Thứ Tư, 3 tháng 5, 2017

Waching daily May 3 2017

[theme music].

>We've had a lot of viewers express interest

in learning more about our Gunwerks Long Range

Shooting Systems and the G7 ballistic compensation,

products, and methodologies that we use

to shoot long range on our show.

We're gonna take just a few minutes to start off

with some fundamentals about long range shooting.

We're gonna talk about ballistics and how that

applies to compensating for long range.

Let's start with a basic rifle's trajectory and

we're gonna look at the drop that a rifle has over

your target range, let's say out to 1,000 yards.

Now that trajectory is based on a few parameters;

ballistic co-efficient, muzzle velocity, and air

density.

We're gonna use altitude and temperature to

represent our air density.

Now your ballistic co-efficient, or BC, comes

from the bullet manufacturer.

They're gonna build a bullet that has some

caliber, length, shape, and even the weight of the

bullet's incorporated into that ballistic

co-efficient.

Now the muzzle velocity number comes from your

cartridge, which could be the cartridge case size,

you know, ultra mag or standard magnum or just

like a 65-284, you know, kind of a standard case

size.

That case size plus the chamber, bore tolerances,

and barrel length is gonna dictate what your muzzle

velocity ends up looking like.

You can measure that with a chronograph within some

degree of certainty.

We're gonna show you a technique to find

precisely what that profile looks like.

Now we've got this trajectory and this

trajectory can change based on any of those

parameters.

Let's say you have an air density change, it's more

dense, and take a look at how that affects your

altitude or temperature.

Lower altitude or lower temperature is more dense

air.

And when the air is more dense the bullet isn't as

efficient flying through the air, and so we see

that your trajectory is shorter or you would hit

low on the target.

You also retain less velocity.

Or if we increase the ballistic co-efficient,

let's say, and the ballistic co-efficient is

up, now our trajectory is flatter.

Or even more, we can increase our muzzle

velocity and really get a flatter trajectory.

Now, that's some of the parameters that make up

that ballistic profile and we need to talk about how

that applies to our ballistic compensation.

Essentially we've got a calculated trajectory now

that we've researched the muzzle velocity with a

chronograph or out of a reloading manual and we've

got the bullet manufacturers BC, we can

set that up for some air density configuration and

then go out to the field and shoot it and we find

that the actual field shooting results is

slightly different than that calculated profile.

Now this is a big difference and this is

probably the significant step in setting up a long

range shooting system.

You have to be able to calculate the exact

ballistic solution at any point if you're gonna

compensate and shoot for that point.

So if we've got a variation here, we need to

fix it.

We're gonna do a simple trajectory validation and

that's gonna change that calculated trajectory to

match the field results.

And you can do that by manipulating the muzzle

velocity slightly or the ballistic co-efficient.

I'm gonna choose to do the muzzle velocity because

I'm not that confident that my chronograph

measures completely accurate.

So in this case we've changed the muzzle

velocity to match.

Now I have a true ballistic profile, that's

what we call it anyways, this allows us to plug

those parameters into any ballistics program and

calculate our exact trajectory.

That's the fundamental step in shooting long

range, 'cause now for any range, any target,

incline, air density configuration I can

calculate my ballistic solution.

Now we need to know how to apply that ballistic

solution in the field to our shooting equipment.

So let's look at our rifle right here and then let's

look at our riflescope on top.

That riflescope is your aiming tool.

Basically you've got line of sight to your target

and we're gonna elevate the barrel on the rifle

until the bullet drops in and hits our target

properly for height.

Now one way to do that is to use a reticle system

and just hold that barrel higher and higher and

higher by holding the different stadia.

Or we can use a turret system and tile that

elevation turret on the scope and change the angle

between your line of sight and your rifle barrel.

That's the system that we usually prefer to

compensate for elevation and, conversely, we

usually hold left and right with our reticle for

compensating for wind just because it's such a

variable factor.

Now those two mechanisms work together pretty well.

We've got a calculated trajectory and we've got

these adjustments.

There's a couple more tools that we can use that

makes it easier to keep track of those numbers in

the field and also to calculate real-time

solutions.

The first is a G7 ballistic turret.

Now this turret has numbers on it that

represent the range to your target, the yardage

range to your target, and you just dial that range.

