Thứ Năm, 16 tháng 11, 2017

Waching daily Nov 16 2017

11 11 Brings The Wave Of Change & Light And Council Of Light Light Language To Help

by Sherry Mosley,

My dream of the giant tidal wave back in October of the new energy coming and me feeling totally

at peace has come true!

The new energy is here with 11/11! Whoo hoo!

Feeling SO alive!!!

End of October, I had the tidal wave dream as Gregg Prescott and a few others had.

(THREE Massive Tidal Waves Are Coming And It�s Not What You Think!)

As we go through these intense Ascension waves, we are each being dialed in to what is coming.

In my dream, I was on a cruise ship going by a city between two tall green mountains

or hills.

I could see tall buildings and smaller buildings below.

Then me and another friend of mine who does healing and ascension work looked out the

window of the cruise ship.

We saw a massive tidal wave rising up behind the mountains and just as tall and heading

to engulf the entire city.

We held hands and started to set up some sort of ritual to set the space and energy.

There was no fear just a feeling of peace and love knowing there is no death in this

or ever.

Later in the dream I am still on the ship and walking around realizing I boarded so

quickly I forgot my swim suite and other things.

I then started wondering about healthy food options and if they had any trail mix and

immediately I was walking into a sort of gourmet market and there were bins of trail mix.

Then I was with a group of people and they were saying that dinner required being dressed

up and I realized I hadn�t packed any dress up clothing.

Then suddenly I realized, wait I do have an outfit, as if as soon as I realized I didn�t

have what I needed or a need, that need was immediately fulfilled.

To me this was a sign of the new energy to come in.

When I did a shamanic journey on the dream I was told to notice that when the wave appeared

I was in peace and in a place most consider �the good life� or �paradise�, on

a luxury cruise ship.

I was also told to notice I was with my friend who I consider to be quite conscious, awake,

aware of what is going on representing it is a change I am ready for but many still

are not and it will or can be hard on them.

I was also told that 11/11 will be the opening of the gateway for this new energy wave.

Now 11/11 this year has brought in the energy of so many opportunities to really be who

you really truly are.

I have been receiving light language all week leading up to 11/11 and had light language

for all my clients in their shamanic Akashic record sessions the past two weeks as well.

On Thursday 11/09/17, I received this light language transmission and message from the

Council of Light to share with the masses.

Also, please see my past articles on the Waves of Promised Change for more information on

these waves of change.

For more infomation >> 11 11 Brings The Wave Of Change & Light And Council Of Light Light Language To Help - Duration: 3:31.

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makeup halloween - Duration: 0:53.

Hello dear followers !!! we are glad to see you on our page.

Hopefully you will come up with new videos.

If you want to get acquainted with our new videos soon

Do not forget to be SUBSCRIBE to our cannabis.

For more infomation >> makeup halloween - Duration: 0:53.

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CBC NL Here & Now Thursday November 16, 2017 - Duration: 1:02:15.

For more infomation >> CBC NL Here & Now Thursday November 16, 2017 - Duration: 1:02:15.

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Endless Space 2 - Galactic Statecraft Update Trailer - Duration: 2:11.

The Galactic Statecraft Update is a major long-awaited addition to Endless Space 2 diplomatic gameplay.

Players will be offered plenty of new options

to interact and collaborate with other major players,

For those who favor the subtle art of negotiation rather than brutal bloodshed,

the game now offers new diplomatic means for faction leaders to solve conflictual situations,

making collaboration more rewarding and accessible than ever.

Through improved alliances, players can strengthen their bonds with allies and benefit from new bonuses.

A new coordination tool is also available for players to communicate with their allies

to attack, or defend, specific locations on the galaxy.

On top of that, the update brings a series of new features.

Secret Pirate lairs,

New endgame bonuses linked to the Heretic's plot,

Orbital stations,

Constellation control bonuses,

Weapons rebalancing,

And a series of new events.

You can even keep a record of your campaigns performance via a new local leaderboard.

We hope you will enjoy this new free content for Endless Space 2,

and we would be happy to collect your feedback on our Games2Gether platform.

For more infomation >> Endless Space 2 - Galactic Statecraft Update Trailer - Duration: 2:11.

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Fatal crash shuts down Bluemound Road near Highway 100 - Duration: 0:59.

For more infomation >> Fatal crash shuts down Bluemound Road near Highway 100 - Duration: 0:59.

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Emzy x Honorato - Cerxl (Prod.Dough) - Duration: 2:49.

For more infomation >> Emzy x Honorato - Cerxl (Prod.Dough) - Duration: 2:49.

