any kind of tripod so if you want to be able to use
a higher tripod to get up to maybe a higher target you can certainly use that
instead of these little guys that come in the case the other piece is going to
be this little base unit right here you can use to extend your distance so this
if you’re getting past 300 yards and three hundred yards can sometimes be a
little bit sketchy depending on what kind of terrain you’re dealing with but
this is the one that’s going to get you out to that two miles plus you set this
up and it’s gonna do a very good job of grabbing the signal from this and then
kind of relaying it back to you and like I mention each of these is set up as a
Wi-Fi router so when you are setting up your your software here first you know
if you have your tablet or your phone or your laptop
you’re gonna connect to this Wi-Fi router that’s out there in the field and
then from there it’s gonna kind of automatically grab it inside the the
target vision software and allow you to see it now one last thing that I was
testing is this new bag I have a handful of these that were sent to me by this
sandbag company I’ll put a link to that below but this is a pretty nifty little
way to be able to quickly adapt Heights two different rifles so if you have
one that has a you know kind of a higher magazine or has a very big drop at the
toe like telekinesis does it just has a whole lot of vertical to it you can roll
this puppy up and use it as a sandbag rest and then if you want to be able to
get down lower to the ground you can start to unroll this in either direction
out in front of you or in back of you I think this is going to be a really cool
option for benchrest competitors where maybe I know that when I’m on a bench
and I don’t really like to fire from a bench very much if you have a bipod it
tends to kind of drag around on the concrete and you get that hop out of the
the bipod and in general it just doesn’t really interface very well this could be
a really cool option for you that can kind of get past some of those issues it
really allows the rifle to settle down especially if you kind of you know pound
a little channel into the sand and you sit up on top of this you can get
actually a kind of a very comfortable way of connecting the rifle kind of to
the ground it’s very stable but it’s also not going to have that in a hard
surface on hard surface sort of connection and you sort of get a smooth
recoil back through here I’m gonna continue to test these and let you know
what I think of these overall but yesterday’s test was a good indication
of how it works and I really do kind of dig it and this is actually not filled
with sand this is filled with walnut husks so it doesn’t weigh a whole ton
and I don’t know kind of curious to see how it’s gonna deal with water but I
think for the most part this is probably not gonna be one I’m gonna drag out into
the field this is gonna be more for range day and
then of course I’ve got the the champion rear bag going on here that which was a
really good match for this on the back end now we’re going to dig into that
delicious data and this requires some interpretation and it also does require
a coronagraph so actually up there I have my chrony beta model which
has it’s kind of the master model that has the extendable readout it has a
little screen you can bring out there and this is going to be crucial for
figuring out how this works we’re using kind of a
modified Satterlee load workup method and this is one that I’ve really shown
off in six five cream or so check out the link to that video I’ll put it
either around here or down in the description below because this is going
to show a little bit of a tweak to satyr Lee’s method where you know I’m starting
to not just have a decent looking overall length but I’ve actually kind of
shorten things up a little bit each time and I have actually four different
lengths so I have one that starts out with about a forty thousand jump back it
off by ten back it off by ten back it off by ten and we’re gonna see which one
of these came out the best what we’re looking for on this chart is we’re
trying to find out where we have some of these kind of plateaus in our velocity
graph here where the velocity is kind of stabilized and if those interact with
what we might consider the accuracy note on the barrel because the barrel is
gonna have a certain point in time I think where it’s going to you know be
settled down and kind of pointing in the right direction it’s not going to be
whipping anywhere and that’s gonna be our best accuracy but then we also want
to match it up with our best velocity precision so that at different distances
we can very easily get those rounds on target so let’s take a look here first
off and as we as we dig into this I’m gonna be using the screenshots that I
generated through the target vision software so that the camera was picking
it up back here and I was marking the shots and we’re gonna see where those
kind of cluster up together and are tight on the on the on the target and
then we’re going to have the velocities we’re gonna see if they overlap all
right so first off with our longest length we had 2.75 for as the cartridge
overall length with that 105 grain projectile and this was pretty wild
this one had a pretty wild ride through all of its velocities you can see that
it’s it’s curve is pretty crazy and that things really only started to
settle down as they got up toward the very top of those velocities the highest
charges that I had and one thing that I should mention
overall is that I was not getting any really weird pressure signs at all in
here I got no sticky bolt whatsoever the entire time I was firing everything
was very fingertip I could just flip the bolt pop the the cartridge out there was
no difficulty in extracting anything and we did start to put a little edge on the
roundness of some of the primers but overall I could grab anything that I
loaded up here and it’s at least going to be safe no weird pressure but yeah as
we get up toward the top we can see that the velocity start to settle down a
little bit at that 12 and 13 so we’re looking at 2907 velocity and 29 12 and
we’re getting into about a half inch spread actually between those last four
shots and we’re looking at the verticals here mostly as we take that overall
length down another ten thousandth we’re getting into one that doesn’t really
seem to match up this one had a very smooth curve overall and I can you know
readily see where my powder charge should be up you know kind of between
seven and eight that’s looking really good but unfortunately that’s where the
projectiles were really there was quite a bit of space between them there was a
lot of vertical space so I don’t think that this particular length worked out
very well for me I’m kind of getting some difference between where the
velocities were smooth and where the accuracy was smooth so we’re gonna jump
down so now we’re at two point seven three four and this is another one that
just overall is kind of met shots 9 and 10 were kinda sorta close but you know
it doesn’t match up with any of the velocity plateaus this one really is
kind of a mess so so far it’s looking like our first round was good let’s see
how the fourth one does this one starts to match up really well in addition so
we’re looking at seven point two four inches and then right around shot seven
this is where the magic starts to happen we get a really broad velocity plateau
and then we get roughly one inch of vertical space
between those shots and I think that’s starting to really indicate a good spot
of settling down I think this one could work very well so I think what I’m gonna
do is I will load up probably about ten rounds with that number seven charge and
we’ll see how that works and then we’re gonna take some from that that first
round we’re gonna do probably charge somewhere between shots twelve and
thirteen where things were really starting to settle down there as well
and we’re gonna see how those print we’re gonna check the velocities while
we’re out there and just make sure that everything’s looking good but I think
that one of those two is gonna be my best performer and you’ll notice that
they actually have very similar velocities just a little bit past 2,900
feet per second I did also work on those eighty sevens while I was out there and
I might indicate some of the data a little bit later but for now we’ll gloss
over that because those 105 s are gonna be just really fun for target work
very clean through the air high ballistic coefficient and they they
should make a good impact even on some you know kind of medium ish smaller game
if we decide to do that in general talking about the long shot lr3 and some
of the other models that they have this is one we’re just basically if you have
a difficult time seeing your target this is gonna be a must sometimes you can use
that spotting scope to be able to see things a little bit better of course you
can see trace through the air to see where your projectile’s gonna go but then
when it comes to actually seeing your impacts especially on paper out at some
of those longer distances even with a fine scope like this we had a ton of
Mirage today and I had a very difficult time seeing holes sometimes I
could see them where they were kind of clustering up together it’s like okay
yeah that’s where I’m printing but for the most part I couldn’t see an
individual hole that’s where this comes in and maybe do you know just
because of that Mirage a spotting scope might not have worked in that case
either there’s certainly a time for each a spotting scope is going to be able to
see trace it’s gonna be able to see misses and it’s gonna be able to move
around very quickly between different targets if I was you know maybe
a game or maybe hopping from target to target whereas this one the camera is
going to be locked down pointing it we know one target out there and I will
definitely not be able to see trace there is one little trick though
that I should mention so you know in the future as we’re firing at some of
these longer distances if I want to be able to see some of my misses impacts on
the ground around the targets this does have a video mode that kind of steps up
from the about one frame per second that you get it just kind of sends back a
high-resolution picture one per second so you can see your target but you can
switch it into a higher frame rate video mode which seems to be about 15 frames a
second and you can start to see more dirt splashes so hopefully together with
a spotting scope and with the camera system we can be able to figure out
impacts of some of those really long distances and as you’ve seen in some of
the previous videos those can be really tough thanks a bunch of everybody that
has made these videos possible thank you to longshot for sending the camera
system for me to check out I’ve been wanting to check this one out for a good
long while thank you to preferred barrel blanks for the the barrel that we have
on here and then Bushnell for the match pro rifle scope it’s nice to have a
bunch of folks that are interested in what we’ve been doing around here and
want to see you know if maybe their product can help improve our performance
out there and so far we’ve gotten into some really good ones but thank you to
patrons of the destructive arts we have sportsmen guide and Stan and Mary at the
338 Lapua Magnum level and then we have Joseph Davis and we have Peter at the
300 Win Mag level and then everybody else that’s chipping in a buck or two a
month to keep the lights on keep the cameras rolling and keep tests like
these coming you guys are really making it happen I’ll see you all around

