Google Translate App – use your camera to easily translate

Google Translate App – use your camera to easily translate


Hi everyone this is Brad and we are taking a
look at Google Translate and how Google Translate almost has an augmented
reality type feel to it you can see at the very top that’s gonna
translate from English as Spanish if you want to reverse that select the arrows
in the middle and on now girl from Spanish to English for some reason you’d
like to change language go head in and then you can type the language that you
would like now we’re going to go back we’re gonna go from Spanish to English
you can see the options at the bottom where there’s the voice conversation
handwriting and a camera we’re gonna use a camera in just a little bit but what
we want to do first is download this offline translation file it’s really
helpful to have download it doesn’t take too long to download when you’re ready
it doesn’t take too long select the camera you’re gonna need to allow access
to the camera and determine it’s in Spanish is 10 gossip and boy and idea
which means have a good day so it’s written on my computer and you can see
right in there it has now been translated so there you go that’s a
Google Translate app if you have any questions let me know thanks for
watching take care bye bye

InDesign How-To: Put One Image in Multiple Frames (Video Tutorial)

InDesign How-To: Put One Image in Multiple Frames (Video Tutorial)


Hi, I’m Erica Gamet with InDesign Secrets.
In this video, I’m going to show you how to place one image inside multiple
frames inside of InDesign. On this page, I have several different graphics frames
ready for images to be placed inside. And I can tell they’re graphics frames because
they have the blue X in the middle of them. But what I want to do is place one
image inside all of these, so I get sort of this windowpane effect. To do that, I
need to create what’s called a compound frame. I’m going to select all the frames
on my page, go up under the Object menu, down under Paths and choose Make
Compound Path. And when I do that, you can see that I now have one big X that
basically tells me that’s one big image frame. They’re still sort of separate, but
it’s going to act as one frame. Now I can go up under my File menu, under Place and choose an image I’d like to place. There’s a nice picture to be looking at
outside your window. And since I have Replaced Selected Item already selected,
it will automatically put this image inside that frame we just created. I’m
gonna go ahead and click open…and it drops it inside. Now it’s not quite the
image that I was hoping to see. What happened was, it placed it at the size
of the image and it’s too big. So I need to head up to the Object menu, down to
the Fitting sub-menu and say Fill Frame Proportionally. Now it fits so that the
image fills the entire frame. Now remember this compound frame acts as just any other regular image frame. So I can actually use my Content Grabber to
click on the image and manipulate it in any way. Like I might want to hold down my Shift key, maybe the Option or the Alt key and just drag, just to make it a
little bit bigger, and I can also move this around inside the frame. Let’s just
frame that up nicely so we can see everything. Beautiful. On my next page I
have a series of circles. In this case, I’m going to place an image and sort of
position it where I want it to be and then we’re going to paste it inside our
compound path. So let’s go up to the File menu and choose Place and grab our image and I’m not going to Replace Selected Item…just gonna say open. And I’m going to just click and drag, sort of on top of
these circles that are here. I kind of want to get an idea of where everything
needs to be sitting. I can also send that to the back…so that I can see my image
sort of back behind those circles. And I’m doing that because I want to make
sure that all the components of this compound path are in place before I make a compound path. So I’m going to choose the Selection tool and just sort of move these images around. Now I do have white fills on those circles. It makes them
easier to see but also harder to see the image back behind. When I’ve got it about
where I want it I’m gonna leave it and I’m going to Command- or Control-X to cut that image. Now I’m going to go ahead and select all of my circles, go up under the
Object menu, down under Paths, Make Compound Path. And now I’ve got my
compound path ready to drop my image inside. I’m gonna go up to the Edit menu
and choose Paste Into, and it pastes it into that path exactly where it was when
I copied it. Again, you’re not stuck with this. You can go ahead and use the
content grabber and move that image just like you would in any other frame. On a new page, I’m going to go ahead and place an image and then draw some frames on top of that to place that image into. I’m gonna go up to the File menu and choose Place and click Open…and I’m just going to go
ahead and drag this out. And I want to draw some frames on top of this image. Now I want to make sure they’re easy to see, so I’m gonna make sure that my
stroke color and my size are easy enough to see. Now I just want to draw out some
regions that I want this image to fill. So I’m going to go ahead
draw out some squares. As I’m drawing them, I can actually see how they’re
coming together. I can use my Smart Guides to guide me. And make sure the
family gets in its own little frame here. I’ll draw that out very roughly. Then I’m
going to use the Selection tool, select the image, Command- or Control-X to cut
that, select all those frames, go up under the Object menu, Paths, Make Compound
Path, and choose Edit, Paste Into. And there you go! There are a couple ways to
take one image and put them inside multiple frames inside your InDesign
document. Well, I certainly hope you found this tip helpful. Be sure to check out InDesignSecrets.com for thousands of InDesign articles and tutorials, and to
subscribe to our monthly publication, “InDesign Magazine.” Thanks for learning
with us!