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That One Where Dave Went To Launch Con In Dallas, TX ... Funnel Hacker TV Episode 66 - Duration: 10:10.

All right so the journey begins again

All right here, we are at LaunchCon

Once I went from right this first business is going to be my life's work to this is a practice business

Immediately what it does? They just unlocks the pressure of having to get it right.

We love the clickfunnels community, keep publishing those funnels baby!

This is gonna be out like a three weeks stent of gosh ...

We're going Dallas, Austin, Phoenix, Utah, San Francisco over the next couple weeks, so quick trip waiting for uber

5:38, heading out early!

All right here we are at the airport Boise Airport heading off to Jeff Walker's LaunchCon launch club

we actually are gonna be a sponsor there and

Got a lot of fun crazy things gonna be happening there at the event so here we go

Alright guys guess who I just ran into here at launch club the one and the only

Jeff Brewer of inner circle reppin inner circle and launch club having a ton of fun here

So why are you here at the event?

I'm here at the event to try and network and mastermind with Jeff Walker's coaching team some of the awesome awesome

Entrepreneurs inside launch club and let's spread the ClickFunnels name within launch club

That's why we love Jeff!

I am lovin loving loving clickfunnels Thank You Russell Thank You team

for putting clickfunnels together because ... Mark boy!

Look at this just about a year and a half ago. This was me

I was traveling all across the country you know doing events on stages doing events in front of people and I did over 70 cities

70 cities in two years, but I got so tired of the travel

I got so ... my wife, and I were like you know another sit now it was fun now

But we got so tired of the traveling. I was like ah in the world can I get away from having to go and?

Get all these planes and do them, and I ran DotCom Secrets!

And I'm gonna tell you I read the book twice and it just rocked my world I was able to

Spent a summer. This is last year. I spent the summer on my back porch

Learning how to build funnels

That's all I did the whole summer and I built my first

Funnel we launched it in and you can check this just look at my account. You know look under my name

We did three hundred and thirty thousand in sales our first twelve months, so I am so grateful Thank You Russell

Thank you click funnels team for what you guys do it's the best in the world baby, and it's changed my life!

Guess who I just ran into

Zach Getson! Hey you guys love clickfunnels

Love y'all so what words of advice do you have for the ClickFunnels community? Stick with it honestly

It's really easy stuff, but you have to put in the time put in the work. There is no easy answer

You just have to do it so what you guys tell people. They should be doing right now. They should be going on

Also, we're taping

In CDs and DVDs and we're taking it digital

The takeaways we've got from from launch con be a student I get a mentor and really find your purpose

So here we are with Ryan Levesque

And my son basically right to give him advice on his first business or talk about a practice business

Right and still even think the analogy that always has helped me is

When you know when we learn to drive right like the first car that we drove. It's not our dream car

It's not the car that we're gonna have the rest of our life

But it's a vehicle to learn how to go forward how to go back how to parallel park at a turn

But it's about valuable vehicle

And you don't want the first car you drive to be your you know

quarter-million dollar supercar because you can't scratch the thing up because

You want the practice?

Vehicle right you bought the old Jeep that has rust in the floor

And you know has a couple of dings in the back and so

Once I went from all right this first business is going to be my life's work to

It is just a practice business immediately what it does is it just unlocks the pressure of having to get it, right?

cuz and so and so if you get stock on like what business should I start

I'd recommend actually picking a topic that you're like not passionate because then what you focus on is the the process

Instead of the content if you're like super passionate about like your the thing that you love more than anything in the world

You're gonna feel like you're messing up so like working. It's not my life's passion

Scrabble tile jewelry not my life's passion

But it was like all right so who cares about that. Let's learn how to create e book

let's learn how to send emails how to write copy and

You know what that's not going to be the thing that I'm remembered for forever, but eventually it'll help me get to the thing that

so yeah, if you're stuck like that's my advice man.

I'm here with Eric Rocha from Brazil most amazing marketer in the world we are just talking about Instagram and stories and

ROI on Instagram, anything you want to say to our funnel hacking community? Guys get shit done!

That's the way I mean sometimes

They're just waiting for the right moment to do stuff so we do stuff as quick as we can make it better next time

I know look start without perfect

This is an environment full of awesome people

Binky

What are some of what advice you give people you know having irresistible offer, that's one thing you know

We've done tons of events and this event has been by far the best offer

we've had people can get the funnel hacker cookbook the

Three core funnels that funnel graffiti just for sign up for a free trial of clickfunnels. We don't offer that anywhere else

Just here at this event and it is

The middle of day two I don't think it's noon yet

And we are completely out we did not bring enough of this

And we shall have another full day tomorrow so that I mean the offer has been amazing

And having a killer offers your number one tip oh, yeah absolutely. I mean it is converting like crazy. If you think about it

I'm honestly not even asking people to sign up they're just saying how do I sign up so?