How to Make Transparent Image on Mac (JPG to PNG)

How to Make Transparent Image on Mac (JPG to PNG)


please subscribe and suport this channel you can support by giving a comment or give a like to the video thanks how to create a transparent background
image on Mac open a jpg or PDF file go to file and press option key, save it as PNG
file now on preview application go to toolbar and choose instant Alpha Tool click and drag the mouse pointer on the
background you want to remove now you can resize and save now, it’s a image with transparent background do not forget, always save it as PNG file thank you for
watching, and if you like this video, subscribe and support this channel thanks please subscribe and support this
channel you can support by giving a comment or give a
like to the video thanks

PowerPoint 2016: Inserting Pictures

PowerPoint 2016: Inserting Pictures


I’m almost finished with this
presentation. I’ve typed in everything I need to share about the company’s new
wellness program but I’d like to have some pictures to make my slides look a
little more interesting. It’s easy to insert a picture using the
placeholders on your slides. All you have to do is click the icon. But they’re actually a few ways to add an image even appear slide doesn’t have a placeholder like this It all starts with the Insert tab. I already know what picture I want to
use for this side and I have it saved to my computer. That means I can use the pictures command to locate the image And insert it. The picture will appear on the slide. To move this picture while it’s still selected, I’m just going to click and drag where we have plenty of room over here. Now let’s take a look at the next slide. I don’t really have an image in mind for
this part of the presentation but PowerPoint does have some built-in
options we can use. Just go back to the Insert tab and click the online pictures command. From here you can use Bing to search the web for images. You can also access pictures from your OneDrive account if you you have any stored there. I’m going to try a web search. Just type your search them into the box
then press Enter on your keyboard. By default, Bing only shows images that
are licensed under Creative Commons, which means it’s generally OK to use
them in your projects. Just to be sure though, you should check the image’s website to make sure there aren’t any restrictions. just follow the link you see here. This one looks good. To insert it I’m
going to click the thumbnail, and then the Insert button, and the image will appear on the side This picture is a little big, but that’s
an easy fix. To change the size of an, image all you have to do is click and drag the sizing handles here. I’d recommend using the ones in the corners to make sure your image stays in proportion I’m also going to move it just a bit. And to make it look a little neater I’m
going to use the rotation handle at the top to rotate it There we go, that looks great! On my next slide, the picture I want to add is a bit more unique: I’m going to use a screenshot. A screenshot is an image of whatever is
currently displayed on your screen. For example, I found this website that can be used to track your health goals and I’d like to include a picture of that in the presentation. Let’s go back to PowerPoint and then Insert>Screenshot to take a
look at our options. I have two different windows open right now including an Excel spreadsheet and the website I want to capture. Just click the window you want to take a
screenshot of and now we have a picture of the window on this slide. This isn’t exactly what I wanted though… this screenshot includes other parts of my browser, like the navigation buttons and the status bar. I’d like to see if we can take a picture
of just the health tracker in the middle. First, I’m going to delete this image by
selecting it and pressing Backspace or Delete on my keyboard. Now go to Insert>Screenshot and this
time we’ll select Screen Clipping. This will let us capture a part of the page
instead of the entire window. And we’ll use the same technique that we use to draw text boxes. Just click and drag to draw a box around the part of the image you want to capture the screen clipping will appear on the
slide . Resize and re-position the picture if you need to and there we go! Whether you’re working with pictures that
are already on your computer, photos from the web, or even a simple screenshot the right pictures can really help to make your presentations a lot more interesting!