Citrix Automation, Image and Text Automation 4.1

Citrix Automation, Image and Text Automation 4.1


Hello and welcome to UiPath Essential training
‐ Image-based automation. In a previous training you learned about recording
desktop applications, and how to manually add actions to the recorded workflow. You saw examples for 3 out of the 4 available
types of recording: Basic, desktop, and Web. Today you’ll get to know the 4th one, Citrix. The tools and methods it uses are made for
automating virtual machines, but they are useful in other types of automation
too. VMs usually run on a server, and only the
image of the interface is streamed to the user. Therefore, UiPath cannot address the interface
through the operating system, as you learned, with Basic recording and selectors. We’ll need some special tools and techniques for that, and fortunately UiPath has methods
of dealing with these constraints. But there is one important limitation: you
cannot automatically record a set of actions, and have them played back. You have to hold the robot’s hand, and show
it what to do; at least for now. So, how do you do that? You try to teach it how a human does it: by
finding elements on the screen – like buttons or text fields – and doing something, in
relation to those elements: clicking buttons and controls, or filling in a text box. Let’s see a practical example. We have this Remote desktop connection, and
on the remote desktop we have a dummy banking app. Let’s say we want to click on some radio
buttons and fill in a few text fields. What we’d normally do is read the name
of an element, then click the corresponding control, and maybe type something. A robot does the same. Using clickImage, you can click on mostly
anything: buttons, menus, text, or somewhere relative to such an element. As long as the image you choose is unique. Let’s select this area for the Deposit radio
button. There is no other identical element on screen
so we should be good. We can choose where to perform the click,
inside or outside the selected area. We’ll hit ok for a click in the center of
the rectangle. Right; next, let’s fill out these fields
using the same method. Since we cannot select something
as generic as a textbox, we’ll choose something unique that’s close to it, and doesn’t
move in relation to our textbox. It’s name is usually a good choice. So, select the Cash-in area, and this time
choose to indicate where, relative to the yellow rectangle, to actually make the click. We’ll pick the text field. And type something to help us see the focus. And we’ll do the same for the next one:
ClickImage action, click&drag to select, indicate position… in the textfield next to it. And type. You could use this method for the 3rd editable
field too, but let’s see a complementary action, clickTxt. The difference from its sister method, is
that clickText uses OCR to scan the screen of the virtual machine for text. Hence, it works even if things
like windows-theme or text size are different. ClickImage, on the other hand, is faster and
very reliable, but more sensitive to such graphical variations, and can fail if colors
or background details change. So it’s more prone to errors in fluctuating
environments. So let’s try clickText on the last input
field. You’ll recognise this window from the ScreenScraping
training, but this one has a few more options on the bottom here. The Text-to-be-found field, is the text that
you want to click on, or click relative to. We want to click on the 3rd textfield, so
we’ll just enter it’s name. Now UiPath will click on it. We want to click next to it, so we’ll click
Set mouse position, and just like before, we’ll indicate where to click; in this case,
on the editable field next to it. After we insert one more type action, we’ll
do another clickText to press the Accept button. That’s it, exit and run the generated workflow. Great. It correctly identified the radio button and
the text fields, clicked in the designated spots, and typed in the text fields. Inside the generated workflow, there are a few important parameters you should know about. For the clickText and clickImage actions,
options for single or double click, and left or right mouse buttons can be changed here,
and modifier keys can be added here. Click Image also has an Accuracy parameter
you can play around with, and at it’s maximum value, 1, the images must match 100% to register
as found. 0.8 is a good balance between accuracy and
reliability, but feel free to try other values. You should know that ClickImg and clickTxt
have some drawbacks which can make them, in some situations, not 100% accurate. On virtual machines, ClickTxt relies on OCR
to find the desired text, so even one misidentified letter can throw it off track. And clickImage is very reliable, unless the
theme or other graphical elements have changed. So here’s an easy alternative that can be
faster, safer, and works in desktop & web apps too. We’ll go in further detail about it in a
future training, but it’s pretty straightforward, so here’s how it works. The trick is simply to avoid using mouse interactions,
and replace them with keyboard actions such as navigating with the Tab key, and using
keyboard shortcuts to activate different functions of the application. Basically, just add Tab and other navigation
keys using the type tool. For example, let’s type in this field, and
after the value, we’ll add a Tab key to move to the next field. And so on for the rest. Or, you can combine multiple keyboard actions
into a single one. Type the first value, then add a Tab, type
the value for the next field, then add a tab, and so on. After the last field, the focus moves to the
Accept button, so we’ll add a Space to press it; and we’re done. That’s all there is to it. As you can see, it’s a very fast and powerful
method to interact with applications, virtual or not. So now you know how to navigate a virtual
machine interface and activate various menus, buttons, and text boxes, with 3 actions: clickText
,clickImage, and TypeInto. To get information out of virtual machines,
there are again, 2 methods: Select&Copy, and ScrapeRelative. Select&Copy is the easiest, but works only
for selectable text, like these textboxes here. Remember that all commands are sent to the
whole virtual machine window, so the action is performed on the active textfield. That’s all. The two resulting actions are, you guessed
it, select & copy. The copied text is available as the output
variable of the second action, Copy selected text. Of course, you should combine it with any
of the 3 input actions to bring the focus to the intended text field. For example, we could simply drag in a Type
action, and simulate pressing the Tab key to move to the next input. And drag in a writeline for testing. Let’s run it. That’s the easiest method of getting text
out of virtual machines. But what do you do when some text that you
want is not in a selectable field? Easy. Remember screen scraping, and how that gave
you the contents of the whole window or container? You aply the same output technique, but relative
to a fixed element. The action is called Scrape Relative, and
it’s here under Screen Scraping. It allows you to scrape just a portion of
an image, relative to an anchor. Let’s get the result of this deposit and also the transaction iD.
We first select the anchor, Total deposit, and then indicate the area to scrape. In the scraping wizard, if we play around
with the setting we can see we get a better result with google OCR and a scale of 3. And continue, then repeat the process to get
the transaction id. Screen scraping>scrape relative>select
the anchor>and indicate the area to scrape. Let’s see what we got. You learned about most of these actions in
the ScreenScraping training, but here’s the newcomer. The ScrapeRelative action is actually a series
of 3 actions: first finding the anchor image. when an image is found, a region identical
to the anchor selection you made, is the actual result;
then, UiPath calculates the region you indicated, based on the anchor image;
and gets the content of that region, using GetOCRText. There’s also a 4th action that resets the
clipping region, because it’s a shared resource, and this avoids interference with other operations. It’s not mandatory to understand what each
of these actions does, but you should know that the scrape relative action generates
these 4 activities. Now all we have to do is add in a couple of
writelines and we’re done. The output of the ScrapeRealtive action is
in the GetOCR actions. Looks like our results are pretty good, except
a couple of spaces we can clean up later. That’s all you need to know to start automating virtual machines. Let’s do a quick recap to see what we learned. Today we focused on image automation, and
its special limitations. The first tool you learned about was ClickImage,
and you saw how to use it to correctly identify and click on certain interface elements, like
radio buttons and text fields. You also got a chance to try out the ClickText
tool, which scans the whole virtual machine for text location, and lets you to click on
any identified text, or relative to it. There was also a very useful technique of
using the keyboard exclusively, to move around an app’s interface using special keys like
Tab, arrows, and other shortcuts. In order to get information OUT of apps, the
first and simplest method was Select and Copy. As its name implies, it simply selects editable
text, and copies it to the UiPath environment, through the clipboard. For more difficult, non-selectable text, you
learned about the Scrape Relative action. It locates fixed elements on the screen, and
then, using OCR, extracts your relevant information. That’s all for image automation, but if
you’d like to know more, have a look at the advanced training. We’ll be covering a few more techniques
related to virtual environments. Goodbye!

