Actor Dhanush Family with Wife, Sons, Father, Mother, Sisters & Brother


Actor Dhanush Family Photos Original Name: Venkatesh Prabhu Date of birth: 28 July 1983 Place of birth: Chennai, Tamil Nadu, India Occupation: Film actor, Director, Producer, Playback singer, Lyricist Height: 5 ft 5 in Spouse(s): Aishwarya R. Dhanush (m.2004) Children: Yatra, Linga Parent(s): Kasthuri Raja (father), Vijayalakshmi (mother) Brother: Selvaraghavan Sisters: Vimala Geetha, Karthika Debut film: Thulluvadho Ilamai (2002)

The Beauty of Imperfection – with Joe Greer

The Beauty of Imperfection – with Joe Greer


You see, there was this new
thing that brought me joy, that brought me excitement,
that brought me happiness and
peace, and I wanted to do it with the
best of my ability. My Leica M6 taught me to slow down,
to see the world in such a simple and
beautiful way. Analog photography has given me
this unbelievable desire of wanting to get
better, wanting to learn and wanting to grow as
an artist. When I see a scene that I want
to photograph, I just know, I feel the balance within the
scene. I stop and I make that picture. I try not to overthink or
overcomplicate things. I’m drawn to colors and the way
that colors render on film and how they
interact within a given scene or a certain
moment. Even a lack of color at times
can be very, very beautiful. With film, it’s just different. It’s direct, it’s physical. There’s a tangible quality that
a negative provides that digital cannot. Film just sings differently.
With digital photography it’s always gonna be a bunch of
zeros and ones. That’s unchanging, that’s
exact, that will always be
that way. But with analog photography due
to its chemical nature, there’s so much chaos and
imperfections. For me, those imperfections make it even
more beautiful! My M6 has helped me get rid of
a lot of unhealthy habits that Instagram and
smartphone photography taught me early on with 36 frames, you have to
slow down, breathe, open your eyes, watch the world pass you by, wait for that moment and go for
it. Analog is on the rise with
young people because they want something tangible,
something they can touch. Digital is not offer an
experience like that. Going to a new place that you’ve
never been before gives you a perspective on
things that’s incredibly
rewarding. If you break that routine and
step into a space that’s unfamiliar, that’s
unknown, to pursue things photographically, beautiful
things will happen.

Swimming Rabbits Caught on Camera

Swimming Rabbits Caught on Camera


(mysterious music) – [Narrator] Deep in
the swamps of Missouri, the mud and moisture combine to create an ideal habitat for stranger things. (mysterious music) (turkey gobbling) This is a place where the swamp
creatures are so secretive, they rarely get a glimpse
even of each other. In this bizarre environment, it’s surprising to find rabbits. But theses aren’t any old bunnies. (dramatic music) These are swamp rabbits. A unique species that is
the largest cottontail on the planet. And these animals have
an incredible superpower. (bright orchestral music) Their size gives them increased buoyancy and musculature to be great swimmers. They’re so comfortable in the water that they easily move about
flood plains and swamps to evade predators, find food and mates. Swamp rabbits are shy creatures. In fact, so little I known about them that this is the first time they’ve ever been filmed swimming. Unlike other native
rabbits, whose populations are on the decline, these
guys are faring much better. And as long as there’s a
swamp or waterway open, they can bunny-paddle
their way to new territory up and down the Mississippi Valley. (upbeat music) And once they hit land,
they’re just as impressive. They leap more like deer than rabbits. They are the iron men of the rabbit world. (ducks quacking)