8 Easy tips that will improve your pictures on the Samsung S8 & S8+


Hey guys EBPMAN here and it’s been several weeks that I’ve been living with the Samsung Galaxy s8 a matter of fact this weekend I was at a Cubs game and had many friends at least four friends that were there present each of them having an essay and I noticed that there were things they didn’t know about the camera they were taking pictures but really not taking advantage of all the capabilities and thus very simple things that they can do to get better pictures so today we’re going to do a quick 8 things you should do how to get the best photo experience when using deff 8 so let’s check out these tips they’re the ones I share with my friends and I’m sharing them with you so the first tip is how do you start the camera quickly given the fact that you don’t have a home button well you can set this up so that when you press the power button twice it goes into camera mode let me show you how you do that to find this feature you’re going to go into settings and after choosing settings you’re going to type in camera a little closer you can see that this is a quick way to find it and you go into quick launch camera and what you’re going to do here is you’re going to make sure you notice how it kind of popped in here you’re going to make sure that this little area right here is on that gives you the ability to press the power button twice to get into camera mode so my next tip is all about selfies so now to access a selfie mode all you would have to do is you just swipe up and you go into selfie mode as you can see right here the problem as you can see from this footage it is very narrow so you’re not getting a wide area if you go into settings you’ll notice that there’s a picture size if I change picture size and I change it to 16:9 and I go back what you notice is now there’s a wider area being covered so once again that’s a quick way where you could get a wider area now keep in mind that by doing that you do reduce somewhat the resolution but not substantially from your camera now there’s another way to get a wide-angle selfie and let me show you that now to get that wide-angle selfie if you go here for a second you’ll notice that their selfie and then there’s wide selfie the other area just expands the image here you can see a lot more but in this area this is almost like a panorama shot so what you could do is you can press the photo button take the picture and then you could pan to the left and to the right and by doing this you’re going to capture everybody in the photo now the last step about selfies is this little button right here you know if you’re in a dark area very few people remember to turn on the flash by turning on the flash when you hit the selfie photo option what will happen is the screen will turn white it will illuminate the area that you’re in and then the photo will be taken and you’re going to get a better photo so here’s one of the photos we took at the game this was a selfie it was not the wide-angle selfie that I showed you but it was a 16:9 you know aspect ratio photo and it included us completely as well as a larger portion of the background now these settings can also be applied the 69 16 by 9 ratio can be included in photos now the photo quality you could obviously zoom in and get some really nice quality out of this but let me show you the difference with your camera you can run into the same situation here so notice this is a 4 by 3 and if I switch over this is a 16 by 9 so once again same photo I try to keep my hand as still as I could you’ll notice how much I’m covering on the left side on the right side and now look at here how much more you could be adding covered all you have to do is change those settings and again here you see those settings for the rear-facing camera this is the version of the photo that had kind of the cropped sides but it was still really crisp and clear and then I switched it over to the 16:9 9.1 megabits or megabytes and I got the wider shot now in the past when you wanted to zoom in while taking a picture you kind of do one of these things right to take the picture and now what you could do is right here in this area you can actually go up and go down and then once you have the right magnification you take the photo ideas zoom it and click so now let’s talk about filters lots of filter options so what you can do is by swiping over you’re going to see all these filter choices and you may want to rearrange some filters that are your favorite I really like black-and-white photos so you know when I tap on that it changes to black and white this one kind of brings in some color you can see that differencing these two but they’re not always going to be placed in the order of your preference so all you have to do is press and hold on the filter and then you can drag it and put it in the place that you want it to be that makes it a lot easier so that when your going to take a photo you can quickly find the settings that you want now you do also have the ability to add more by clicking on that plus sign you’re going to go into the actual this is the Galaxy App Store and download more filters that you can apply and I’ve brought some in so if I come back to that setting right there you’ll notice this memory one this is one that I brought in because it has the ability to bring in some color but also bring in some black and white so lots of filter choices you don’t have to stick with the ones that are there and you can also rearrange them now additional filter options are that you can find is you’ll notice that we were up here for a second you have the classic colors if you go here this is going to also change some of the colors and how the schema is so and anything about is you see that happening in real time you do have the ability to add in this case effects so you can add words so Cheers so you see this a lot an Instagram and on Facebook so you’ll be able to do that you also can add you know faces so you know once you’re on the character I don’t know that it will do this you see this a lot on snapchat but what you can do is using these as overlay on the person who you’re taking the photo and after three people you can do this you can actually do these overlays so you’ll be able to have almost like a snapchat type of experience now the last thing when it comes to filters I just wanted to show you is you can also get more filters just by hitting the plus sign so here you have animal masks Halloween masks angel eighty masks you could and there’s also going to be more and more being created now that this is a new feature available with the s8 and si plus so experiment and then also download more if you like now another thing I wanted to show you is the shooting modes and there are a lot of different shooting modes I’m not going to go into pro there’s panorama which allows you to shoot a panorama shot you can experiment with that there’s also their slow motion there’s hyperlapse animated gif a food one that you can use but I wanted to share one that gets a lot of hype geese on Apple and it’s a shame because Samsung had this well before a lot of the Spartan moons started to implement now I’ll just be fair and effective Apple has the best implementation when it comes to the selected focus capability and what selected focus is going to do is going to give you the image that’s closest will be sharp and the background image is going to be blurry so what you do is you just go into focus of the item that you want to keep sharp you tap on it and you have to be steady and then you hit it and what it will happen you’ll notice here on the side how it’s doing this this little thing it’s kind of creating that that blur so now when you go in here you’ll notice he is in focus but everything else is blurred out and when you tap you can actually I’m switch between fire focus and also a pan focus so you notice how it’s changing so you’ll be able to get that blur effect let me show you how it looks with photos pictures and some other things that I’ve take now one other thing I just wanted to highlight with this photo is I did not use selected focus but you’ll notice how the background is blurred and that was simply the fact that I was close enough to the to the drink when I took the photo that the rest got blurred out so you don’t always need to use selective focus to get that bokade effect in the background now one last thing I wanted to mention about selective focus is that selective focus effect is also available for selfies so if you’d like to take a selfie picture and have the background blur you can do that as well now something else I wanted to add another feature and this becomes very very useful especially when you’re photographing kids so I have nieces and nephews and you know if they’re playing a game and I want to be able to track what they’re doing and still keep them focused I enabled this feature right here which is tracking autofocus and the neat thing about this is that it’s going to keep the subject that you tagged in focus as you’re taking pictures or as you’re recording so for example I’ll select this guy right here and notice as I’m moving him around you’ll notice that the focus window remains on this character so imagine if you have your niece or nephew is twirling around running around and you wanting to take them your dog your pet this is going to allow you to keep them in focus at all times and all you have to do is enable that feature so those are my tips and tricks getting the most out of your phone with the Samsung Galaxy s8 and s8 plus again not everything that the phone can do but the things that I find explaining and teaching my friends and family how to use that makes their life so much better richer when it comes to photography using the smartphone if you have any comments or questions leave in the comment area below if you liked the video give it a thumbs up and as always don’t forget to share and subscribe thanks for watching