Or you've got the G7 range finder.

Now this device is pretty cool because it measures

your air density, measures your incline, and then

calculates a real-time ballistic solution based

on your muzzle velocity and your ballistic

co-efficient that make up that true ballistic

profile and it will calculate a real ballistic

solution either in minutes of angle, which is just

the angular amount that your scope turret dials or

it'll do it in a shoot-to range, like a BDC turret

where it's calibrated in yards like the Gunwerks G7

ballistic turret.

Now that's the G7 ballistic compensation

method in a nutshell.

We'll start with a ballistic profile that is

a true ballistic profile based on real shooting

results.

It's been validated and compared against actual

shooting.

And then we'll use the G7 ballistic turret and the

G7 BR2 rangefinder to calculate real-time

solutions in the field for different air densities or

different inclines and apply that with the G7

ballistic turret to make a simple elevation

adjustment to our rifle.

It's a very simple system but it has some very

complex backgrounds and some very simple but

necessary steps to get the information required.

>Hey, we've just got one of our LR-1000s out of the

box.

On top of it we've got one of our new G7 Night Force

scopes with one of our etched ballistic turrets

to match this rifle's trajectory, and then we've

got our G7 BR2 rangefinder.

Now these three things combined make one of the

easiest, most usable long range weapons available

right now.

It's as easy as getting it out of the box, getting it

to the range, rangefinding a certain target, dialling

your yardage and pulling the trigger.

Now this rangefinder comes into play big time because

what it's going to do is allow you to make some

real-time corrections out in the field to get a

firing solution that's gonna match for that

specific temperature and elevation and incline.

How we're gonna do that is we're going to input some

ballistic information off of our turret into this

rangefinder.

We can do that for you at the shop.

It's easy to do.

And once that's done this rangefinder is a perfect

match with this rifle.

There's two ways that we can have that output for

us and to use this system.

One, we can have it output in a corrected range based

on our turret.

Or two, we can have it output an MOA.

Our favorite way is with the BDC turret.

Now once we have this information programmed

into our turret, we're gonna range that object,

and it's gonna give us a line of sight range, okay?

We're gonna wait one second and it's gonna tell

us exactly what to dial our turret to.

So it's compensating for us.

It's making that real-time calculation and it's

giving us a shoot-to range based on our turret.

That object might be 900 yards away but because

we've got this particular turret on, it might tell

us to dial something completely different,

let's say 800 yards.

So it's giving us that real-time correction based

on our setup.

It's easy.

You just, one button push, get the range, dial your

turret to that range, and get ready to pull the

trigger.

You know, if you need to hold for some wind, we've

got a mechanism in here that allows us to hold

over on the reticle for a certain amount of wind.

The other way that we can have this rangefinder

output for us is in MOA.

Now our new G7 turrets, you look, they have the

MOA printed right on the bottom.

For guys that want to practice at some super

long ranges and they want to shoot past their

turret, that's available now.

Instead of running your handheld, we see these

shows on TV and different scenarios where guys are

taking all this environmental properties,

inputting them into their calculator and coming up

with the firing solution, we've eliminated the need

for all those gadgets.

We've put that right into the rangefinder.

We can range a target at, let's say, 1300 yards; it

will give us that MOA output to dial to.

So that's where those MOA numbers are gonna come

into play.

We've got 1 through 20 on the bottom, so if we need

to dial 30, you'd go around once and then 10

more, that would be 30.

So our rangefinder is going to output for our

BDC turret, our bullet drop compensating turret,

or it's going to output in an MOA firing solution to

shoot past our turret if we need to.

So those are the two ways we use it.

The BDC mode is probably the most convenient when

you're hunting and things are happening fast, all

you want to do is push a button, dial it, and shoot

it.

[gunshot].

>When we're in the MOA mode on our rangefinder,

that usually means we're past one revolution on our

turret.

That's where this rangefinder comes in handy

again.

Once we have our firing solution, we can hit one

of the arrow keys on the side and it's going to

give us our windage hold based on a 5 mile an hour

wind, hit the button again for a 10 mile an hour

wind, all the way up to a 50 mile an hour wind.