(Blender TUTORIAL) How to create 3D textures, quick and easy realistic look

(Blender TUTORIAL) How to create 3D textures, quick and easy realistic look


hello and welcome to digital exposure TV
today I’m going to show you how to do 3d textures in blender yeah yeah ok so actually saw in the opening video
there i’m going to show you how to do a three dimensional texturing and blender
now today I’m going to do in blender render because there’s so many tutorials
of how to do it in Cycles render I thought not everybody uses cycles or not
everybody likes cycles especially if they have a lot of problem getting a lot
of problems getting rid of all the tiny little white dots ok so we’ve opened up a new project here
i’m going to delete this Q and we’re going to add a plane in there in a
moment but first before we do anything else we’re going to open up crazy bump so if
you haven’t downloaded crazy bump which i think if you just Google crazy bump it
comes up at like crazy but . or google.com and this is what’s going to
create our texture maps to create the texture now once it’s open it will open up in a
box like this on the top right here and see this all symbol of a hammer and a
wrench that’s for the settings if you click on
that just make sure that normal map y axis is selected to up because
otherwise blend the house trouble trying to read the files ok so we go down to the bottom left this
box office is open now we don’t need to bother with any of these files because
they’re for the maps that we haven’t actually created yet we just need to go
to open photograph from file so we click on that and we use our rock texture
which is what i’m going to be showing you today and ok it’s thinking about it there we go now
gives you two different options one of them is inverted and it basically shows
you the depth of the image so we want the one on the right here
because it’s extruding the sort of bulbs of the rock ok and now i will show you this preview
now for something like what we’re going to do today which is a very flat based
texture we’re going to click instead of ball to
box so we got a flat i’ll click there to stop that from moving we got a flat texture there and that box is just on the bottom right
hand corner here click on it and it you can either have a ball column or box and if we go to options on
the left here you can show the different maps or there’s the one with the actual
picture on top of it will take the picture off and then we can see the
colored light can take that off and so on and so forth ok so here on the right-hand side we’ve
got various different tabs we’ve got the normals tab and the normals is basically
is probably image here which affects how light hits the texture and how things
interact with the texture in 3d world then you’ve got a displacement which is
what we’re going to use today which is the map that raises and lowers certain
parts of the text based on the image so you’ve got a lump in the image will
make a lump in the texture that’s the most important one and you’ve
got occlusion which is all the dark spots that tells the computer to dip in
the dark areas specularity which tells the computer basically how much light
reflects off it so if you can look over here on the previous quite shiny if i go
to brightness and turn it down there’s less light shining off it ok and you don’t want too much because
obviously it’s supposed to be a rock so that’s about right then you gotta diffuse map which is
basically original color photo but we’re going to use the diffuse map as opposed
to the original color photo because it matches are absolutely spot-on perfect
to the displacement the normals and the other maps so you can fiddle around with
the settings here you got intensity and you’ve got all
sorts of things like fine detail turn that right up and but but today we’re
going to use is the displacement map and the diffuse map so if i click on the displacement and
turn the depth really high up you’ll see it looks a lot more a lot
more 3d now I can move the light around there and if I just move it around you can see
it’s a lot more three dimensional change the intensity on the normal map the
normal maps always on the top here just despite which tab you click on and then
on it’s on it’s own normals ok so we want this to look like a rock so let’s get the image up so we get the
sort of final look in thing there and that looks a bit too rounded to me I
have to say so let’s open up the displacement turn the depth down a
little bit go to normals and all these other maps
do a fact the displacement even though we’re only using the
displacement so you still can fine-tune some of these things turn that down a
bit that’s a little bit too much thing there we go that’s folks that’s ok isn’t
it it’s not amazing but this is just a tutorial ok so now we want to save these maps so
i clicked on the displacement tab click on save save displacement to file i’ll
give you a location I’ve got desktop and then it gives you a name you can name it
whatever you like but by default it will pick the original name of the picture
and then a disparate for this place on the end of it which is what we’re going
to use and then you’ve got a diffuse the few sorry click on save and save again and if
you’re doing this on windows when you click say that gives you the option of
saving all the maps in one go now the diffuse which is your original
picture that map is called color whenever you using it so there we go i
think we just saved it so we quit crazy bump now go back into blender we now have our two maps that we’re
going to use now to start off we want to make a plane now
you all can obviously use your texture on the top of anything really you could be a person or a wall or
anything you like in in your scene but we’re going to do now is a helpful
little tip when you want to import a photograph or
a texture and you want it to be the exact same size and shape you can use
this out on so we go to file user preferences click on add ons type in
image into the search there we go and there’s two options the
one option you want is import export and it says import files as planes so instead of importing in having a
plane and then importing the picture on top of it we’re actually importing the picture and
it creates a plane for the right size so we got to add match instead of plain we
go to images and planes and then it gives us where we which image would like
to use so we’re going to use rock texture seven
color map now to see the maps if you see this little icon here with four squares
that she give you a preview of what you’re clicking on so i’ll go to import
images as planes and now that if i go to text mode there you go you can see a texture but
it’s completely flat which is pretty kind of dull and nasty looking in any
production really so go back to solid and we have to make
sure that this is click click on will press tab and that opens up our edit
menu and now we need to press W and add a sub divide which is at the top of the
menu there and once we subdivide it only goes into quarters so if you come over to number of cuts in
this corner here and you type in how many subdivisions we want i’m going to
pick 30 and enter and then what that does is
it separated into little tiny sections if you can see they’re like a grid and
what the effect of that is is when you address subdivision surface modifier so
that you can basically change the terrain of the plane it won’t just completely turn it into a
squished ball of play doh it will actually just around the edges
off instead because it’s preventing it from squashing at that ok so press tab to tab out of that and
now we’re going to go to this that all wrench thing over here and we’re gonna
add a subdivision surface modifier and then we’ll crank that up to five you can probably do it four or higher or
lower depending on what ram you’ve got and then we want to add a displacement
modifier there we go and now we’re going to go to
the material now we’ve already got our material with the image on it so what we need to do is click + + add
another material click new so you got blank material and
we’re going to click on texture now this text will be the texture for
that second material to add new and it by default gives you this clouds so if we click on that bar there where
it says clouds and go to image or movie and this is where we’re going to add our
displacement modifier so we go into desktop and their says
discipline and if i go to the preview again we can see it’s the black and
white one there the displacement modifier and I open that up so then we’ve got that texture in there
now but we haven’t used it yet so if we go back over to this little
wrench and we come up in the displacement modifier and we click on
the little texture pain there and now we can text and click on our text you can
see it’s the black and white well now you can name it whatever you like we
just got his texture what will happen is it will go mental
there you go see it has gone mental so under direction you click z don’t
worry about the mental illness for now and then and texture coordinates click UV now this is put it exactly how
it should line up with the image so then we go to strength and one is
pretty damn high so we can put 0.07 that’s just the way I want to do it it
might be a bit too high note that looks pretty much basically now you’ve got the
the three-dimensional texture of the image that you put onto this plane so you can see there that’s the 3d
version of and if I just click on the texture viewer it’s time to think about it they do and
I ask that there’s our image laid out on top of the
three-dimensional version of it ok so go back to solid so it doesn’t
take up too much space and if you like you can add smooth shading and all round
off a bit more personally i like the flat shading because it looks less
covered in light and it also shows all the sharp little edges up a bit more
obviously don’t need to do that so then if we go back to materials and
we click on our well this is our basically our 3d material turn the
specularity down it won’t be as shiny and perhaps we need to go over to the
other texture and do it there it will be a shiny and the same with the
diffuse turn down they go it just doesn’t look so plasticky and round then ok so press 0 to go into a camera view
and then i’m going to go to my render settings which is this little camera
picture there and I’m going to turn up the percentage 200 so it’s full quality
and I’ve got it set to 1920 x 1080 which is full HD frames and now i’m going to
click on PNG and i’m just going to render it just to see what it looks like and there we go we have a finished three
dimensional text instead of just a flat plane with an image on it look at that ok so now what we want to do is just
have a look around it in a three-dimensional area and you can see
all of the little contours there and they all correspond to the contours in
the image and there you go that’s the tutorial that’s how you make a three
dimensional plane texture hopefully this has been helpful to you
if it has please subscribe so you can see more please click that thumbs-up
sign so that has no there has helped you out and thank you very much for watching
digital exposure TV yeah