Facebook New Picture Transfer Feature –  FB Pics To Google Photos

Facebook New Picture Transfer Feature – FB Pics To Google Photos


Facebook the biggest social media giant
has recently announced the launch of a photo transfer tool to allow users of
its social network to transfer their pictures directly to Google’s photo
storage service through encrypted transfer the photo portability feature
will be initially available to Facebook users in Ireland according to Facebook
they are still experimenting and tweaking the feature based on feedback
but it will be available worldwide in the first six months of 2020 it also
recommends porting to other photo storage services that will be carried in
the future in addition to Google photos defining which services it may attempt
to add Facebook claims the transfer tool is based on the code developed through
its support in the data transfer project a combined effort initiated in 2018
that’s currently supported by five tech giant’s Apple Google Facebook Microsoft
and Twitter who have invested in developing a collaborative framework
with open source code this framework can combine any two online service providers
allowing a smooth immediate user initiated portability of data among the
two platforms Facebook also directs to a white paper issued in September where it
supports clear rules to rule the varieties of data that should be
transferable and who is accountable for preserving the data as it transfers to
different providers following all these progress the rising threat of antitrust
law with lawmakers and agencies on either side of the Atlantic now firmly
eyeing platforms hold on markets eyeballs and data that’s unquestionably
correct to the portability of user uploaded data can be useful in
encouraging people to think they can leave from a compelling service however
it is also something of a smokescreen mainly when the platform and the subject
is social media like Facebook because it’s people who hold other people
attached to these types of services secondly the value acquired from the
data is preserved by the platform despite whether the pictures themselves
move away Facebook processes user uploaded data such as pictures to get
personalised insights to profile users for ad targeting prospects therefore
even if you send your pictures away that doesn’t reduce what Facebook has already
discovered about you having prepared yourself is group photos baby pictures
shots with the pet and so on it has also created the portability tool to transfer
a copy of the data Facebook still holds your pictures except you take further
action such as removing your account the company does not allow users any
controls portability tools or access rights over the inferences it offers
depends on personal data such as photos or admittedly control over insights it
discovers from its analysis of people usage of its platform or more general
browsing of the internet Facebook traces both users and non-users over the web
through tools like social plugins and tracking pixels moreover there’s little
risk to Facebook to propose a portability feature embedded in a
submenu someplace that allows a few in the know users to click to transfer a
copy of their pictures to another tech giant admittedly
it may hope to serve from related incoming ports from other platforms in
the future Facebook says we hope this product can
support advanced conversations on the privacy issues we classified in our
white paper additionally Facebook also claims that
we know we can do this independently so we urge other groups to join the data
transfer project to increase options for people and proceed to promote data
portability reform ahead if you have liked this video please give us a thumbs
up and do not forget to share this with your friends to not miss more exciting
videos in the future subscribe to our channel and hit the bell icon

How to Make a 2×2 Picture – Perfect ID Photos at Home!

How to Make a 2×2 Picture – Perfect ID Photos at Home!


Need a proper photo for your passport or visa? Want to get the best result at a reasonable price? Watch this video lesson and learn how to easily
prepare a 2×2 inches photo at home using Photo Passport Maker. Launch the program and drag the photo you
want to edit to the working area. Choose the desired document on the ID type tab. In this case, we’ll pick US passport. The software will automatically crop your image. Take a look at the Settings menu to make sure
the proper width and length are used. If needed, adjust the frame by moving the
lines so that the full face is in focus. The red lines outline the head, and the yellow
one marks the level of the eyes. Read the list of requirements at the bottom right and check whether your photo meets them all. For example, your photo for US passport should
be taken within the last 6 months and depict the whole face with a neutral expression. If everything is OK, click Next. The Crop tab gives you the opportunity to crop or slightly rotate the image with your own hands. However, the smart face recognition module
works fine for most faces and you don’t need to manually change the image frame. Move to the Edit tab to fix lighting issues
or change the background of your photo. Make all the necessary tweaking but be careful
– your picture must look natural. Once you’re satisfied with the result, apply
the changes and switch to the Print tab. Here you can set the paper size and number
of photos you want to get. Use print markup to cut out your 2×2 inches photos. The program will also show you what type of
paper to use – glossy or matte. Click Print Photos and get your ID pictures. Get started with Passport Photo Maker and
make all of your ID photos perfect!

TV Antennas: The Big (and Free!) Picture | Consumer Reports

TV Antennas: The Big (and Free!) Picture | Consumer Reports


If the idea of using
an antenna seems retro, you haven’t tuned
into changes in how Americans are consuming TV. With more people
cutting the cord and opting for streaming
services instead of cable, TV antennas are popping
up in more and more homes. It’s not all rabbit
ears, either. Models come in a variety
of styles, from flat and subtle to hard to miss– and can cost anywhere from
$10 or less to more than $80. And while these devices
may look different, they’re all designed
to do the same thing. Pull in free,
over-the-air channels. Talking about mess. Our testers took home
10 popular indoor models to try in two locations. Near a window, and near the TV. All of them found the window
location clearly worked best. Keep in mind, results
will vary based on how close you live
to the broadcast towers, and whether your home is
surrounded by obstructions such as trees, or buildings. Even the weather can
affect performance. To get the best reception from
your indoor antenna, aim high. Placing the antenna
higher in the room, or in an upstairs room
or attic, will generally deliver the best performance. Be sure to try the antenna
at different locations around the room, or
in different rooms. And rescan in each spot to see
where it picks up the greatest number of stations. If you don’t live near a
tower, an amplified model can boost signal strength. If the antenna is a
directional model, it also helps to face it
toward a local TV transmitter. Not sure where that is? The FCCs DTV reception
maps can help point you in the right direction. Finally, don’t just
set it and forget it. Rescan for channels
every once in a while and you might pick up a few
you couldn’t get before. To see which antennas
did best in our testing along with full
results, go to CR.org.