That rangefinder is going to tell us how many MOA we

need to hold inside of our reticle so we can just

range it, dial it, hold over how many MOA hash

marks it tells us to do it, pull the trigger.

>So let's take just a few minutes and break down

some of the major components that make up

any rifle system, specifically our Gunwerks

rifle system, and we'll look at some of the

processes and techniques that we use to make sure

that we have an accurate, consistent, and a

shootable rifle system.

So let's start with the, probably the most

significant part of a rifle, and that's the

barrel.

We don't manufacture our barrels.

We receive a barrel in a blank form, like this,

that's precontoured.

When we take that barrel and fit it to a rifle

action, what we're gonna do in our shop is set up a

barrel in a lathe that is CNC controlled and allows

us to cut very precise, and very high quality

surface finish, and very repeatable dimensions on

our thread tenon.

Now this shoulder and thread tenon screws

directly into the action and then we also cut a

bolt bore recess and a chamber, and the chamber

is what accepts your rifle cartridge, so your

cartridge actually fits inside of this part of

your barrel.

Now the final operation on a barrel is the crown,

cutting a crown, so that it's square and protected.

Once that barrel is fit to an action, then it's a

simple matter just to assemble it and take it

out to the blasting room, spend some time prepping

the surface finish, and then pass it over into the

coding room where we put a two-part ceramic finish on

all the metal surfaces that are exposed to the

elements.

It reduces corrosion.

Now we've basically got a rifle action that is very

similar to a Remington Model 700.

Same spacing on the bolts, same trigger assembly, we

use the same magazine and feeding assembly.

A little different ejection port that's been

relieved to allow cartridges to eject a

little better and we've moved the bolt release up

to the side of the action.

Now the bolt fits pretty tight.

It is a one-piece bolt that is machined from

stainless steel, the bolt handles are bent, and then

we do a removable threaded-on bolt knob.

The extractor is an M-16 style extractor.

We do flutes to help keep the bolt clean when we're

passing it through the action.

The bolt face has a controlled dimensions for

the firing pin and firing pin hole fitments, and

then just a standard ejector plunger.

Bolts are hard-chrome coated with Armalloy and

that gives us a hard finish that won't gall if

we ever run dry on our action.

Trigger assembly is a dual external adjustment you

can access for weight of pull without getting into

the rifle system, without turning it down.

These are nice to install.

They are the most expensive trigger you can

get on the market and they have kind of a different

break, the way the sear breaks, it releases some

tensions a little different than a standard

sear.

Finally, we've got a scope ring and an extra dal

pinhole on our action that matches up with a pressed

fit pin on our scope rings.

We found that the G7 scope is so consistent on point

of impact.

The guys over at Night Force test those and have

proven that that scope will maintain point of

impact every single scope.

We had to beef up our system to keep up.

And we put that pin in there.

It's pressed fit and there's basically no

chance of motion or movement with that scope

ring even before I have my screws in there.

And finally we've got the chassis system and rifle

stock.

We need to assemble our barrel action into the

rifle stock.

You look at this stock, it has a hunting-style

profile.

It doesn't look like a big tackle stock.

It has a nice wide fore-end that's easy to

hold in your hand and also sits nice in a set of

bags.

It has a really comfortable grip.

It's a palm swell.

You can see there's a lot of relief on that.

That palm swell allows you to get really comfortable

without torquing on that grip and cause some point

of impact change.

Nice cheek piece to support your face and it

has a quarter inch of drop on the comb from the heel

to the nose so that when the stock recoils it pulls

away from your face.

We use a CNC machine to inlet for the different

barrel contours and actions and our action

chassis system.

And we'll pass that through the machine

operations.

We install the aluminum chassis system and the

recoil pads and we end up with a stock that's like

this that's ready for our final assembly, to put all

the components together.

Now that chassis system, basically, just meets up

with the action.

It's a V-block that centers up the action and

then the recoil lug recess prevents the recoil from

moving.

We actually lock that recoil lug in so the

action doesn't bounce around in the stock when

you fire it.

Put it all together and that system's complete and

it's ready for that G7 optic.

Now, to finish our system we'll take these rifles

out to the range, we'll break in the barrels,

we'll put 70-80 rounds through a gun breaking in

the barrel, and then shooting all the long

range ballistic data so that we can set up and

calibrate the ballistic turrets and the G7 scope.