Just give value and answer questions, and that's it all right number one tip from Erico Rocha

was using a headline in your video gives you four times on organic reach and your with your Facebook lives Facebook videos

Instagram videos so number one tip use headlines in your videos

Well, I then my coach the consultant we the tax industry

And I'm not an online guy at all and so a couple years back

We saw Russell's thing. They got click funnels. We have about five different funnels and the photos were great so anyway

We really love ClickFunnels!

For sure love having people who are coming from non-traditional areas offline world using click funnels very cool

So ClickFunnels and orthodontics coming at you next! You're not gonna believe who I just ran into one of my dearest friends in

the world

Stew McClaran is here, Do you believe it? so what are you up to these days? Well life is good business is growing

Charity's growing and the family's awesome awesome. Yeah, and he's got new podcast yes

Marketing your business dot com if you go to that you'll get sent there

But it's I gained a tremendous amount of inspiration from Russell with marketing secrets

Marketing in your car for those hardcore. You know

but yeah

Because I love seeing the behind the scenes of like what he was doing and similar like I get asked a lot of questions about

That so same

Similar style similar to him so if they like marketing secrets they will also like marketing your business we yeah

We are donating a dollar for every single funnel that gets published just to name is charity

We love the clickfunnels community keep publishing those funnels baby!

Want to make sure you understand the importance of attending live events for us live events have been one of the main

Places I've had the opportunity literally of connecting with people around the world one of main things

I'm looking for right now is I'm trying to look at getting clickfunnels international

So I have interviewed and spoken with just spoke to Erico Rocha from Brazil in Portuguese. That's one of the contacts there

I spoke to gentleman from Hungary, and we're looking at Hungarian spoke to another guy this morning from Italy another one from Japan

I never would have met these people had I not come to a live event so for me coming to live events is the most

Amazing place in the world's network as well as rekindling old friendships and relationships. It's just people's guards down. It's their open

They have nothing else going on

They really can't focus that much on their business

So I highly recommend you guys get to live events one that's coming up

You must get to and that's Funnel Hacking Live check it out funnel acting live dot com!

You

For more infomation >> That One Where Dave Went To Launch Con In Dallas, TX ... Funnel Hacker TV Episode 66 - Duration: 10:10.

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Fun Facts About Turkeys! - Duration: 3:44.

there are lots of great fall decorations out in our neighborhood and one of the

most common ones squeaks and I see are turkeys you might know that turkeys are

connected with Thanksgiving in the United States and Canada and people

sometimes raise them on their farm but did you know that there are also wild

turkeys and they're pretty cool birds there are lots of other fun things to

know about turkeys too from the sounds they make to how they eat to the little

flaps of skin on their beaks you might already know one of the sounds a turkey

makes on the count of three let's all try to make that sound ready one two

three did you make a sound like this

yes turkeys say something that sounds like gobble gobble but not all of them

only the Tom's the male turkeys make that famous gobbling sound and they only

make it some of the time both Tom turkeys and female turkeys

called hens can make other sounds too like this and this so if you ever hear a

turkey make that gobble gobble sound you know it's a Tom turkey and I'm going to

let you in on another secret about how to tell the Tom's and hands apart look

at their poop yes their poop if a pile of turkey poop looks like a spiral it

came from a head if it looks more like the letter J or a question mark then it

came from a Tom turkey one thing that's the same about Tom and hen turkeys is

what they eat adult turkeys munch on things like berries and seeds and even

sometimes small animals like salamanders but like all birds turkeys don't have

teeth so they can't chant their food the way we do instead they have another body