Big Upcoming Crossover Movie Rumors No One Is Talking About

Big Upcoming Crossover Movie Rumors No One Is Talking About


With studio consolidation and cinematic universes
being the name of the game in Hollywood today, filmmakers are more eager than ever to bring
fan favorites together. And you might be surprised by some of the
cinematic clashes potentially coming soon to a theater near you. Likely intrigued by the blockbuster success
of live-action movies inspired by ’80s cartoons like Transformers, Paramount Pictures announced
in 2015 its intention to create a sprawling, multi-film world featuring a number of ’80s
cartoons, including G.I. Joe, Micronauts, Visionaries, and M.A.S.K. All those cartoons were built around toy lines,
and they’re all controlled by toy conglomerate Hasbro now, so one could call this the Hasbro
Cinematic Universe. Hasbro’s moviemaking wing, Allspark Pictures,
will make the movies and Paramount will oversee development. Oscar winner Akiva Goldsman has been linked
to this multi-movie plan that’s compared to the Marvel Cinematic Universe. But with 5 years gone without a movie featuring
the holographic Visionaries or transforming vehicles of M.A.S.K., it could be that this
crossover attempt has faced difficulties getting off the ground. “Oh great Cobra, we await thy bidding. Give us a sign!” When Paramount announced its plans for a series
of movies based on several lines of Hasbro-owned ’80s toys, it didn’t yet control the rights
to one of the most popular merchandising juggernauts of the ’90s: the Mighty Morphin’ Power Rangers. From 1993 on, the Power Rangers franchise
rebooted almost every year, but generally always starred a group of teens who each controlled
a giant robot… which in turn would combine to create an even larger robot… which they’d
use to fight off evil aliens and monsters. The Power Rangers are in the Hasbro family,
and rumor has it that Hasbro plans on combining the property with another asset: the Transformers. According to a supposed “insider” in contact
with ComicBookMovie.com journalist Mikey Sutton in September 2019, Hasbro wants both franchises
to inhabit the same universe. However, this would not be the Michael Bay
Transformers, but rather the vision set forth by the 2018 Transformers spinoff, Bumblebee. Marvel sold the X-Men film rights to the studio
formerly known 20th Century Fox in the late ’90s, resulting in a successful franchise
of a dozen movies over two decades. But that deal predates the development of
Marvel Studios under Paramount and eventually Disney, which created the vast and sweeping
Marvel Cinematic Universe. The possibility of a crossover film featuring
the Avengers and X-Men became substantially more likely in 2019, after Marvel’s parent
company Disney purchased Fox and its properties for more than $70 billion. According to a source who spoke to We Got
This Covered in August 2019, Marvel plans to slowly introduce X-Men characters into
the MCU as it crafts more films around a new, second-generation Avengers squad (including
Black Panther, Shang-Chi, and Scarlet Witch), before it can lead up to a movie featuring
both teams. “Should we have name tags? Well I’m Spider-Man and this is my trusty
sidekick, Wolverine…” “Don’t push it.” Sony bought the film rights to Spider-Man
and associated characters years before Marvel started making their own movies, and subsequently
made a hit trilogy starring Tobey Maguire, and then two mixed-bag adventures with Andrew
Garfield. By the time Sony rebooted the franchise again
with Spider-Man: Homecoming starring Tom Holland, the Marvel Cinematic Universe had
launched, and Disney and Marvel had to carefully work out a deal with Sony to feature Spidey
– a Marvel Comics creation – in those movies. In 2019, the rival studios worked out an arrangement:
they’d co-finance one more MCU-based Spider-Man movie with Holland, and then the sole rights
would go back to Sony. But Sony still controls the film rights to
more than 900 Marvel heroes, and they’ve been developing what they call “Sony’s Universe
of Marvel Characters.” Included in that: 2018’s blockbuster hit Venom. An origin story for a Peter Parker foe, Tom
Hardy starred as alien-symbiote-possessed reporter Eddie Brock (a.k.a. Venom). With both Spider-Man and one of the franchise’s
most popular villains in its stable, Sony would certainly consider pairing them up in
a crossover movie. The success of Marvel and DC movies led studios
to explore the cinematic possibilities of characters from other, lesser-known houses. That’s why Sony has designs on a cinematic
series featuring properties from Valiant Entertainment. First up is the studio’s 2020 adaptation of
Bloodshot, starring Vin Diesel as a scientifically enhanced, indestructible superhero under the
control of a shady corporation. Plans were in place to complement Bloodshot
with Harbinger, a tale about teenage superheroes fighting against an evil organization seeking
to exploit their abilities. Two Bloodshot movies and two Harbinger installments
would then lead into an Avengers-style crossover epic called Harbinger Wars, featuring characters
from both worlds (and based on a Valiant series published in 2013). But by 2019, the possibility of a Valiant
universe seemed unlikely due to the complicating issue of rights. Sony kept the rights to Bloodshot but passed
Harbinger over to Paramount. They’re two of the most iconic and influential
franchises in fantasy fiction, in both book and movie form: L. Frank Baum’s stories set
in the merry old land of Oz, and Lewis Carroll’s Alice’s Adventures in Wonderland. Baum wrote more than a dozen Oz books between
1900 and 1920, while Carroll’s Wonderland adventures appeared in the 19th century and
are so perennially beloved that they’ve been adapted for the screen hundreds
of times. In 2017, Netflix acquired a script called
Dorothy and Alice written by a California teacher named Justin Merz in which Dorothy
is sent to a home for emotionally troubled children, where she meets Alice, both fearful
their fantasy lands are in danger. In 2019, screenwriter Anna Klassen announced
that she’d been hired to rewrite the script, which could be the first of several Netflix
original films teaming up the classic heroines. Writer-director Quentin Tarantino is interested
in Zorro, a character who jumped off the pages of early 20th century pulp paperbacks to take
his vigilante heroics in 1800s Spanish California to the formulaic cinema of the 1920s and 1930s. In 2013, Tarantino, collaborating with Matt
Wagner, co-wrote Django/Zorro, a sequel to Django Unchained in the form of a seven-issue
comic book miniseries that finds the bounty hunter portrayed by Jamie Foxx going to work
as a bodyguard for the masked and mysterious Zorro. This print crossover is in the process of
becoming a film crossover, too. Tarantino brought on comedian Jerrod Carmichael
to help him craft a screenplay based on the comic series. It’s unclear if Tarantino would direct the
eventual Django/Zorro movie, as he’s promised to retire after his tenth film. Not only is there a new epic monster movie
battle of the ages crossover coming up, but it also marks the completion of a trilogy. After rampaging through the world and destroying
life and property in 2014’s Godzilla and 2019’s Godzilla: King of the Monsters, the titular
green kaiju will once again wreak havoc in Godzilla vs. Kong. It’s a throwback to the classic Japanese-made
Godzilla movies, in which the big guy fought against all kinds of other gigantic mutant
monsters, such as the butterfly-like Mothra and bird-thing Rodan. And while those creatures have appeared in
recent installments of Legendary Pictures’ MonsterVerse, Godzilla: King of the Monsters
will mark the first time since 1962’s King Kong vs. Godzilla that the two most famous
movie monsters will officially wage war against each other. Check out one of our newest videos right here! Plus, even more Looper videos about your favorite
movies are coming soon. Subscribe to our YouTube channel and hit the
bell so you don’t miss a single one.