Nikon COOLPIX L100 Digital Camera


Look at this, we have
a brand new camera from Nikon. It’s the Nikon Coolpix L100,
great form factor especially if you’re
the type of person that doesn’t like the
little point and shoots, you’d rather have a
more grippy feel, you want it to feel more
like a professional camera but maybe you
don’t need all of the professional
camera features. You just want to take
really good pictures easily, the Nikon Coolpix L100 is
probably going to fit the bill pretty nicely. It is a
10 megapixel digital camera. It has a 15x digital, um
15x optical zoom on it rather, so you’re going to be able
to get in nice and tight on your subjects. Really wide
lens too, 28mm wide when you’re zoomed
all the way out with this
particular camera. It will do very very fast
shooting as well. We know that in order to
capture fast moving subjects it’s important to sort of
get out in front of the action. This will actually
take 30 pictures at 13 frames
per second so you’re never going
to miss a moment. If you’re out trying
to photograph some fast
moving subjects, you’re going to catch that
moment without a doubt. Has an automatic scene
selector built in as well so when you point and
you frame up a picture, it actually references a,
it references a database of photos inside
the memory here and tries to match it
to one of those photos in the database and
immediately determines which sort of scene mode
the camera should be using. 3 inch high resolution
display on the back. Huge display that
looks really really good, I mean this thing actually
looks really really fantastic. Takes advantage of
optical digital um, optical image
stabilization as well which is going to make sure
all of your pictures come out rock steady.
Performs very well in low light, it’ll go up to ISO 3200 and
that’s at a lower resolution but it is going
to make sure that you can still get
great pictures in lower light, even if your subject
is moving around. 640 by 480
movie mode, and it has 44 megabytes
of memory built in so you’re probably going
to want to add say I don’t know, an SD
card to this camera because it’s definitely going
to need a little extra memory. SD card actually goes in
right here at the bottom, as you can see,
let me show you this. It takes 4 AA batteries, so
that’s actually a good thing because it means you never
have to worry about recharging that
one single battery pack or misplacing it or
forgetting to charge it. If you need your camera you
just throw in some batteries. And of course you can always
use rechargeable batteries with this. Your SD card
slot is also located underneath this
trap door here. I’m going to show you
around the menu system which is actually very simple.
Don’t let the form factor of this camera
sort of trick you. This is not a super complicated,
super advanced camera by any stretch really.
As you can see on the back, the menu system
is very very simple. This is for selecting
your resolution right here, and so we’re going
to go ahead and go with our high and
wide screen photos here. Getting to all of your
camera functions are as simple as going
around this wheel here. You can adjust your flash,
you can adjust your exposure, you can adjust your
macro mode, self timer, all of that is
right in here. Very easy to select
all of your scene modes, these are all of your
various scenes here. You can see that
there are scenes for just about any sort of
situation you can get into and of course these scene modes
allow the settings of the camera to match up with the
situation that you are in. So obviously if you are
trying to take a picture of a beautiful sunset,
you’re going to want to use that sunset scene mode,
but that’s it. I mean it’s that
easy to use. Up at the top is you’re going
to find your shutter, and your zoom rocker
right up here, power button is also
up there at the top. Pop up flash
very easy to conceal, very easy to turn off.
You turn off the flash just by pushing
this thing down. But that’s just about it.
You’ve also got your USB port and your
AV port right over here. But it’s a very easy
camera to use, it’s going to take
sharp pictures and it’s not exactly
super expensive either, so you’re going to be able
to have the flexibilty of a camera you can really grip,
really hold on to. It’s going to take pictures
really really fast, it’s going to be able
to do movies with all of this and it’s just going
to be a nice addition to your digital camera lineup,
that’s for sure, especially with that nice
long 15x zoom, and that really wide
28 millimeter lit. So this is a nice
one, brand new. It is the Nikon Coolpix L100,
it’s on the market right now. To get more info on the
Nikon Coolpix L100 go to any of
these retailers and type in
N13-4538. For ComputerTV, I’m Bauer. (C) 2008 SYX Services, Inc. All Rights Reserved
Channel: TigerDirectBlog