Primary Year A Quarter 1 Episode 2: “In The Image of God”

Primary Year A Quarter 1 Episode 2: “In The Image of God”


Hi everyone. It’s Aunt Frenita. Today’s story is called, “In the Image of God.” The memory verse is from Genesis, Chapter 1, Verse 27. It says. God created mankind in His own image. In the image of God, He created him. Male and female. He created them. Today’s message is, God surrounds me with His gifts of love. God created a beautiful and perfect world in six days. Then He created two very special people to enjoy it. Let’s read about it. God had created the sun and the moon. He had created the plants, fish, birds and animals He looked at everything, and saw that it was good. But His creation was incomplete. It was time to create people. Making people would be different from making the creatures and the plants People were to be in God’s own image, and they were to rule over the animals So God formed a man, out of the dust from the ground He carefully made the man’s fingers and toes, his eyes, ears and mouth. When God finished modeling the man, He blew into the man’s nose. The man began to breathe! He opened his eyes and looked around God smiled at the first man, and called him Adam There was a lot to do that day. God told Adam that he was in charge of all the animals. His first job was to name them Adam probably laughed when he saw the monkeys hanging from the trees, chattering to each other. He may have grinned when he saw the elephants with their long trunks and big flapping ears. He probably stopped to pet the shy deer, and play with a black bear God said, “It is not good for Adam to be by himself.” “I will make a mate for him.” Adam had probably noticed that he was by himself He may have noticed that all the animals had a partner They had creatures like themselves to keep them company They could communicate and share things But there had been no one for him. So God made Adam fall into a deep sleep Then he took one of Adam’s ribs and created a woman When Adam woke up, God brought the woman to him Adam was pleased He said, “She was made from my bones and my flesh.” “She will be called woman, because she was taken out of man.” And Adam called the first woman, Eve. At the end of the day, God looked at everything He had created. He saw the plants, the trees, the fish, the animals, and Adam and Eve. It had been a good day. And God said, “This is very good.” This podcast is read by Frenita Buddy-Fullwood for gracelink.net Created and produced by Falvo Fowler Post produced by Faith Toh at Studio Elpizo in Singapore The theme music is by Clayton Kinney Animation and artwork by Diogo Godoy gracelink.net