Buffaloed Trailer – Magnolia Pictures

Buffaloed Trailer – Magnolia Pictures


– Who wants to talk about money? That’s me, Peg Dahl. The maroon suit and nurse shoes may not tell you this, but I’m a hustler. Anyone need any tickets? I wouldn’t screw you over, I’m a Bills fan. Ma’am. I’m making lots of friends in here. I’m going to break your tiny little ass in two. It’s not that bad. Oh my god. What? You got in. We can’t pay for this. I wanna stop trying not to be poor, and start trying to get rich. What’s the difference between a hooker and a debt collector? I like this joke. A hooker takes your money before screwing ya. I get it. Are you a debt collector? I’m relieving people with the burden of debt. Listen up ass bags, we’ve got a new number one. There’s an amazing feeling you get when you find your true calling. Clearing your debt will decrease your stress, which will absolutely increase
your milk supply. It was time to become my own boss. Always thinking bigger. Bigger? We were raking it in. Hallelujah. Cash defies, sister. They’re shaking in their boots because they know we’re the best, and we’re
going to put them out of business. This is war. Don’t you think its time you settle down? Ma, in my two decades on this earth, have I ever seemed like the settling type? You’re stressed. If it had to be war, I was gonna win it. No threats, no intimidation. Are you trying to go back to prison? I’m going to kill you! Why didn’t you tell me about this little angel?