Why Shin Godzilla Won Best Picture in Japan | In Depth Review

Why Shin Godzilla Won Best Picture in Japan | In Depth Review


Released in 2016, Shin Godzilla is the 29th
Japanese Godzilla film, the first Toho produced Godzilla movie since 2004, and the beginning
of the fourth era of Godzilla films. The previous Godzilla series ended prematurely
due to consistently declining ticket sales, which ultimately forced Toho to put the franchise
in hibernation once again, but not before celebrating his 50th annivesary by going all
out in Godzilla Final Wars. With a full 12 years separating Final Wars
and Shin, it was the longest break the franchise has ever taken. Following the success of the 2014 American
Godzilla film, Toho decided to make a film that harkens back to the franchise’s roots;
a stand alone film more in the vein of the original 1954 Gojira, where Godzilla is an
unstoppable threat to Japan and mankind at large. They made the inspired choice of approaching
Hideaki Ano, most known for creating the highly popular and influenctial anime Neon Genesis
Evangelion, to both write and direct. Ano is notorious for bringing his unique and
personal storytelling style to everything he is involved with, so his hiring drew much
interest and anticipation from the fanbase, who were eager to see what he would do with
Godzilla. Directing alongside Ano was Shinji Higuchi,
Ano’s long time friend and the director of the two recent live-action Attack on Titan
films. While Ano would serve as chief director, Higuchi
was in charge of directing and coordinating the special effects heavy sequences involving
Godzilla, which, for the first time, is brought to life with computer generated effects instead
of the traditional suitmation techniques. Together, their intention was to make the
scariest, largest, and most imposing Godzilla ever put on screen. Shin Godzilla opened in Japan on July 29th
2016, and it was an enormous critical and financial success. Japanese audiences loved it, and it stayed
in the top 10 until late September, closing out at an equivelant of $77 million dollars,
making it the highest grossing Godzilla film ever made, an all the more impressive feat
when you remember how old this franchise is. Shin Godzilla even swept the Japanese Academy
Awards, taking home both Best Director and Best Picture, as well as all of the technical
categories. It was an incredible validation for one of
Japan’s most famous icons, and for the first time since perhaps the original, Japan was
immensely proud of a Godzilla film. Now to anyone only familiar with Godzilla
in the context of the cheesy b-movies that make up the majority of the films, all of
this admiration probably seems rather strange. A Godzilla movie winning Best Picture, what
are the Japanese smoking? It’s just a silly monster movie; it’s not
meant to be taken seriously, right? Well, not quite. While Shin Godzilla certaintly isn’t a perfect
film, when you take into consideration all of its working parts, along with the history
of Godzilla and Japan’s relationship with what he represents, it’s easy to see why Shin
Godzilla is loved by its home country. And that’s why I’m here my friends; to show
you why, regardless of whether you love it or hate it, this film is worthy of admiration
for the simple fact that it aspires to be something beyond just another Godzilla movie,
and in doing so becomes one of the most resonant entries of the franchise, exhibiting accomplished
filmmaking in nearly every category including writing, acting, shot composition, music,
special effects, and theme. Shin Godzilla is one of the most unique and
interesting entries to come out of this franchise in a very long time, and I think it’s because
somehow, some way, it manages to be as radically different as it is faithfully traditional. In both concept and structure, Shin Godzilla
is very much a remake of the original 1954 film, or as close to one as any film has ever
gotten. Like that film, it is about the emergence
of an immortal radioactive monster that wreaks havoc on Japan, and the attempts of the human
characters to stop it. But Shin takes that concept and plants it
in a current modern day context, and just like how the original explored and reflected
the fears and tensions of its time regarding war and atomic power, Shin Godzilla explores
and reflects the current fears and anxieties Japan has regarding nuclear and natural disasters,
government incompetency, and its place in global politics, specifically scrutinizing
the nation’s submissive relationship with the United States. And just like how the original was influenced
by the atomic bombing of Hiroshimi and Nagasake, Shin Godzilla draws direct inspiration from
the 2011 Tohoku earthquake, the resulting tsunami, and the Fukushima Daiichi nuclear
disaster, which is one of the most crippling and deadly natural disasters to have hit Japan
in recent memory, and one in which the nation is still dealing with today. Just as the original had images of destruction
eerily similar to those of the bombings, Shin Godzilla very deliberately recalls the images
seen during the 2011 earthquake in its scenes of destruction. When the first form of Godzilla crawls ashore
and begins slowly trudging across the landscape wiping everything away in his path, it blatantly
mirrors images of the tsunami and the resulting flooding. And when Godzilla unleashes the full power
of his atomic breath later in the film, the area is contaiminated with radiation, similar
to that of the Fukushima power plant meltdown. But the film dives much deeper in this issue
from the human side of things by framing the story through the point of view of the government
and its politicians, and uses this point of view to critique and parody the Japanese government,
whom many believe weren’t adequetely prepared and demonstrated an inability to properly
respond to environmental disasters. This makes Shin Godzilla the most political
film in the series. Every character is a political figure, and
everyone, big and small, has a logistical role to play in the story, which the film
makes sure you never forget by obnoxiously plastering the names of every character and
location on screen. This, along with the sheer size of the cast,
is one of the most common criticisms made about Shin Godzilla. The film overburdens the viewer with countless
characters big and small, job descriptions to keep track of and locations to remember. This is especially burdensome for foreign
viewers, who on top of all that also have subtitles to read. The film essentially overloads you with information
and people to follow, which makes it almost impossible to read it all on first viewing…
which is the entire point. The viewer is meant to be overburdened with
endless titles and descriptions, which helps put you in the state of mind of the characters
who have to deal with this day in and day out. It all serves the films purpose of satirizing
government beaucracy and showing how it inhibits immediate reaction to surprise disasters. Thankfully however Shin Godzilla never veers
off into outright condemnation or vilification. While the process is shown to be comically
flawed, the people involved are all depicted as trying to do their very best given the
situation. Prime Minster Okochi is the perfect example
of this. While shown as being way in over his head,
he isn’t completely incompetent. Even while overwhelmed by an unprecedented
scenario, you always believe that he’s doing what he thinks is best for his people. When Godzilla is heading towards their direction,
he insists on staying to oversee the U.S.’s bombing operation, and has to be convinced
by his aids to evacuate for the good of the nation. He is honorable and prioritizes the safety
of civilians, but also open to the opinions and suggestions of those around him, most
likely because he wouldn’t know what to do without them. It would have been easy to depict the Prime
Minister as either a complete bumbling oaf or a self-interested jerk, but Ano wisely
avoids that for a more nuanced, relatable approach, and he impliments this approach
in every aspect of the screenplay. A lesser script would have some human antagonist
working on the fringes to undermine the hero, but there is none of that here. All of the characters are sympathetic and
working for the good of Japan, it’s just that the traditional ways of doing things outdates
their thinking. The movie makes the case that it’s not necessarily
the people that’s the problem, but the bureaucracy that cages them in and slows the government’s
response. —–
So then what’s the solution to this problem? Unsurprisingly Ano suggests that it’s the
freaks, nerds, outcasts, and rule breakers on the fringes that are the key to cutting
through the red tape and getting things done. With Japan on the ropes they are called on
to put their talents to use in an open forum of collaboration and cooperation. No endless cabinat meetings, no chain of command
to filter through, just pure action. This group of misfit scientists are ultimately
the ones who come up with the final plan of injecting Godzilla with coagulant to freeze
him, which ends up working. In the end it’s teamwork and scientific thinking
that saves the day. It’s a positive and well meaning message that
keeps Shin Godzilla from being cynical despite its target for criticism. Another distinct aspect of Shin Godzilla is
how cleverly funny it is. Ano’s greatest tool in satirizing the government
is humor, which is used to point out the failures of Japanese bureacracy. There are numerous visual gags involving cabinet
meetings, where characters end one meeting just to move to another room for another meeting. Many of the characters don’t know what they’re
talking about or what’s going on, making assumptions only to be contradicted. One of the best gags is early in the film,
when the Prime Minister publically assures citizens that Godzilla won’t make landfall,
then it cuts to Godzilla making landfall and people running for their lives. This gag also wonderfully demonstrates how
the film is able to balance its humorous moments with the horrific nature of the situation. Shin Godzilla may be very funny when it wants
to be, but it’s also able to be haunting and disturbing when it wants to. Godzilla’s first rampage, with Persecution
of the Masses playing in the background, is positively spine-chilling, a feeling enhanced
by the bizarre design of his first form, an embryotic eel-like looking creature that’s
as much goofy looking as it is unnerving with how it never blinks and only stares off into
the void with no conscience. Admit it,it would be terrifying seeing this
thing loom over you in the distance as it crushes you and everything in its path. How Ano is able to balance these two shifting
tones so perfectly is part of what makes Shin Godzilla such a great film. One moment you’ll be enjoying an amusing character
interaction or situation, the next you’ll be intimidated by the incredibly well done
Godzilla sequences. Speaking of which, Shin Godzilla contains
some of the most breathtaking Godzilla moments ever put on film. Gone are the days of men in rubber suits stomping
on models and toy tanks, which, as much as I love those, always gave even the best films
a cheesiness that, while appealing to folks like me who love it, often turned off those
less familar with it. This isn’t the case with Shin Godzilla. The special effects are leagues better than
any previous film in every category. For the first time Godzilla is brought to
life with CGI, which should have been terrible considering how bad past usages of it were,
but here it looks fantastic, even flawless in certain shots. This is of course helped by the fact that
Godzilla never moves beyond a snails pace, which no doubt makes rendering easier, but
it has the added beneifit of feeling like old school man in a suit without actually
do so. However the film thankfully continues the
use of miniature effects, so it’s not all computer graphics. Instead the two effects techniques are used
together to bring Godzilla and the destructive elements to life in a more believable way
than ever before. By far the most impressive sequence is no
doubt when Godzilla unleashes his atomic breath for the first time. It is a visual powerhouse depicting a level
of destruction rarely seen in any film. It feels authentic, which gives the sequence
real emotional weight and impact, enhanced by a phenominal score by Shiro Sagisu, who
had also worked with Ano on Neon Genesis Evangelion. The believability factor is heightened by
how genuine everything feels. Shin Godzilla paints an extremely realistic
portrait of a nation’s response to Godzilla. Much of the running time is made up of mass