How to Map Designs onto 3D Shapes in Illustrator


– [Instructor]
Hello, and welcome to this Design
Cuts video tutorial and today, we’re
going to look at mapping designs onto 3D shapes. I’ll start with a
brand new document. Mine’s just going to
be 1920 by 1080 pixels in size in RGB colour mode. Yours can be any size you like. Of course, if
you’re working with an earlier version
of Illustrator, your dialogue’s going to
look something like this. I’m going to go ahead
and create my document. Before we can
create our 3D shape and map a design onto it, we
need the design to work with. So, I’m going to make
a pattern of stars. I’m going to the star tool, I’m just going to click
once in the document. I’m going to create
five-pointed star. So, I’ll just click OK. This is a little bit big for me, so I’m just going to
shrink it down in size. Right now my star has a white
fill and a black stroke. I’m going to get rid of
the stroke in a minute, but, so that that I can see
my star while I’m working, I’m going to leave it in place. I’m going to choose
Effect, Distort & Transform and then Transform because I
want a whole heap of stars. So, I’m going to type in around
20 as my number of copies, and I’m going to
start moving them out in a horizontal direction. I’m just gonna space
my stars out nicely. I’m gonna add a few extra
just for good measure. And I’ll click OK. Now with this star
selected, I’m gonna choose Effect, Distort & Transform
and Transform again, and I need to
apply a new effect. And this time, with
Preview turned on, I’m gonna make about 11 copies and I’m gonna be moving
in an upwards direction. So, I’m going to be
decreasing the vertical value. And this is a nice array of
stars for me, so I’ll click OK. Now, at the moment,
everything is associated with just this star down
here, so I need to expand it, so I’ll choose Object,
Expand Appearance and then Object Ungroup and
I’ll continue to do that until Ungroup is no
longer an option. And it is now no
longer an option. Now, with all of
my stars selected, I’m going to turn
off the stroke, so I just have a solid
filled set of stars. And, I’ll choose
Object and then Group. So, now I have a series of
white stars all in a group. I’m gonna open up my
Symbols panel here. If you don’t see it, you can
choose Window and then Symbols. And, you’re gonna click
here on New Symbol. And, I’m just gonna
call this Stars. The fact that it’s
a dynamic symbol or a static symbol
is totally immaterial and we don’t have to
reset its export type because that’s not
appropriate either. We can just click OK. And, since I no
longer need my stars, I can select them
and press Delete. Now I need something
to put my stars on, so we’re going to
create a 3D shape. I’m going to select a fill here and I’m going to use a
really dark blue fill colour. Maybe something even a
little bit darker than this. And, I’m gonna
draw out a circle, so I’ll go to the ellipse tool, hold the shift key as
I drag out a circle. Now, I only need half a
circle for my 3D effect, so I’m going to the
direct selection tool. I’m just going to
select over this anchor point here
and press delete. So, now I have a semicircle. With it selected,
I’ll choose Effect and then 3D and then Revolve. I’m going to turn Preview on ’cause I need to see
what’s happening here. And, my revolve has not worked
out exactly the way I wanted. I wanted a sphere and I’ve
got a sort of cylinder. Well, the reason for this
is this setting here. At the moment it’s rotating
from its left edge. I want it to rotate
from its rightmost edge and this gives me what
I expected to see. I can choose plastic
shading or diffuse shading. You can choose
whichever you like and then you can alter your
light source if you wish. So, I want a light source that’s sort of coming in from
over here for now. If you don’t see all
of these options here, you just click your
More Options button. And then you need
to go to Map Art. Now, this shape here
only has one surface. And this is what its
surface looks like. And if we want to
map our art to it, we can just drop down this list and this is a preview
of all the symbols available in this document. And, since we made our
stars into a symbol, then we can use the stars
to map onto our 3D art. Now, at the moment,
the stars are smaller than the mapable area, so I’m just gonna
click Scale to Fit. And I’m gonna make
sure that this doesn’t give me stars that
are distorted in any way. If they were, I
could drag this out to make them taller
or shorter or wider. But, it’s looking pretty
good with Scale to Fit. So, I’m just going to click OK. Now, at this point, I could
also rotate this shape. At the moment, it’s an
Off Axis Front setting, but you can choose
any of these options. So, you could choose
Isometric Left, or you could choose
Off Axis Back, or you can even rotate
the shape yourself so you could rotate it around and see which area of the
shape you wanted to see, and when you let go, the art
is mapped onto the 3D shape. At this point you
could also go ahead and adjust the light source. You can add additional
light sources as well. So, I might want some
extra light here, so I’m just going to add
a second light source. When I’m happy,
I’ll just click OK. Now, the way that
Illustrator works is that this is just a 3D
effect applied to my shape, so if I select my shape and
go to the Appearance Panel, you’ll see that there’s an entry for the 3D revolve
with the map artwork. If I turn off the eyeball
icon here, this is the shape and this is just an effect
applied to our shape. Let’s have a look at another
possibility for our 3D shapes. I’m going to select
the rectangle tool. I’m going to just drag out
a long, narrow rectangle and up here in the
Shapes Dimensions, I’m just going to set its
height to a known value. So, I’m going to
set it to 25 pixels ’cause that’s going to make my mathematics a little bit easier. I’ll select the shape, hold
down the Alt or Option key and drag a duplicate shape away. And, this one I’m
going to colour white. So, together these two shapes
are 50 pixels in height. I’m going to choose Effect
and then Distort & Transform and Transform because
this is an easy way of creating a striped pattern. I’m going to add about 10 copies and I’m just going to move
these vertically 50 pixels because that’s the height
of combined shapes. And, here are my stripes. So, I’ll click OK. I’m going to choose
Object, Expand Appearance to expand these and I’m
gonna choose Object, Ungroup and continue to do that until Ungroup is no
longer an option, at which point, I’ll
just choose Group to group them into
a single object. And, of course, now, we need
to add them as a symbol. So, I’ll just click
here on New Symbol. I’ll call this Stipes
and just click OK. And, since I don’t need
the stripes any longer, I’ll just select
them and delete them. Now I’m ready to create a shape, and for this, I’m just
going to use the pen tool. I have a sort of
blue colour selected. You’ll need a colour just so
you can see what you’re doing. I’m going to click and drag
in a sort of upwards direction and then come over
here and click and drag in a sort of
downwards direction. It’s this sort of
curve that I want. I’ll press Escape to
finish drawing the shape. With the shape selected, I’m going to choose Effect
and then 3D and then Revolve. And I’m gonna click Preview on. And this is the sort
of shape that I want, a sort of cone shape. Now, I can vary it a
little bit if I want by just tipping it over. This shape might be a little
bit difficult to fill, so we’ll see how we go. I’m going to click on Map Art and I’m told that there are
now three surfaces for this. Each of these surfaces
is a little bit different to the others, so I’m going to select the
first surface and click stripes. And, I’ll scale ’em to fit. And, that’s going on
this area of the cone. Let’s go forward to
the next surface, and, again, apply
our stripes to it. And, again, scale it to fit. You can see that Illustrator
has split this into two pieces, so there’s this piece
and then the next piece that we’re going to be mapping
to is this outside piece. So, you can see, it is a little
bit of an inexact science. But, let’s go ahead and apply our stripes to the last surface. And, again, we’ll scale to fit. Now, because we’ve
got two surfaces here and one is quite
narrow, these stripes have ended up being
really close together. Well, we can solve that
by just stretching them so that they better match the
other stripes in this shape. I’m a little bit concerned
at the join here, so I wanna make sure that
I’ve a good result here. And, you could always come
back to the previous surface and just adjust that
a little bit as well until you see something
that looks pretty seamless. And then click OK. At this point, I’m going to be very reluctant to
reshape my shape because it’s going to be too
easy to lose this design. So, I’ll just click OK. And, again, I can move
this shape out of the way and we can have a look
and see what we’ve got. You’ll find that there’s
a lot of fun to be had in creating shapes
and revolving them and then mapping your
art to those shapes. It’s a fairly easy process and shapes like the sphere are going to give you
really good results. Other shapes, a little
bit more challenging. I hope that you’ve
enjoyed learning this Illustrator technique for mapping art
onto 3D surfaces. Let us know what you think
in the comments below and give us a thumbs up if
you enjoyed the tutorial. Until next time, I’m Helen
Bradley for Design Cuts.