Star Trek: The Motion Picture – Nostalgia Critic

Star Trek: The Motion Picture – Nostalgia Critic


Hello, I’m the Nostalgia Critic. I remember it so you don’t have to. And welcome to: Star Trek Month. Engage review! Yes sir! [Kirk screams “Khan!” over and over to the opening theme of Star Trek II: The Wrath of Khan] What can you say about Star Trek? Well, really, everything. “It’s a great vehicle for creative ideas!” “It’s an onslaught of clichéd writing.” “Its characters are timeless and unforgettable!” “Their personalities are on par with the Ninja Turtles.” “It’s one of the greatest works in sci fi of all time!” “It’s the corniest schlock you’ll ever watch.” Everybody has an opinion on Star Trek. But, there is one pattern that most people seem to agree on: When it comes to the movies, the even-numbered ones seem to be the best. For whatever reason, the odd-numbered Star Trek films seem to be the ones that get once-in-a-while viewers and die-hard fans REALLY pissed off. I believe we can attribute that to the binary structure that emanates from these movies- Or it could just be a giant coincidence. Dammit! I almost sounded intellimigent! So all throughout January, we’re going to look at the odd-numbered Star Trek movies: the ones that seem to get Trekkies’ panties in a bundle. And we’re gonna start off with “Star Trek: The Motion Picture.” Roll clip number one. Energize! (Bad Scottish accent) I cannae do it Critic, I don’t have the power! Or, the, uh, (clears throat) money? (Sighs) [Mario Brothers coin sound]
Thank you! [Theme to Star Trek: The Motion Picture] So we see our opening credits. We’ve got William Shatner, Leonard Nimoy, DeForest Kelley, [From Gilligan’s Island Intro]
And the rest! We then cut to some sort of anomaly in space, where the Klingons come to check it out. (Speaking Klingon) Well, wait a minute. In the original show, the Klingons had flat heads. Now they’re all round and pointy? What’s up with that? [Ominous music]
Incoming cameo, Critic! Oh, God, I was hoping I could avoid this. I guess I have no choice, I have to face the music. Put him on screen. [STATIC] Hi, Critic! Angry Joe? Oh ho, thank God, I thought you were Linkara for a second. Yeah I know, he’s obsessed with Star Trek. He’s a total geek. Ha, yeah tell me about it. [Laughs] So anyway, I wanted to point out why, exactly, the Klingons’ heads look like that… you see there’s actually several different theories that’s popped up over the years, uh, the first one being that the Klingons, uh, suffer from the “nekh’rat,” which is a degenerative disease that uh, only their species suffers from. Uh, yeah, look, uh, when I asked that question, I was only half curious. Well not even half, a third. A fifth. The fans would kill me if I didn’t bring it up, so, you don’t need to explain it. B-B-But surely you need a Star Trek expert like me to help you through this… No, I don’t! And we’re not gonna do that thing where we go back and forth and then suddenly I give in. I’m doing it alone! B-But Critic, you have no idea what you’re in for. Oh come on, it was directed by Robert Wise, one of the greatest directors of all time. I’m sure I can get through this. Very well, Critic, very well, but do you know the ancient Klingon proverb that tells us: “Revenge…” Nope, I’m not allowing any quotes either. Just piss off. Oh but come on! I’ve been wanting to do the speech for years! Engage overdubbing audio! Right! OFFENSIVE SPANISH ACCENT VOICEOVER: Hello, I am Angry Joe, dee fastest mouse in all Me-hi-co. I like to yell and scream because I’m a stupid head, and like to drink elephant urine! I have no friends, only my elephant urine. Does thees incredibly racist accent offend you? Good! I don’t even think it’s the right nationality! That’ll teach you next ty-eem to interrupt my review. Nicely done. Now back to the review. Engage! You know, you don’t have to point every time you say that… (Critic insisting) Fine. So, in typical Klingon fashion, if they don’t know what something is, they shoot it! Oh yeah, I should probably mention this anomaly always seems to make what I guess is supposed to be a disturbing sound, but it always sounds like a chord off of an electric guitar. [Ominous chord] BILL AND TED: Excellent!
[Electric guitars playing] But the anomaly doesn’t like that, and fries them faster than… well, I don’t know, a cheap Vulcan replacement for Spock. Oh hey, look! A cheap Vulcan replacement for Spock! SONAK: Report to you, sir? KIRK: It is my intention to be on that ship following that meeting. Report to me in one hour. Mmm…I give him two more lines before he finally kicks the bucket… Wow! I hope you paid that actor by the word, ’cause he must have been pissed. And where’s the real Spock, you may ask? He’s on the planet Vulcan, about to partake in a ceremony that will totally wipe out his emotions. But he senses the anomaly and suddenly finds he can’t go through with it. [Ominous chord] [Electric guitars playing] (Speaking Vulcan) So she mind melds with him and finds his brain is still filled with the most illogical of human remains. LEONARD NIMOY: (singing “The Ballad of Bilbo Baggins”): In the middle of the Earth, from the land of the Shire, lives a brave little hobbit whom we all admire. Bilbo! (Bilbo!) Bilbo Baggins, he’s only three feet tall. CRITIC (as Spock): Ugh, so illogical. (Normal voice) Seems Kirk is relieving Captain Decker of his duties, for no other reason than, well, HE wants to do it. KIRK: I’m replacing you as captain of the Enterprise. DECKER: May I ask why? My familiarity with the Enterprise. This is an almost-totally-new Enterprise. You don’t know her a tenth as well as I do. That’s why you’re staying aboard. I’m sorry, Will. You told me how envious you were and how much you hoped you’d find a way to get a starship command again. Hey, it could be worse. You could be demoted to religious propaganda on the WB. But, more bad news happens, as it turns out the beaming of Mr. Not-Spock is going awry. Gee, I wonder what’s going to happen to him? KIRK: Give it to me. CRITIC: Uh, yeah, let the CAPTAIN, who we’ve just been told doesn’t know ONE-TENTH of the ship, take away control from the person who’s been trained specifically for this job. (Screaming) (Screaming stops abruptly) VOICE OVER INTERCOM:
Enterprise. What we got back didn’t live long… fortunately. CRITIC: Well, good one Kirk, you’ve been in charge for only 120 seconds and you’ve already caused two casualties. That’s gonna equal out to, what, a death a minute? And it’s such a weird scene, too. Why have this character if all you were gonna do is kill him off? It’s a grim, pointless scene. It’s like watching My Little Pony and then just throwing in a horse exploding. I mean, why do we need that? Oh well, battlefield promotion. KIRK: I’m afraid you’re gonna have to double as science officer. H-Hey, keep it up and maybe one day make you’ll make captain eh heh heh…oh. We then get the only crewmember to have less hair than Shatner, Lt. Ilia. DECKER: Hello, Ilia. ILIA: Decker. I was stationed on the lieutenant’s home planet some years ago. COMMANDER Decker? KIRK: Yes, our exec and science officer. Captain Kirk has the utmost confidence in me. And in you, too, lieutenant. My oath of celibacy is on record, captain. (Gagging) Oh. I was this close to spitting out my drink. What the hell?! As if this setup wasn’t awkward enough, you really had to throw that in? Get some social skills, lady! ILIA: My oath of celibacy is on record, captain. VOICEOVER (as Ilia): Anyway, how’s your sex life? [Spits] But we still got one other crewmember to welcome aboard, Bones. And if you think all the other people in this movie were dressed ridiculously, wait ’til you get a load of this getup. [“Stayin’ Alive”] [Music continues]
Kirk: Well, for a man who swore he’d never return to Starfleet… MCCOY: Just a moment, captain sir. They drafted me! [Music fades out]
Bones, there’s a…thing out there. Why is any object we don’t understand always called a “thing”? Why can’t it be called a “whoosits” or a “whatsits”? So the ship is all ready to go to stop the evil anomaly before it reaches Earth. KIRK: Take us out. [Star Trek: The Motion Picture theme] CRITIC: Uh, a little faster than that, please. God, this is going to take another hour, isn’t it? You’re not 2001: A Space Odyssey, ok? Though Lord knows I’d love for the computer to wipe out most of the crew, if possible. What the? Well I guess that was the action scene in the middle of the picture! I guess they thought they needed a little bit more excitement during this moment, so they threw in a guy nearly missing a door. Well, good to know you had your thrilling cutaway shot, if you need it. KIRK: Engineering, stand by for warp drive. SCOTTY (over intercom):
Captain, we need further warp simulation on the flow sensors. Engineer, we need warp speed NOW. It’s borderline on the simulator, captain. I cannae guarantee that she’ll hold up. CRITIC: Eh, fuck danger. The captain wants warp drive, and he wants it now. They enter through the opening of Vertigo when suddenly they realize, what a shock, something’s gone wrong. UHURA: Wormhole effect! ILIA (voice slowing down):
Unidentified small object has been pulled into the wormhole with us, captain. Directly ahead. KIRK: Forcefields on full. Continue shaking the camera and increase Photoshop smudge! [Time slowing down]
KIRK: Time to impact. ILIA: Twenty seconds. Stand by on phasers. DECKER: No! Belay that phaser order! Hey sir, listen to this! Luuuke, I am your faaathherrrr… DECKER: Arm photon torpedoes! CRITIC: It turns out there’s an asteroid that’s about to hit them in warp, but Decker figures out how to save the day. So, just to clarify, Kirk’s been in charge for only a few hours, and he’s already killed two crew members, and nearly wiped out the entire ship. I’d follow this man to eternal death. Mostly because I would have no choice. KIRK: Mr. Scott, we need warp drive as soon as possible. SCOTTY: Captain, it was the engine imbalance that created the wormhole in the first place. (OVER INTERCOM)
It’ll happen again if we don’t correct it. That object is less than two days away from Earth.
We need to intercept while it still IS out there. CRITIC (as Scotty): Need I remind you of the “holy shit, you nearly killed us” moment not a few minutes ago? You twat! KIRK: Why was my phaser order countermanded? DECKER: Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. The phasers were automatically cut off. Then you acted properly, of course. Captain Decker is right. I mean, Captain Decker. I mean, Captain Decker. I mean… He’s the fucking captain, I don’t know why Kirk is there. DECKER: Sorry if I embarrassed you. KIRK: You saved the ship. I’m aware of that, sir. Stop… competing with me, Decker. CRITIC (as Kirk): Which means stop pointing out when I’m obviously wrong. (Normal voice)
But it turns out even Decker can fall victim to certain weaknesses, like cheesy romantic past dialogues. [Romantic music]
ILIA: Was it difficult? DECKER: About as difficult as seeing you again. [Music swells] I’m sorry. That you left Delta IV? Or that you didn’t even say goodbye? [Music continues] If I had seen you again, would you have been able to say it? No. [Music swells again] [Music stops] TED STRIKER: What a pisser. CRITIC: And we get our last addition to the crew: Mr. Spock comes aboard to figure out why he’s been sensing the anomaly. SPOCK: I offer my services as science officer. KIRK: If our exec has no objections. DECKER: Of course not. CRITIC: So we now have a doubly-demoted Decker, and Kirk is overjoyed because now he can partake in all the various, over-the-top ways he can say Spock’s name. KIRK: Spock. Spock. Spock! Spock! Spock! Spock. Spock! Spock. Spock. Spock. CRITIC: Well, it turns out I’ve been saying it wrong the whole time. It isn’t Spock, it’s…*Spock!* But things heat up when they finally come across the evil anomaly. KIRK: Full mag on viewer. SULU: Full mag, sir. [Ominous chord] [Electric guitars] UHURA: Continuing friendship messages on all frequencies, sir. CRITIC: But because they figure out the frequency in which to communicate, the anomaly lets them get closer and eventually enter. And yes, this results in slow… slow… sloooow… sloooooooow… slooooooooooooow… movement. SPOCK: Pattern is unrecognizable. Good God, this is just watching a bunch of footage and then seeing somebody comment on it. Who the hell would want to see that?! [Ominous chord] [Electric guitars] Oh Jesus, it just keeps going. Do something, dammit! Fire a laser or some shit! Maybe if we tried putting in a thrilling action sequence. Nope. It’s still boring! Please do something! Tell a joke, pull Spock’s ears off, I don’t care, just something! Good God, they don’t even bother with the reactions anymore. They just are showing longer and longer shots with no friggin’ edits in them whatsoever. Cut to something! Cut! CUT!! CUUUUUUUUUUUUUUUUT!!! CUUUUUUT!!!!! Oh my God, this is agony, this is such boredom! Angry Joe, why didn’t you tell me?! Tell me there’s an edit coming up! These shots are going on forever! Please, give me a cut! Just give me a cut! [Music from “Wrath of Khan” playing]