evacuations, press conferences, military briefings, and political meetings. And for perhaps the first time we get what
at least feels like the most realistic military engagement with Godzilla ever depicted. While most previous films had endless amounts
of tanks and planes throwing themselves at Godzilla for our amusement, here there is
an actual strategy; a hierarchical attack formation where, when one wave isn’t working,
it pulls back to make way for the next wave. It is logical, and that goes a long way towards
making the story feel genuinely dramatic, which in tern makes Godzilla feel like a true
threat that can’t be stopped. And oh man is Godzilla a force to be wreckened
with in this film. This is the most threatening Godzilla since
the original; a pure apathetic destroyer. Obviously the most immediatly striking thing
about this Godzilla is his design, which, aside from the 98 American design, is as far
from the traditional look of the character there’s ever been. With his mishapen teeth, blank dead eyes,
tiny useless little arms, and almost comically long tail, this Godzilla is twisted and malformed;
a grotesque monstrosity that bleeds and drips everywhere. He essentially looks like a gigantic walking
tumor, which keeps the idea that he was created by radiation fresh in your mind when you look
at him. But as different as this design is, it’s also
unmistakingly Godzilla. You can see that this Godzilla draws inspiration
from the original 1954 design, particularly in the face, which contains the same small
beady eyes that the original had. It’s a nice blend of Ano’s uniquely outlandish
design quirks with the classic Godzilla design, and is in manys ways an encapsulation of how
the film is as different as it is traditional. The alterations also extend to Godzilla’s
abilities. His atomic breath is not merely a contained
singular beam but an explosive massive fire ball that shrinks into a precise purple laser
that can slice through buildings like butter. And no longer does it just come from his mouth,
now it’s able to be fired out of his back and tail. It’s beautiful and devastating and unlike
anything we’ve ever seen Godzilla do before. And that is what makes Shin Godzilla especially
noteworthy, the fact that it’s able to show us new things in a franchise that’s over 60
years old. Some purists don’t like that this Godzilla
is so different from past incarnations, which is understandable, but this film took some
creative risks and I think that’s what makes it special. We’ve seen Godzilla do the same things over
and over again, and Toho should be commended for taking a chance and allowing an artist
like Hideaki Ano to put his own spin on the character. And besides, for as many liberties as Ano
took, he also went out of his way to honor everything that came before, almost to a fault. There is so much love for Godzilla and the
history of the franchise in this movie, and you can feel it right from the opening titles,
which directly recalls the effectively simplistic opening of the original. The film impliments a slavish use of old school
sound effects, including the 1954 roar, as well as some of the most memorable Akira Ifukube
tracks, which is bound to make every Godzilla fan crack a smile. Ano didn’t have to use these tracks, but he
did because he clearly respects Godzilla and what he represents, and for as weird as this
film gets, you never forget that as your watching it. As good as those classic Ifukube tracks are
though, Shiro Sagisu’s new score is just as good. It compliments and emphasizes the themes and
sense of awe and dread, and the use of vocals gives a mythical quality to Godzilla, which,
if you listen closely to, tells a story of its own. The use of Decisive Battle from Evangelion
during the meeting scenes between our heroic misfit scientists gives all that scientific
jargon being spouted a rapid fire intensity that’s really fun to watch, and a treat for
Evangelion fans. The pacing of Shin Godzilla is also relentlessly
fast, which works to the films advantage with the story it’s telling. It may overwhelm a first time viewer, but
the richness and density of the storytelling and pacing rewards multiple viewings. You begin to recognize and notice things you
might have missed the last time, which is very easy to do because there are so many
characters and so much going on. It’s just so entertaining. there’s just something about the way the film
is cut and presented that makes it highly engaging. However, the quick pace and large ensemble
cast means that there is no time for real character development, and this lack of depth
is one of the most common critiques of Shin Godzilla, and one which I don’t think is fair. The film isn’t trying to present complex characters. The nature of the story, which is intense
and time sensitive, doesn’t allow for down time in which the characters can explain their
backstory or call their families; every moment is a race to stop Godzilla and save Japan
and its citizens. This scenario is where the drama come from. It’s all about the big picture story; seeing
how a government reacts and attempts to deal with this indestructable creature, and to
emphasize this the film features a huge sprawling cast of characters of varying degrees of participation. Most of them merely stand around and fulfull
their job description, but there are a handful of them that stand out and majorly contribute
to the plot. Even if you don’t remember most of the characters’s
names, their personality quirks leave an impression, and the actors give solid performances all
around. The closest thing we do get to a main character
though is Rando Yaguchi, played by Hiroki Hasegawa. He is the first one to go against the common
consensus, to which everyone writes him off. But he is quickly proven right, and from that
point he leads the charge to save Japan. There’s actually a great gag where Yaguchi’s
list of titles grows longer the longer the film goes on as he takes on more responsability. He’s basically the ideal politician; as driven
as he is humble, pragmatic but also idealistic. Yaguchi is a simple, highly motivated character,
and while that means he isn’t exactly complex, his character works well as the hero of the
story. He isn’t bogged down with crippling self-doubt
like Shinji from Evangelion, his job gives him purpose. Another major character is Kayoko Ann Patterson
played by Satomi Ishihara, and if there is one major blemish with Shin Godzilla it’s
her character, not because she is a bad actress, but because her character is supposed to be
a Japanese-American citizen, but it’s clear when she speaks English that it isn’t her
native language. This makes it almost laugable when the film
would have the viewer believe that she is the ambitious daugther of an American politician
whose life goal is to be president of the United States by age 40. This character just doesn’t come off as realistic,
which clashes with the rest of the film, which is very grounded and believable. That being said, she spends most of the film
speaking Japanese, so this is a very minor quibble. But despite the faults in the execution, Kayoko
Ann Patterson serves an integral function of the story, and that is to represent the
alliance between Japan and the United States. Her character is a bridge between the two
nations, which is important because more than anything else Shin Godzilla is a film about
Japan’s place on the world stage. Unlike most prior Godzilla films, the story
here does not exist in a vacuum, where Japan has to deal with Godzilla on their own. Godzilla’s appearance is a world changing
event that other nations have to consider, and we see this play out from Japan’s perspective. The film specifically considers the relationship
between Japan and the United States, the former of which has been living under the paternalistic
thumb of the latter since the end of the second World War. This relationship is presented consistently
throughout the film, with Japan constantly in negotiations with the U.S. and calling
on their military aid when their own efforts fail. When even the U.S. fails to kill Godzilla
with B2 bombers, the United Nations takes control of the situation, with the U.S. insisting
that an atomic bomb is the only way to kill Godzilla for good. Thus we get the moral dilemma of the third
act. For the first time since 1945, another A-bomb
will be dropped on Japanese soil. This is a worst case nightmare for Japan,
who are basically being forced to let this happen. The film wisely lets this dilemma breath for
a while as we get to see the characters contemplate what this means, and it’s all subtly done,
well acted, and directed. These moments definitely give the third act
a much slower pace than the rest of the film, which is seen as a negative by some, but it’s
these moments that make Shin Godzilla a truly great film that goes beyond its genre. Even though it’s addressing modern day fears
and disasters, the film still maintains an emotional and thematic connection to the horrific
events that inspired Ishiro Honda’s classic. It treats the idea of using nuclear weapons
on Japan with proper reverance and makes you feel the weight of that decision. The tension of the finale then comes from
not just stopping Godzilla, but doing so before the bomb is dropped on Tokyo, a successful
effort thanks to Yaguchi and his gang of misfits. Instead of just dropping a big bomb on Godzilla
that would have destroyed the capital of Japan, which likely wouldn’t have killed him anyway,
they figure out a way to stop him through hard work, clever planning, and out of the
box thinking. Japan is able to save themselves instead of
relying on the military might of others, demonstrating that it has the power and spirit to be their
own nation. This final point shows that, for as critical
as Ano’s story is of the government, it’s not anti-government. If anything Shin Godzilla is extremely patriotic
of it’s home land. It contains a very nationalistic message,
but in a naunced way without being jingoistic. And while the film doesn’t always present
the U.S. in the most positive light, it’s not anti-American. It acknowledges the value of the relationship
both good and bad, which feels true and honest. The film ends on a different but equally compelling
note as the original. While Gojira’s ending was very sombre and
full of dread for the future, Shin Godzilla’s ending is postive but cautionary, with Yaguchi
stating that they must learn to live with Godzilla, in a sense saying that, as deadly
as nuclear power can be, it’s a part of our lives now and we have to live with and manage
it instead of running away in fear. Then there is of course the final image, a
visually stunning and disturbing shot of what looks like half-human half-Godzilla like creatures
embedded in Godzilla’s tail, reaching out in agony. This ending shot leaves you with a lot of
questions, which is exactly what Hideaki Ano wants, and there are a lot of theories about
what this means. Personally I like to leave it ambiguous just
because I think that makes the ending more haunting. For me it works on a more metaphorical and
thematic level, and overthinking it kind of takes away from its impact. Like a lot of Ano’s work, it’s up to each
individual to interpret it in their own subjective way. It’s a perfect final statement to an incredibly
effective movie. To conclude, I think Shin Godzilla is a wonderful
creative achievement that respects both the central idea behind Godzilla and the history
of the franchise. Hideaki Ano is clearly a fan of Godzilla and
understands how to adapt the original story for modern times, but at the same time he
takes some personal creative liberties to keep it fresh, and in doing so makes a Godzilla
movie that’s as different as it is familiar. With this in mind, it’s absolutely no surprise
that Shin Godzilla won big at the Japanese Academy Awards. This is a film Japan is proud of, and they
have every right to be. Shin Godzilla was first and foremost made
for them, it is entertainment that encourages dialogue and provides catharsis for the citizens
of Japan to come to terms with one of the greatest natural tragedies of our time; the
kinds of tragedies that the nation is all too familar with, and it does so in a very
sophistocated way that you don’t see in most Godzilla movies. In my opinion, Shin Godzilla is the best Godzilla
movie since the original, one of the best kaiju movies ever made, and perhaps best of
all, a genuinely good film period. It reminds you why Godzilla is the ultimate
movie monster, because when someone with a vision and something to say really tries to
make not just a fun and entertaining Godzilla movie, but a compelling film in its own right,
you are reminded of why Godzilla is still as relevant today as he was 60 years ago.