So we put alot of work in the system even after

we have that scope mounted and put together in our next segment

mike davidson has the long range set up in a shooting position

and he will show you a couple different techniques to make sue

the performance and cnsitency you expect.

>Now there's a couple shooting techniques and

tips that will help you become a better shot in

the field.

You don't need to carry all these gadgets around

with you.

We've got it all right here in a nice little

package ready to go.

We're gonna try to duplicate how we shoot on

a bench.

We're gonna have a front support.

We're gonna have a rear support.

This rear support's very important to making these

long shots.

You're gonna practice your breathing.

You're gonna practice your trigger pull.

You can dry fire your gun as much as you want, that

trigger's gonna be your best friend here pretty

soon.

Now, proper body alignment's very

important.

A lot of guys will approach their rifle from

the front.

Snipers like to do that because it gives less of a

target to shoot back at.

But when we're hunting, that's not the best

situation.

I like to take more of a sideways approach to my

rifle.

That allows me to kind of drop my shoulder into the

butt stock here and it brings the left side of my

chest up off the ground just a little bit, kind of

keeps your heart from beating so hard,

especially when you're chasing that big buck or

bull.

So you roll your shoulder down into your stock,

two-point support, front and rear.

You can squeeze this rear bag just for some fine

adjustments, give it a couple practice dry fires,

and that's how you become a good shot is just

practicing how you're going to shoot out in the

field.

Probably the most important thing that

you're going to learn how to do is determine your

wind speed and direction, how to dope your wind.

Now there's a few things that we use that make that

easier for us.

We've got a wind meter.

That's going to measure wind speed.

How we'll use that is if I'm going to shoot in this

direction, all I'm caring about is the crosswind

component, what's blowing across my bullet's flight

path.

I'm gonna take that wind meter and just point it

right at that object and get the crosswind speed.

Now that's a pretty good indication of wind speed

and unless there's some environmental mountain or

canyon or something that's going to change that wind

out there halfway to my target, I'm going to go

ahead and shoot for this wind speed right here,

okay?

So it's a pretty simple tool.

The other thing that we can do as far as

determining the direction and if there's any change

in wind is watch our vegetation.

We've got some grass right out here in front of us,

you know.

We've got a little left or right crosswind here.

I can look through my spotting scope down range

at that target and see if the vegetation is moving

the same way.

If it's different then I know I might have to make

a correction there.

The third way that we determine wind speed, and

this is probably my favorite and the most

useful to me, is watching the atmospheric

distortion, the mirage.

Now, you get mirage from a difference in the air

temperature versus the Earth's temperature.

And so on most days you have it, some days you

don't, so it's not gonna work for you.

But there's a couple of ways we can determine wind

speed and also definitely direction using the

mirage.

If we have a mirage that's just boiling straight up,

you know, we have either no crosswind, or we might

have an updraft but we have no crosswind.

If we have that mirage angling upward at a 35-45

degree angle, you can count on a 5-7 mile an

hour wind.

If you have a crosswind, or a mirage, that's just

blowing straight across your flight path, you know

you have at least a 10 mile an hour wind, if not

more.

That's when your wind meter will come in handy.

Again, we've made this as simple as we can.

You range it, you dial it, and you hold for wind if

you need to, and you pull the trigger.

It's that easy and it's that fast.

They made the simplest system out there for

compensating for wind and for elevation.

>Hey, we appreciate you watching.

We've had a fun time building this show.

We hope that we've helped you understand more about

long range shooting, and also I hope we've

encouraged you to get out there and practice and do

some long range shooting.

It's a lot of fun and it's gonna change the way you

hunt.

It's gonna change the way you shoot.

I am mike davidson with gun works

if you want to see more long range shooting

go to our website gunwerks.com

or dont forget to call gunwerks and request a free dvd.

For more infomation >> Long Range Pursuit | S1 E20 The Gunwerks Ballistic Solution - Duration: 21:32.

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Whispers | Episode 19 | Middlemarch: The Series - Duration: 4:53.

[Episode 19 - Whispers]

Hey! So we're making this video today

because we've been noticing a trend.

- A trend!