JOE: Oh, I’ve done far worse than give you no cuts. I’ve hurt you. And I wish to go on… hurting you. I shall leave you as this movie left me… left all audiences… marooned in the center of a dead screen. Bored out of your mind… Bored out of your mind… CUT! CUT! CUT! JOE: [Sighs] CRITIC: But believe it or not, something does finally happen! Oh, thank God’s milky prostitutes! A probe comes aboard and starts taking control of the computer. Well, obviously, Spock will find the most logical solution… or he’ll go Neanderthal on its ass. (As the Hulk)
SPOCK SMASH! OW, SPOCK NO LIKE THE SHINY THING. (Normal voice)
It then takes control of Ilia and banishes her into thin air. (As Kirk)
Well, she’s dead now. Tell me: was she celibate? (Normal voice)
But she shows up later on the ship, having been taken over by the anomaly. MCCOY: Jim, what’s going on? KIRK: Tricorder. CRITIC (as McCoy): No, that’s a bald woman. But THIS is a tricorder. MCCOY: Jim. This is a mechanism. ILIA PROBE: To more readily communicate with the carbon-based units infesting Enterprise, I’m programmed to observe and record. CRITIC: Wow. No emotions, no feelings, no needs? It’s the perfect woman! (Boos) Am I wrong, ladies? Am I wrong? Ow. So the anomaly is called V’Ger, and it’s searching for who or whatever created her so that she may finally join with it. So while Decker shows her around the ship allowing her to collect data, Spock, surprisingly, steals one of the space suits to see if he can communicate further with V’Ger. SPOCK: Computer, commence recording. Captain Kirk, these messages will detail my attempt to contact the aliens. CRITIC: So, to put it bluntly, he’ll be back after these messages. No, wait, wait, that was a joke! That was a joke! I wasn’t serious! No! Hey! What are you doing? Stop! Whew! Chester, report! We were intercepted by a word from our sponsor! Dammit! Those advertising executives are getting more and more clever. Raise our shields against any more commercial plugs! Yes, sir! Incidentally, this raising of the shields is brought to you by the delicious taste of Diet Coke. Chester! Sorry, sorry! So Spock journeys to the center of V’Ger and comes across, well, there’s no subtle way to say it: V’Ger’s vagina. A V’Ger-na, if you will. I mean, God, look at that! I keep thinking I’m gonna have to put a censor bar over that thing! First we got the sky-gina in Langoliers and now we got the space-gina in Star Trek! It’s almost as if sci-fi writers don’t get a lot of pussy! That’d be ridiculous, just look at this last picture of Philip K. Dick. Whoo, guy’s a man whore! Spock tries to mind-meld with V’Ger but gets his ass handed to him. He returns to the ship to report that V’Ger came from a planet populated by living machines, and has evolved with incredible knowledge, all except for one question: who The Creator is. And V’Ger vows to cure the universe of carbon units, mostly the ones on Earth, until she finds her answer. ILIA PROBE: The carbon unit infestation is to be removed from The Creator’s planet. SPOCK: V’Ger is a child. Evolving, learning, searching. I suggest you treat her as such. CRITIC (as Kirk): Hey, does V’Ger wanna go to Chuck E. Cheese? Does V’Ger wanna see a Justin Bieber concert? Does V’Ger wanna fund a franchise about a sparkling vampire that’s setting women back dozens of years? KIRK: The carbon units know why The Creator has not responded. Disclose the information. Not until V’Ger withdraws the devices orbiting the third planet. CRITIC: So Kirk says he’ll give the information, but only to the center of V’Ger herself. The probe complies, and Kirk plans his next move. KIRK: Mr. Scott, be prepared to execute Starfleet Order
2-0-0-5. CREWMEMBER: Why has the captain ordered self-destruct, sir? SCOTTY: I would say, lass, because he thinks…he hopes…that when we go up, we’ll take the intruder with us. Ah, huh huh, I signed up for Starfleet to pay for my college, uh, is there any chance we can not blow up on my very first mission? So how powerful is the emotional need at the center of V’Ger? Well, apparently, it’s so powerful,
(mockingly) it made Spock cry. KIRK: Not for us? SPOCK: No, captain, not for us. For V’Ger. I weep for V’Ger as I would for a brother. CRITIC: A brother that we find out you have later and clearly did not weep for, but one movie at a time. So they get to the center of V’Ger and find out that V’Ger is, in fact, Voyager: Voyager 6, the satellite that was sent out years ago and got sucked into a wormhole, landing it on the machine planet. It evolved over the years and now it wishes to still somehow join with its creator. MCCOY: You mean this machine wants to physically join with a human? Is that possible? DECKER: Let’s find out. KIRK: Decker. I’m gonna key the final sequence through the ground test computer. CRITIC: So, whatever he just said apparently means Decker is giving himself to the computer. [“Unchained Melody” from “Ghost”] MOLLY: See you. CRITIC: So their joining sets off a giant explosion and Enterprise gets the hell out of there. KIRK: Did we just see the beginning of a new life form? SPOCK: Yes, captain. We witnessed a birth, possibly a next step in our evolution. CRITIC: Well, let’s never reference this big step in evolution again in anything Star Trek-related. That way it’ll show just what an impact it had on our evolution. Truly, this is a big day. KIRK: That-a-way. CRITIC: So the crew is back in form, they’re happy a big bang was set off by a big bang, and they go off to where no man has gone before! And that was the first Star Trek movie, and let me tell you, I can see why it’s often called the Slow Motion Picture. The ideas are interesting, even provacative, but most of the characters aren’t developed in an interesting way, the pacing is unbelievably slow, and on top of that, IT’S SO BORING! The effects, I’ll admit, are very impressive, but when you have to look at them for what feels like an eternity, you get sick of them pretty fast. I really feel like this film was trying to do what “2001: A Space Odyssey” did: you know, sort of make it, like, an experience movie. But, that’s not what Star Trek was mostly about. It was more about a mix of ideas and characters, not as much an out-of-body experience. The only out-of-body experience this movie can conjure is taking us to fucking Dreamland! So, take it for what it’s worth. I’m the Nostalgia Critic, and Star Trek Month is on the way! [Star Trek: The Motion Picture theme] ILIA: My oath of celibacy is on record.