Crazy ROTATION TRANSITION EFFECT with 360 camera | A$AP Forever music video in low-budget | Gaba_VR

Crazy ROTATION TRANSITION EFFECT with 360 camera | A$AP Forever music video in low-budget | Gaba_VR


Hey Guys, it’s Gaba VR. I’m a 360 content creator and photographer,
publishing 360 travel videos and tutorials, showing you creative photo and video techniques. And this time I show you an exciting
camera rotation transition trick, we can achieve the most budget friendly
and easiest way with a 360 camera. We can see a very similar effect
in a music video from ASAP Rocky. And in 2018 the guys from Cinecom.net
also tried to recreate it with a lot of efforts, but as you can see,
it wasn’t the perfect solution, as they had to build a huge construction
for the rotating camera movements. And of course, it would have been very difficult
to use it outdoors or move it to different locations. But today I show you my way,
how I manage to recreate this effect almost anywhere, even outdoors,
just like we can see it in the original music video. So let’s go hiking, and shoot some nice b-rolls in 360. Now I shoot with Insta360 One X,
which is a small 360 degrees action cam, but if you are planning a higher budget production,
of course, you can go higher in resolution too. Now I shoot in 5,7K. And just like in most of my videos this time I also
have to talk about shooting and editing separately. So besides shooting with a 360 camera, this time I use
a special accessory, which is a modified selfie stick. And I will do some camera movements during shooting
and add some further ones during post-production. In one of my previous videos
you could have seen this tiny accessory, when I was shooting an advanced Bullet Time video. I inserted it between the selfie stick and the bullet time
handle, to play around with angles during shooting. This time I put this ball head between the selfie sticks,
so I will have a long but not totally straight selfie stick. And this angle will help me create
special camera movements. The point is that I have to draw a nice arc in the air
above my subject, from the bottom through the top, and to the bottom again. In this case I found this modified shape
to be the best for me, but of course, we can play around
with different solutions. I used two invisible selfie sticks, but we can replace
one of them with a longer and stronger pole, if needed. And we can play around with further solutions, too. For instance, if we have an extra-long,
extended selfie stick, in certain cases
we can use it without any modification, or we can use our bullet time handle
instead of the tiny ball head, depending on the scene. The straight 3 meters long pole is not always the best
choice, because sometimes we can’t put it high enough, and that’s when a 90 degrees angle
is the most comfortable, using the bullet time handle with two selfie sticks. But in most of the cases I prefer using the ball head
which allows me to go far enough while providing me a nice height above the subjects. But besides playing around
with different selfie stick solutions there are some further important rules during shooting. First, we have to move the camera really smoothly
in a big arc, without any vibrations and brakes, taking care of the shadows. A visible shadow could ruin a shot,
so we have to be conscious during setting up a scene by avoiding shadows on the visible surfaces,
or even moving our subject into the shades instead of shooting in direct sunlight. Then, it depends on the style we are going for,
but we always have to add depth to the scene, using foreground elements
to make a nice transition between the shots. Sometimes the direction of the movements
creates a nice, natural connection between the shots, but we can make it even better
with some in-camera transitions. For instance I start all of the shots in a really low
camera position, almost touching the ground. Or I place my talent on a small hill,
so I can go even lower. And I can use small rocks or further objects,
like fences and the back of the talents at the cuts. So I’m thinking forward even during shooting,
creating the bases of the transitions in camera. Then I import the footages in Premiere, create
a new sequence from the first clip and start editing. I cut the footage to small pieces. As I repeated the same movements several times,
finally I can pick up the best takes. I have recorded everything in two directions, so I just reverse every second takes,
and finally they will be similar. After picking up the final takes, it’s time to create
those really cool camera movements I was going for. I’m not sure exactly how they achieved
these camera movements in the original video, but now, I will recreate them
by reframing my 360 videos. So here comes the magic! First I drag and drop a reframing plugin on my footage. Different plugins have different advantages,
but now I will use the old GoPro VR Reframe plugin. After setting up the starting points
I create keyframes for all the parameters, because this time will have to modify all of them. I’m starting from a low camera position, but moving the play head a little bit forward,
you can see that the scene is changing really fast. It’s only a couple of frames,
and I have to modify the angles. This time I have turn my virtual camera to the ground,
and make sure that my feet don’t get into the frame. The hardest part is at the end of the arc,
as I have to turn the virtual camera upside down. At least this is the most difficult for me. But I try my best
to make everything straight and leveled. And of course I double check whether I’m finally totally
out of the frame and my boots don’t ruin the shot. Then I add a smooth transition between the states,
turning on Ease-in and Ease-out. And finally, you can see
how these camera movements follow the arc. And it really looks like the effect
in the original music video. But it’s not only about
creating these camera movements. This technique is about transitions,
putting all of the footages together, and it’s much more exciting
than creating one single shot like this. So after keyframing each takes, it’s time
to create a longer sequence of them. Depending on the in-camera transition I applied
during shooting, I can match the different takes, for instance, creating a transition with the ground, or
using some fences or one of the talents on the scene. And as you can see,
we can play around with different transitions, and it’s worth planning them during shooting. It makes post-production easier, while the takes with
some foreground elements look the best in the end. I just try to refine everything at the cuts, and that’s all. Maybe I speed up some of the clips a little bit, or I create
a speed ramping, making the transition a little bit faster. Or it’s not all about the visual effects. A lot of people often forget about it,
but I think sounds are really important too, even when we work with such a b-roll sequence. So I add some woosh effects, and even more a dog bark
to a certain point of the video, which actually makes it really funny, I think. I think this sequence looks nice,
showing you some snapshots from our hiking. But of course, you can shoot videos like this
almost anywhere, both indoors and outdoors. And I believe this is the easiest and cheapest way
to create such an effect, by using a 360 camera and a short post-production. I hope you will like and use this technique,
shooting some really cool b-rolls during traveling. And if you like this tutorial, please thumbs up, and for further 360 contents and tutorials,
please subscribe to my YouTube channel. And see you next time!