- So, whenever we try and make a nice,

fun video, it doesn't really go the way

we planned. Like that Sunday before last,

when we tried to have that fun

conversation about not-Casaubon,

what did we we talk about? - Casaubon.

- And somehow me inviting myself to Casaubon's apartment

to do a super cute apartment tour

didn't really work out how I planned.

So. - So.

- So we've decided to do something completely pointless and super fun.

- The Whisper Challenge.

Okay so how this works is I have to say something

and then Celia, who- - Are you doing the thing now?

Is this the thing?

- Celia, who can't hear me right now,

has to guess what I'm trying to say.

Okay. We'll try it, okay? So...

Jamie Chettam has the best hair in the universe.

- Jamie Chettam...

has trouble getting their point across?

What was it?

- Jamie Chettam has the best hair in the universe - That's true.

Can I...?

This is way better than talking about

Dot and Casaubon and their communication problems.

- Right.

- Should- Umm, should I say something now?

- Actually, speaking of communication problems, um,

there's something I wanted to talk to you about.

- Okay. What is it?

- So, I know that- - Hey, Jamie!

I haven't seen you in like forever. How are you?

- I'm fine. - Oh is this a bad time?

- No, it's fine. Let me just...

- Hello. I...

To be honest, I didn't think I would find myself here,

talking to a camera,

but there's no one else I can really talk to.

And I feel the need to confide in some...thing

that my dissertation is not

progressing quite as I planned.

That is, my dissertation is

not quite as intellectually thorough as I'd hoped but...

My dissertation does not exist.

My dissertation does not exist.

I have pages and pages of notes - now neatly organized notes -

but that is all I have.

I thought if I had a couple of years

far away from the pressures of my university and- But...

Even though I know Dorothea is just trying to be helpful,

every time she does something for me

I'm plagued with the thought that-

the thought that all her kindness

is an attempt to compensate for some

hidden lack of faith in me and my work.

And if I told her that?

She would be kind again, of course, and I...

For more infomation >> Whispers | Episode 19 | Middlemarch: The Series - Duration: 4:53.

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Kathy Hilton Throws Shade At Amy Adams! | TMZ TV - Duration: 1:36.

>> KATHY, HOW ARE YOU?

>> WE GOT RICK AND KATHY HILTON

OUTSIDE OF CRAIG'S.

WE'RE TALKING AND ALL OF A

SUDDEN THERE'S LIKE A PAPARAZZI

SWARM.

THEY'RE TRYING TO FIGURE OUT WHO

IT IS.

AND OUR CAMERA GUY IDENTIFIES

-- MISIDENTIFIED HER AND SAYS --

>> ISLA FISHER.

>> IT'S ACTUALLY AMY ADAMS,

OTHER REDHEAD.

SHE STARTS TELLING A STORY, IT'S

KIND OF JUMBLED.

>> YOU SAID SHE SENT A PICTURE.

AND I WOULD LIKE TO SAY SHE

DIDN'T EVEN THANK ME.

>> WHAT IT SOUNDS LIKE IS AMY

ADAMS, ONE OF THE MOST POLITE TO

HER FANS AND OUR GUY IS LIKE --

>> SHE ASKED YOU FOR A PICTURE?

>> NO.

SOMEBODY IN THERE.

>> OH.

>> SO I SAID -- OH, I'M NOT

TELLING YOU.

>> SHE ALSO GOES DOWN ON THE

SHADE BECAUSE A WOMAN ASKS KATHY

FOR HER PHOTO.

>> OF COURSE SHE CAN!

>> SHOULD THE CAMERAMAN HAVE

ABANDONED KATHY AND GONE TO AMY?

HARVEY: AS IT TURNS OUT, AMY

DIDN'T SAY ANYTHING AND KATHY

WAS HILARIOUS.

PLUS HE THOUGHT IT WAS ISLA

FISHER.

>> THOSE TWO ARE

INTERCHANGEABLE, AMY AND ISLA.

>> THEY SO ARE.

>> OR YOU MIX THEIR NAMES AND

END UP WITH AMY FISHER.

[LAUGHTER]

NOBODY WANTS THAT.

>> THANK YOU.

TAKE CARE.

For more infomation >> Kathy Hilton Throws Shade At Amy Adams! | TMZ TV - Duration: 1:36.