How to easily and securely pack a picture for sending / Visualization to the interior for free


If you like any of my works, I will visualize it in the interior for free. Just send me some photos of the place where you would like to place the paintings, and the names of the works you like. I will send you the finished result within a week. See you later! How I pack my paintings for shipment. First, I wrap the picture in several layers of stretch film, first putting air bubble film in the stretcher to prevent excessive pressure on the canvas during transportation. I decorate the work with a jute rope on top of the film, otherwise, the friction from the jute can spoil the paint layer. I put on protective cardboard corners. The corners are the most vulnerable part of the picture. I wrap the work in several layers of bubble wrap, creating an air cushion. And again. There is no such thing as a lot of bubble wrap! It was the turn of the cardboard. We do not regret the film, the final wrapping. I tape the joints. Actually, I’m not the only one who does packaging. My husband Sasha always helps me. Well, or I’ll tell him. That’s all. The painting is reliably protected from moisture, pressure and temperature changes. I send the parcel by mail marked “fragile” and tracking for the buyer. Well, let’s go to the post office! Bye-bye parcel!

How to Use the New ChemiDoc MP for Protein Gel Imaging

How to Use the New ChemiDoc MP for Protein Gel Imaging


In this video you’ll learn how to log
in to your ChemiDoc, use smart tray technology, capture protein gel images in
three easy steps, how do you stain-free imaging and export your images To turn your ChemiDoc on push the green button in front of your instrument When the customizable home screen appears tap anywhere to bring up the log in menu If you’re a new user type the desired username. Click the plus sign and the new
log in will be entered. Administrative controls can be set by clicking the person icon in the top right hand corner To begin, open the imager and pull out
the transilluminator Remember that all gels and blots are always imaged on one
of three trays. It is easy but important to clean the trays Simply use DI water
and a kimwipe for the best performance Smart tray technology automatically
recognizes application-specific trays and adjusts imaging parameters and
software options accordingly For colorimetric stains select the white tray Center your sample on the tray When you are satisfied with the position push the transilluminator back in and close the drawer Zoom into the desired imaging area If you prefer, simply select small, medium, or large under image size Tap application
to select the appropriate category and the stain for your sample In this example we are examining a protein gel stained with our Bio-Safe Coomassie Stain You can take a preview of your image and set your region of interest This can be used for excluding very bright areas that you won’t want to
quantify such as your marker Choose between entering your exposure time or enabling automatic detection of your bands Tap the camera button and capture
the image Bio-Rad Stain-Free gels are an excellent alternative to Coomassie Blue no staining or destaining is required just a simple 45 second UV activation
step After you’ve completed electrophoresis place the Stain-Free Gel directly on the UV tray when you are satisfied with the position push the transilluminator back in and close the drawer Select Stain-Free Gel as your
application then under exposure select a gel activation time of 45 seconds for
blotting or use 5 minutes for increased sensitivity which can be helpful if the stained gel is the final product Tap the camera button and capture the image If blotting stain free gels can be visualized on the membrane and serves as both an effective transfer efficiency check and total protein stain For a rapid look at the band intensities you can tap each band and the relative
fluorescence units as well as percent to saturation will appear To adjust your image, tap the transform icon in the lower toolbar Adjustments are automatically saved but the actual data will remain unaffected Your images will be automatically saved
and exported to the gallery Tap the image info icon Here you can enter a
custom name and any notes you’d like to include about your image or experiment Tap the Send/Save icon to select the
file format you wish to export You can export images in multiple file types Under export options, tap a file type and the destination either saving to a
USB Drive or to a Network If you choose the Image Lab file format the custom name notes and all the data included below are exported to Bio-Rad’s license
free Image Lab analysis software available for both Mac and PC We hope that this instructional video has showed you how to capture a protein gel image For further learning please utilize the complete searchable on-board manual as well as the teach as you tap software assistance tool