Camera Setup for Guitarist | Phone VS DSLR vs Cinema Camera

Camera Setup for Guitarist | Phone VS DSLR vs Cinema Camera


If you’re in the market to improve your home music video quality I’ll show you three different camera setups and why you might consider investing in one or the other I’ll compare two smart devices against a DSLR and a cinema camera plus offer a few insights about the pros and cons for each All that coming right up. Hey guys, my name is Mustafa Kamaliddin and I’m a professional classical guitarist and a videographer This channel is about beautiful guitar music free arrangements lessons and gear tips If this video helps you, please consider subscribing and share your questions and thoughts in the comment section down below So to begin with I started uploading videos to YouTube in 2009 I used to record with my sony point-and-shoot camera back Then the quality was bad and I didn’t know why fast forward to 2014 and I’ve upgraded to Sony Vixia handheld video camera labeled at full HD the quality was still bad. So two years ago I started seriously researching why my quality was bad and how I could improve it which began an exciting journey to becoming a Videographer today I’ll show you some of those answers that I’ve found which upgraded my videos from this To that Before we begin let’s talk about a problem. Most youtubers don’t mention when a musician records a video they usually have to walk back and forth between themselves and the camera to make sure their recording settings are correct or the impossible to stay in focus This constant back and forth will lead to frustration and make your recording session longer two of three setups I’ll teach you today solve that problem by remotely controlling the camera The first camera setup will discuss is the cheapest one using a smart device I’ll use Nokia 6.1 2018 smartphone which shoots 4k and a 2018 iPad Most people have a smart device laying around the house So it makes sense to start with this setup as it will cost you almost nothing however You’ll need a few accessories such as a tripod and an adapter which will cost you around $50 use natural light But if you need an option, I recommend an LED light if you’re interested I’ll list two options plus links to all the accessories in the video description Alright, I have my phone and iPad set up as you can see in my studio I need to set them to record first before I can sit on my chair Not knowing if I am properly positioned in frame, or if I’m in focus with enough patience It can be done or you can focus on the entire frame which will remove the bokeh effect This is inconvenient time-consuming and has low quality. But on the flip side it cost me nothing The second camera setup will discuss is the popular DSLR option I highly recommend the canon t7i, or its 4k equivalent the t8i which will come in about a month or two There are a few advantages to this camera over other cameras It has all the standard features of other HD cameras such as shooting 1080p at 60 frames per second It has a flip screen which saves you money on buying an external monitor You can plug your recorder straight to the camera and record audio directly which saves you a lot of editing time in post It has great color science right off the camera meaning if you don’t know how to color grade or correct? You can rely on your camera’s colors as long as the exposure is correct It has a cold shoe mount if you want to mount a recorder or a monitor on top and can be powered through an AC Adapter to your wall outlet. It’s a must feature if you’re a musician The most important feature though is the remote control app Which allows you to control the camera entirely through Bluetooth? You can control its settings focus and start plus stop recording and this test I’ve paired it with the cheap canons 50 millimeter F 1 point 8 and 150 Canadian dollars notice the blurry background that we couldn’t get with the smart devices. This setup will cost between 850 to $1,200 depending on the accessory Our third camera setup is to use a cinema camera cinema cameras are the next level after DSLRs and they are specialized for shooting video I’m using black magic pocket Cinema Camera 4k this camera can also be controlled by an app Except you can’t see yourself in a smart device and have to rely on an external monitor to frame Moreover it does not have auto focus Which means you have to rely on a monitor and some time to nail the focus down Other than that, it’s almost identical to Kennedy seven-iron features It can be powered by a AC adapter that comes with the camera It can be plugged for direct audio recording from your recorder main difference is it is much powerful for video and can shoot 4k to get this camera going you’ll need anywhere from 2000 to 2500 dollars depending on accessories Okay, guys, let’s discuss the results Obviously the smart device option cannot compete with the DSLR or the cinema camera due to one factor the sensor size The smart device sensor via the phone or an iPad is too small compared to a camera No matter the resolution if the sensor is too small, it can’t capture enough detail again compared to a DSLR Comparing the DSLR to the cinema camera. I’ll let you be the judge using the footage I provided keep in mind that the cinema camera shoots raw, which is great but requires a powerful computer to edit which increases cost and time in post for the purpose of this segment a view sigma art f 1.8 at roughly the same focal lengths for both cameras 18 millimeters for the Canon and 16 millimeters for the Blackmagic I Hope this video helped you and I’m curious as to what you think is the best setup out of the three that I’ve showed you I’m also curious as to what you use in your home studio before we wrap up I’ll upload more videos soon to teach you how to arrange your studio frame yourself properly and record audio all this to improve your production quality So subscribe to stay in touch with all the awesome free content coming your way Unless if you want to buy any of the gear that I’ve shown you today Please consider doing so through the affiliated links in the video description Your support will help me in my own journey If you have any questions comments or suggestions, please write them down in the comment section down below My name is Mustafa Kemal din and see you next time

Easily Expand Your Underwater Camera with Flex-Connect | SeaLife Underwater Cameras

Easily Expand Your Underwater Camera with Flex-Connect | SeaLife Underwater Cameras


If you want to achieve bright colorful underwater
photos and videos, you’ve got to use the right lighting. Without it the magnificent colors
found in fish, coral and other undersea creatures will appear grainy, muted, lifeless and overly
blue. Imagine one simple lighting system and being
able to adjust your lighting needs to your environment quickly and easily. SeaLife Sea Dragon Lighting, including powerful
LED photo/video/dive light and compact flash provide the light needed to bring out rich,
deep colors that will make underwater photos and videos come to life. All Sea Dragon lights are compatible with
all underwater cameras are compatible with all brands of underwater cameras. This includes
GoPro and other high resolution video action cameras where lighting and stability are essential
for use underwater. The Flex-Connect mounting system makes it
incredibly simple to expand your camera with underwater lighting. Add lights, grips, trays,
Flex Arms and other accessories instantly by just clicking them into place. Disassemble
accessories or change your setup equally as fast with just the push of a button. With a growing line of Flex-Connect accessories,
customizing your underwater camera set has limitless possibilities. By starting with
the Sea Dragon lighting or camera set then adding just a few Flex-Connect components,
you’ll be able to alter your set from dozens to hundreds of variations in no time at all. No matter what your diving environment, Flex-Connect
allows you to customize your underwater camera setup quickly and easily, on land or underwater.
Ranging from feature-packed to ultra-compact and everything in between, the Flex-Connect
system has you covered. Visit sealife-cameras.com for more info on
SeaLife cameras, Sea Dragon lighting and the entire Flex-Connect system.