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Roberto by RFM "L'infinito" Polished Knot Cuff Bracelet - Duration: 2:18.

For more infomation >> Roberto by RFM "L'infinito" Polished Knot Cuff Bracelet - Duration: 2:18.

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Roberto by RFM "Di Classe" Circle Station Bracelet - Duration: 2:37.

For more infomation >> Roberto by RFM "Di Classe" Circle Station Bracelet - Duration: 2:37.

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Here & Now for Wednesday 3 May 2017 - Duration: 1:01:02.

For more infomation >> Here & Now for Wednesday 3 May 2017 - Duration: 1:01:02.

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Misty's Childhood EXPLAINED! - Duration: 9:32.

For more infomation >> Misty's Childhood EXPLAINED! - Duration: 9:32.

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Βιντεο Δ - Duration: 4:19.

For more infomation >> Βιντεο Δ - Duration: 4:19.

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The Legend of Zelda: Skyward Sword | Wii | Gameplay Comentado | Parte 34 - Duration: 32:34.

For more infomation >> The Legend of Zelda: Skyward Sword | Wii | Gameplay Comentado | Parte 34 - Duration: 32:34.

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Zeds Dead X NGHTMRE - Frontlines (LEVR Remix) [Lyrics] - Duration: 4:12.

Scared to live em my old ways (My old ways)

Stuck on this one way train roll (This one way train roll)

And I can't find the brakes (And I can't find the brakes)

Taking me where I don't know (Don't know)

'Cause I'm alone So far from home

A stranger looking back I don't know where to go

Till I see your light on Till I see your light on

Till I see your light on

Till I see your light on Till I see your light on

Follow you through the haze (Follow you through the haze)

Pebbles tap on your window Feel the cold on my face

(On my face) I don't wanna hear you say no

'Cause I'm alone So far from home

A stranger looking back I don't know where to go

Till I see your light on Till I see your light on

Till I see your light on

Till I see your light on Till I see your light on

Till I see your light on Till I see your light on

Till I see your light on Till I see your light on

Till I see your light on Till I see your light on

For more infomation >> Zeds Dead X NGHTMRE - Frontlines (LEVR Remix) [Lyrics] - Duration: 4:12.

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NEW French Montana x Swae Lee Type Beat 2017 - "ProtoType" | DanceHall Instrumental | DigitalBeatz - Duration: 3:46.

New French Montana x Swae Lee Type Beat

2017

"ProtoType"

DigitalBeatz.net

For more infomation >> NEW French Montana x Swae Lee Type Beat 2017 - "ProtoType" | DanceHall Instrumental | DigitalBeatz - Duration: 3:46.

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Newcastle teacher gives plasma just to make ends meet - Duration: 1:14.

the pay isn't much so he gives

plasma to supplement incom

TAKE PACKAGE 00:06:34:07 I've

got

permanent scar doing that. Just

did it yesterday.

AND WHAT JAY THOMAS DID AND DOES

TO HELP PAY THE BILLS-- IS GIV

PLASMA, EVERY WEEK. 00:02:48:02

I've been doing it for a couple

of

years.

I've given over a hundred times

it's twice

a week.

THOMAS IS A TEACHER.

AND HAS BEEN FOR 16 YEARS. HE'S

BEEN AT NEWCASTL

ELEMENTARY FOR 5 ... 00:04:28:02

We love it here.

We love the families and the

kids.

BUT HE ONLY MAKES ABOUT 32- 35

THOUSAND DOLLARS A YEAR AFTER

TAXES.

HIS WIFE - A TEACHER TOO.

AND GIVING PLASMA, GIVES THEM A

LITTLE

EXTR

ALTHOUGH WHAT THEY GET ISN'T

MUCH.

00:03:10:09 I get about 65 bucks

a week.

SAYING ANY LITTLE BIT HELPS HIS

FAMILY OF FOUR.

00:01:37:18 I have to give

plasma twice a

week.

Sometime just to buy groceries

at some point

also to pay a little bit of the

bills.

AND HE'S NOT THE ONLY TEACHER

DOING IT ...