How to cut out an image and add a White Outline using Photoshop

How to cut out an image and add a White Outline using Photoshop


In this video I am going to show you how to
cut out an image and add a white outline, similar to what you see in a lot of YouTube
thumbnails. Welcome my name is Marlon, one this channel
I provide Photoshop tutorials and other Photoshop related content. If this is something you
interest in make sure to subscribe and click the bell notification so you are notified
when I upload a new video. So once you have you image open. Select the quick selection tool and select
the subject. If you need to deselect any areas press the
ALT key and go over the areas you need to deselect. If you are using the latest version of Photoshop
you can use the Select Subject tool and Photoshop will automatically try to select the subject
However you might still need to use the Quick Selection Tool to refind the selection. Once the Image is selected, click Select and
Mask. Once the Select and Mask workspace opens we
are going to smoothen the edges of the selection. If we look at the edges we can see it is not
smooth. We want the edges to be smooth so we can get
a nice clean outline. To smoothen the edges I am going to adjust
the Smooth adjustment. You can also sharpen the edges if you want
to by adding a l contrast. The next step is to export the image, under
Output To select New Layer. Then click Ok. Before we add the outline I am going to turn on the visibility on the
on the background image. Then blur it so we will be able to see the
outline. Now we are going to add the outline. Click
the Add Layer Style icon. Then click Stroke. Change the Position to Outside. Adjust the size of the outline if need. You can also change the color of the outline. Once completed Click Ok. So that is you can add an outline to an image
using Photoshop. If you found this information helpful please
like the video. and if you are new to this channel I would love to have you subscribe. Thanks for watching and I will see you in
the next video.