Microsoft Word Tutorial [How to insert images into a word document table]

Microsoft Word Tutorial [How to insert images into a word document table]


>>Instructor: Hi Guys. So here’s the scenario. Let’s say I’m doing a
report on my latest trip to Toronto’s Ripley’s aquarium. I might want to complete
this task in Microsoft Word. However, if you have ever
used Microsoft Word before, you might’ve noticed that completing tasks involving pictures can
be extremely frustrating. So in this tutorial, I’m gonna show you a few
tricks to insert pictures into a table in Microsoft Word easily, to create something like this. And at the end of the video, I will also show you an
alternative to Microsoft Word for this type of task. So just two things to keep in mind, we’re gonna use a fixed column width before inserting pictures, so
they fit nicely into our table and we’re gonna unlock the aspect ratio, so we can resize photos,
just a little bit. But first we’ll change our
orientation to landscape that’s in the layout tab and you just go to the orientation. And then we’re gonna change
our margins to narrow. If you want to use the full page, you could change the margins even further, but narrow works for us. And then we’re gonna insert our table. So I’ll start typing the actual species that I saw at Ripley’s aquarium. I actually did see these, types of fish. So, I’ll start typing them into our table and then we’ll insert a picture above the words that we just typed in. So now we’ll resize the table and you can do that in
the cell size group. I’m just changing the height of the table, so I’m just kind of playing
around with which size works. I think 2.9 inches works well for us. And then we’re also gonna
change the text alignment to bottom in the alignment group. And then you can also
manually move your table around the page. I’m trying to get as close
to the center as I can. And then this is really important. So before we insert pictures
we’re gonna click Auto fit and then we’re gonna choose the fixed column width options. So that’ll make sure that
your pictures cutting don’t explode when you’re inserting them inside of a cell in a table. So here’s an example of
what that would look like. This is your picture kind of exploding, which happens a lot in Microsoft Word. When you try to insert a
picture onto your page, it kind of pushes everything away. So make sure you click, Fixed column width, when you
have the whole table selected. Now when we insert an online picture, which can come in
different shapes and sizes. So that’s why we have to choose that fixed column with option. I’m gonna look for my first
one here, the Jelly Fish. And the greatest thing
about the online pictures through Microsoft Word is, you’ll see that it says,
“Creative Commons only.” Which means you’re
actually allowed to use it and it’s not copyright. So, the best thing you can
do is kind of put the link, maybe if you’re doing a references page and just give a link to
where that picture came from. So we’ve got our picture in the first cell and now I’m going to increase the height. But you see what happens
when I increase the height, the width increases too. Sometimes that’s the reason for that is to maintain the quality of the picture, but that doesn’t work
for us in this example. So I’m gonna say “Take
off lock aspect ratio, “in the size dialogue box.” And now I can increase the height without increasing the width so that it fits are the
dimensions of the cell. You might lose a little bit of quality, but it has to kind of fit into our cells. So it didn’t lose too much color there. So just again, online pictures. The greatest thing about
these online pictures through Bing Search versus Google Images is that it says, “Creative Commons only.” Which means people will allow
you to take these pictures, and there’s even like a link that I’m gonna delete
here under the picture, but I could, if I was
actually filling it a report, I’d probably put the link in a references or bibliography page. All right, so again, I’m
gonna increase the height. You see the width increasing. So if I click on the
dialogue box for size, check off the lock aspect ratio and now I can change the
width and height separately. All right, so I’m just gonna repeat this a few more times, for the other pictures. So we’re gonna quickly fill out our table and again, just clicking
the … taking off the … or unlocking the aspect ratio will allow you to manipulate the pictures a little bit more. So now that we’ve got
our pictures in place, we can do a few extra things
like shading the table. I mean to choose the orange color, I don’t make it stand out from
all the blue that’s in there. And then you can also
increase the font size. So I’m just doing that. When I click on the table, these little options come up and I’m gonna increase the font size and make sure as far as I can and keeping our table on one page and then the word stand out. And I’m also gonna change the page color just to add some more to
our underwater design here. So that’s how you could make a table, with pictures in the inside of Word. But here’s an alternative, so just … If that was a little bit … If there’s too many steps there, there’s a little bit easier way to do this inside of PowerPoint. And what you’re gonna do
is click inside of a cell and then when you shade it,
you can choose a picture, and what it does in PowerPoint that Word didn’t have an option for was it’ll actually resize the picture and make it fit perfectly
into a cell automatically. So I’ll show you quickly
what that looks like. So if I click in the first
cell above the Jelly Fish, and then I go to the Design
tab and click Shading, there’s the picture option. So now in the same way that I did before, I’ll choose an online picture and choose the Jelly Fish option. And now this picture
fits inside of the cell. And if I was the resize the table, it would also still fit. So it’s a little bit easier
than using Microsoft Word. So I’m gonna repeat this
step for the Sharks one, and then you can see that the picture fits perfectly inside of the cell. I’m gonna finish our table with all the other pictures as well, and you can have a look
at what that looks like and how easy that was to
insert those pictures. So this might be the better option. Let me know in the
comments what you think. Would you still have to use Microsoft Word or would you prefer PowerPoint to do this? Just like our last example, I can play around with the font. Then in PowerPoint, if you
want to change the background, it’s just in the design tab, and then click on format background. I can choose a water droplet
texture just like before. So which table gallery looks better? And which program would you prefer for completing this type of task? Let me know in the comments
by typing PowerPoint or Word in the comments
section of this video.

Working 3D-Printed Car Engine Models!