00:06:43:25 Everytime I go In

there, there's at

least 4 or 5 other teachers from

here that

do it to

THEY just HOPE LAWMAKERS WILL

HEAR THEIR STORies -- IN HOPES

OF A much needed raise.

IN NEWCASTLE, MECCA RAYNE, KOCO

5 NEWS.

SIX PM SHOW OPEN

For more infomation >> Newcastle teacher gives plasma just to make ends meet - Duration: 1:14.

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Roberto by RFM "Nodus d'Amore" Polished Knot Ring - Duration: 5:19.

For more infomation >> Roberto by RFM "Nodus d'Amore" Polished Knot Ring - Duration: 5:19.

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ALL TIME LOW Talk About New Album "Last Young Renegade" - Duration: 3:28.

For more infomation >> ALL TIME LOW Talk About New Album "Last Young Renegade" - Duration: 3:28.

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Should I go to the movie theater? - Duration: 7:34.

Hey guys!

My name is Jaleesa and (squeak) I'm back for another video.

I am truly, truly sorry for how long (hm, squeak) it's been since I've filmed last (fidget).

I do have some other videos filmed.

I just filmed my Tourette's story and it's just taking me (fuck) a really long time to

edit (squeak), so that should be out soon.

It's just taking me a long time.

And I got sick again with my fibromyalgia.

Then I was really busy.

I was trying to get all these doctors to get their you know what together.

Yeah, it's been a little crazy, but I am fine (fidget).

I should be making videos somewhat regularly now, I hope.

I say that all the time and then I don't , I know.

But (squeak) it shouldn't go another month without filming.

Sorry.

On to today's topic of the video.

Now, in a few seconds, prepare yourselves, I'm about to say something that is a little

bit controversial.

So, here it goes.

I have Tourette's, I have very prominent vocal tics (squeak) and I go to the movie theaters.

(ngup) Basically, there's a lot of different people on various social media sites on the

internet (squeak), including Tourette's-specific groups like support groups, who've said that

if you go to the movie theater (squeak) or some other places that are supposed to be

quiet or if people are supposed to be concentrating, then you are a selfish person.

(fidget) You are ruining somebody else's time and, like I don't know, (fidget) it's annoying

or something (fidget) and you're supposed to be quiet, so if you can't be quiet and

you're in a space where people expect you to be quiet, then you shouldn't be there.

I'm not sure if I'm wording that right, but...

Basically, I'm trying to address going to the movie theaters when you have Tourette's.

I probably should've said that in the first place.

So, as I said, I myself do go to the movie theaters (hmm), but I do try to go on weekdays

in the morning (frigid) and to movies that have been out for a while.

(frigid) I don't really go on Saturday afternoons to a popular movie.

I try to go when it's gonna be (squeak, hey) a lot less crowded.

And admittedly, if there was something like a relaxed screening or something like that

for people with disabilities like mine, I would prefer to go to that, where you would

expect people to make a noise, but that's not really (squeak) a widespread thing and

we don't really have that where I live (frigid), so my choice is either go to the movie theaters

with my vocal tics or just don't go to the movie theaters.

But honestly, I have to admit, for the like 8 people that are going to see a movie on

a Monday morning that's been out for a while (frigid) that are in the theaters with me,

I don't really feel that bad for them to be completely honest.

Let me try to put this in perspective for you.

If you find yourself in a movie theater with me, you are only going to have to deal with

the few of my vocal tics that aren't drowned out by the massive surround sound in the theater

and you're only going to have to deal with it for one movie.

Maybe you'll see me twice and have to deal with it another time a few months later if

you're really lucky and you happen to be (squeak) in the same theater with me twice (frigid,

click), but you're probably only going to have to deal with it for a couple hours, for

one movie out of your entire life (click) and that's only a few, few tics.

I have to hear these sounds all the time.

I'm the person making them.

I can't stop making them and I can't walk away from them when the movie is over (squeak,

ha, hmm).

Not only that, but I have to deal with the motor tics that you're probably not even going

to see (uh) most of them (squeak) or be paying attention to them (fidget).

You can't even really see a lot of them on this camera because it only films (frigid)

from like my chest and shoulders up, but I'm the one that's going to have to deal with

the movements and the pain that those movements can cause throughout the entire movie.

That also includes eye rolling tics which can keep me from even seeing the movie.

And that's not even to mention the premonitory urge that I feel every time I tic.

You know that feeling when you've been holding your breath for a really long time?

Imagine having that all throughout your body 24/7 along with the movements and the noises.

And yet, somehow, with all of this going on, I can still enjoy the movie (squeak).

It could be argued that it's much more distracting, impactful, painful...whatever.

You could argue that it's much worse for me and what people are telling me when they say

I shouldn't be in places like the movie theater or church or libraries is that they can't

deal (squeak) with the tip of the iceberg, the little vocal portion of my Tourette's,

for a couple of hours maybe, so much so that they don't want me to be in the same theater

or, you know, any quiet space as them (fidget) because they might be bothered by it.

It's a wonder that I'm made out to be the selfish one in this situation.

I just honestly want to get out and enjoy my life (frigid, click).

And to be honest, I've never had (hm, squeak) anyone even bat an eye at the movie theater,

which is really rare for going out to any public place for me (fidget), but I really

have not had problems with it.

And if I've talked to people afterwards (fidget), they usually say that it's not a problem or

that they completely filtered it out.

If you yourself have Tourette's (fidget) and you have this opinion that you shouldn't (squeak)

go to the movie theater per say when your tics are bad (fidget), then I sort of respect

the opinion a little bit more (frigid), but if you don't have Tourette's (tds) and your

problem is that you don't want to be in the same theater as me, what you're saying is

that you value your own comfort so much that you don't want other people to enjoy the same

things that you do (squeak) just because they have a medical condition that they can't help.

You're saying that you can't endure my tics for one movie when I have to endure them for

all of the movies that I see (fidget).

And I think that's it for my little rant today or whatever you want to call it.

Please leave a comment below on like, if you agree with this.

Do you disagree?

Do you think that (fidget) if you have a medical condition that (squeak) makes you make noise

or whatever, that (fidget) maybe you shouldn't go to the movie theaters (fidget)?

I don't agree with you, but I'd be open to hearing what you have to say.

And if you have Tourette's, please tell us in the comments (fidget) what your experience

(squeak) in movie theaters or like maybe churches or libraries or anything like that is like,

so we can educate more people (fidget) about what our experiences are.

Do you go to the movie theaters?

Do you choose not to so as not to disrupt others?

Let me know (hm).

And I think I've babbled on enough, so I'm going to shut up now.

Like, comment and subscribe if you want to see more of my face and I'll see you guys

in the next video.

Bye!

For more infomation >> Should I go to the movie theater? - Duration: 7:34.

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How to set the location information to the 360 ​​° photo taken in "Google Street View" - Duration: 2:41.

How to set the location information to the 360 ​​° photo taken in "Google Street View"

Hello everyone

This time, we will introduce how to set the location information to the 360 ​​° photo taken in "Google Street View"

If you want to publish a 360 ° photo taken in "Google Street View", you need to put a partially "blur" and set the position information

If you are originally in the specification to insert the location information tag in the camera settings for the location information is read the position information tag "Google Street View",

Since the position information automatically is adapted to be set,

If the location information location information or not to set the insertion of the tag is wrong, set in the smartphone version of "Google Street View" application

How to set up the position information, from 360 ° photo shows the stock to launch the "Google Street View" application "private"

Touch the 360 ​​° photos to set the position information

If you set the same position information to multiple of 360 ° photo, touch the "Select" to select it and touch multiple photos

Touch the menu icon and touch the "Select the listing of the map", and then touch the appropriate spot from the spot which is displayed by the candidate list or search

This first selection to 360 ° photos position information of the spot will be granted

Once again touch the menu icon Touch the "place Edit", the pin is displayed on the map,

You can perform a more detailed location editing by moving in a drag-and-drop a pin

"Edit location" This will be the editing of each 1 photo

Touch the top right corner of the check mark After making the edit and save it

Detailed location information to the 360 ​​° photo taken in "Google Street View" will be set in this

If If you such as a person and car number is not crowded reflected in the 360 ​​° No photo be published in this state problem

But if if they are gone reflected you need to put a "blurring"

We will introduce the next opportunity for the "blurring"

Above, it was the introduction of how to set the location information to the 360 ​​° photo taken in "Google Street View"

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