Working 3D-Printed Car Engine Models!


hey everybody its norm from Tested and
French contesta we’re here at Maker Faire 2017 and got in before the doors
open we’re got crazy we’re drawn to this
booth these are 3d printed car engines amazing and they’re designed by this
gentleman here Eric how you doing Eric tell us how this project got started how
long you’ve been making this and your whole process of making these engines
about three years ago I was rebuilding a Toyota engine my garage and you know I
had a 3d printer and the only thing available was only like trinkets and
knickknacks online for people to download I figured hey I can model this
up in the computer and you know make it printable and make it you know moving
and running and share with everybody so they can have something to download and
see how an engine works on the inside and you know transition from like 3d
printing says automotive the mechanical it was kind of like a cool version of
those model kits you be able to get they were there clear energy yeah I always
wanted one as a kid and that was one of the inspirations to you know I can just
make my own so you have a bunch of different kinds of engines like is there
like a rhyme or reason which well I had to say own engine in my garage and I was
rebuilding that and then my friend had a Subaru WRX engine just laying around so
I took that and reverse engineered it and then the newer ones were done from
some CAD files and drawings and then the most recent one was done by just specs
and pictures and that was that was the challenging part was doing it from just
effects and pictures I’m having no dimensions or any
we chat with people who make replicas you know items all the time whether
they’re movie props or mechanical things when engine is a very fairly complex
piece of machinery it what’s your design process like your reference you said
it’s from real engines the schematics but how do you start designing this it’s
not just Sketchup there thank you I just jump into it and it’s I visualize it in
my head I can see some of the moving parts and I can put that in the computer
and it’s just I don’t know how to explain it that well but this is how I
work and because there are parts that you start with like like the camshaft or
I start with the engine block yeah and then I came from specs and dimensions I
can start with the stroke and the bore and then designs it from there to start
to do a crankshaft into the kits and connecting rods and I built my work my
way out and then as building in the computer it allowed me to do the whole
assembly piece by piece and then have a full almost full functioning model in
the computer how much of it are each engines 3d printed parts versus hardware
I see some other hardware you have to bring in it maybe like two or three
percent hardware it’s diff metric fasteners and springs and bearings but
it’s mostly printed so in tolerances looks like that’s a pretty tight the
first ones we’re pretty tight but I designed all my parts to be printed on
just the cheapest printer I can find so anybody can print it you know anybody
can download the files and print their own so to help the tolerances are loose
where they can be and they’re tight words they need to be so there’s like
some people need to do finishing work and stuff but I’ve learned through the
process that what I can design tolerance revise wise to make things easier for
people that print on their own you’re going to try honing out the cylinders
and putting a ring in the piston I thought about doing more like you know
leaving a piston and maybe doing them like an ethanol engine or something but
that’s more more work and more time you could probably get a low temperature I
would trying to return the lowest burning fuel but yeah anything is going
to burn in the got a print in nylon and all that stuff
and that’s one more project – one more camel worms open up that I’m not sure if
I want to tackle so these dentures all run off the motor on the outside they
actually run them what does this come and looks like you have a dial here
adjust speed it was just a small gear DP motor hooked up to a pulse width
modulation controller to a 12 volt power supply it allows you to just turn it
down and up so you can see me flow down you see the valves actually moving and
in sync with the Pistons are you also modeling the pathways for the coolest to
flow through now no pathways oh okay I can but it’s it’s more time you know and
then when you get into the cool jackets and the oil plastic engine you’re making
thinner walls that some speed repairs can’t sprint and they’ll just end up
with gaps and you can make it clear and then you could put coolant through it
yeah yeah I mean the possibilities are endless you can just take it wherever
you want to go so I think it’s cool though and you’re designing basically a
lot of these there’s fpm prints oh you also experiment with different types
some companies have taken like the Subaru engine and they printed it on
poly jets and stuff and that really stayed pretty Molly Jessica like words
like this look like a clear acrylic piece and you can see everything moving
but yeah I don’t have access to those printers so but some people have tried
it now the transmissions that you have like transmissions are in my brain like
a complicated yet and like one reason why I kept doing it because I can’t
explain how a transmission works or somebody you just can’t like verbally
verbally explain it yeah it’s impossible so if you download the file then you
assemble if your own you will know exactly how it works how to get the
gears and cogs move and lock and everything it’ll make sense
have you gotten into an automatic transmission yet I want to but it’s hard
to the planetary gearset and you can do it but then you wouldn’t
be able to see the planetary gearset clear and you wouldn’t be able to see
like the clutch back moving yeah so and I can’t print and clear to where it’s
you know visible gotcha I want to it’s just
and these because they’re decisional files you can put them at any any scale
scale you like or what started at about third scale to that were my printer
cable and then that just worked out that with a good scale so I kept going
everything its third about third scale it’s thirty five percent of the real
what’s the smallest you’ve gotten an engine to work in print
I haven’t scaled it down below 35 per can because that’s where my bearings are
I sized them for the bearings and you know I people have printed smaller but
they have gone out and source their own bearings and modify the file now do you
think you could take a classic engine like this and maybe do like a lost wax
kind of cat on you you could lost feel like ass yeah but you know one more
project and one more thing to but to recreate a classic engine that they
don’t make those engine block for any re I mean this would be hardware picking
one the flathead because the cores in it would be perfect in it for lost wax but
yeah it’s just one more thing if anybody wants to do it the files will be
uploaded and they can you know they can tackle that on their own awesome well
thank you so much here for sharing with us your 3d printed engine designed and
like you said these are all available online and little bit more on
Thingiverse the newer ones aren’t online yet but they will be eventually and
what’s next for you going on three years what’s the next challenge you’re going
to keep on making more engines and traditions I’m trying to find something
more complicated rotary engine rotary is next yeah rotary is like a two rotor
engines X 4 engines next um but I’m trying to find more complicated things
to the model in print so engines are so far the most complex tank engines and
transmissions cool awesome thank you so much
let’s meet you thank you