part that kind of does the same thing it's called a gizzard and it's a really

important body part for turkeys and other birds the gizzard is a small pouch

that has a lot of muscle and if we could see inside of the turkeys body we could

see that the gizzard is right here a Turkey's gizzard is full of tiny stones

and pieces of other hard things like gravel the turkey picks up these hard

pieces from the ground and swallows them and they stay in a gizzard

if a human tried to swallow a stone it would be dangerous but for a turkey the

stones in its gizzard act like teeth when food gets into the gizzard the

muscles of the gizzard squeeze it mixing the food with the stones inside this

matches the food up and grind it into smaller pieces then the turkey can use

it for energy the gizzard is just one of the neat body parts that a turkey has

and like the word gizzard they're also pretty fun to say turkeys have two

special body parts on their head the flap of skin that hangs over the turkeys

beak is called a snood and the skin around the turkeys neck is called its

waddle bird experts can tell a lot about how a turkey is feeling by looking at

its nude and its waddle the snoot and model are normally kind of pink or red

in color but if the turkeys not feeling well its snoot and waddle get lighter in

color and if the turkey is scared they can even turn blue okay time for one

more turkey fact you might have heard that turkeys are not very smart well

that's not true turkeys can be just as smart as other

animals they can learn to get along with people and other animals and they can

even learn from each other so now you know all about Thanksgivings famous bird

the turkey thanks for joining us if you want to keep learning and having fun

with squeaks and me hit the subscribe button and we'll see you next time here

the fourth

you

For more infomation >> Fun Facts About Turkeys! - Duration: 3:44.

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Lil Peep - Star Shopping (Audio) - Duration: 2:28.

♪ Wait right here ♪

♪ I'll be back in the mornin' ♪

♪ I know that I'm not that important to you ♪

♪ But to me, girl, you're so much more than gorgeous ♪

♪ So much more than perfect ♪

♪ Right now I know that I'm not really worth it if you give me time, I can work on it ♪

♪ Give me some time while I work on it ♪

♪ Losin' your patience, and, girl, I don't blame you ♪

♪ The Earth's in rotation, you're waitin' for me ♪

♪ Look at my face, while I fuck on your waist 'cause we only have one conversation a week ♪

♪ That's why your friends always hatin' on me ♪

♪ Fuck 'em though, I did this all by myself matter fact, I ain't never ask no one for help ♪

♪ And that's why I don't pick up my phone when it rings ♪

♪ None of my exes is over Lil Peep Nobody flexin' as much as I be ♪

♪ That's why she text me and tell me she love me She know that someday I'll be over the sea ♪

♪ Makin' my money and smokin' my weed ♪

♪ I think it's funny, She open up to me, get comfortable with me ♪

♪ Once I got it comin', I love her, she love me ♪

♪ I know that I'm nothing like someone the family want me to be ♪

♪ If I find a way, would you walk it with me? ♪

♪ Look at my face while you talkin' to me 'cause we only have one conversation a week ♪

♪ Can I get one conversation at least? ♪

♪ Shout out to everyone makin' my beats, you helpin' me preach ♪

♪ This music's the only thing keepin' the peace ♪

♪ When I'm fallin' to pieces ♪

♪ Look at the sky tonight, all of the stars have a reason ♪

♪ A reason to shine, a reason like mine and ♪

♪ I'm fallin' to pieces ♪

♪ Look at the sky tonight, all of the stars have a reason ♪

For more infomation >> Lil Peep - Star Shopping (Audio) - Duration: 2:28.

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This Class Gives Every Child A Chance To Dance | Southern Living - Duration: 3:55.

(gentle music)

There are a lot of misconceptions about

children who may have a different need,

or I like to call them a special talent.

I started A Chance to Dance on behalf of my

youngest daughter Reagan who just turned eight

and is affected by autism and sensory processing disorder.

My daughter, because of her very rare genetic disease,

her life expectancy is 20 to 25.

So for her to be able to come here,

be a part of this program, it gives her an opportunity

to do things that she may otherwise not be able to do.

Before A Chance to Dance, Molly's peers and friends

were doctors, nurses, and therapists.

And since we've joined the class she has

friends in the class that are her age.

We have been so lucky to find Miss Kim and

A Chance to Dance.

Go to your parents and hand them your tap shoes

and then come right back.

We work with about 40 families now and they're all from

South Charlotte, Matthews, and these families are

super grateful because these kids are

involved in the program and they get to

perform annually in the recital.

It's been a huge blessing because the town of

Matthews and South Charlotte has really

embraced this program.

Being a Charlotte native and growing up in the South,

something that's very important to me is hospitality

and taking care of community,

and in this case taking care of all those who are different

regardless of their need and regardless of their age

and just truly giving back.

We're doing that here at A Chance to Dance

through the magic of dance.

It is important to have a program like this

in the community so that children that have special needs

are able to participate in a group activity

with peers that are similar to them.

Even my daughter, who sits in a wheelchair,

she has on her tap shoes and her foot plate is metal

and they literally tap her feet for her.

It's not just her being in the class,

she is involved.

So that's what makes is special and unique.

They're not just pushing her around in her wheelchair,

they are literally dancing.

I know that people with disabilities think that

they are not, well some people don't think

that they can do things.

And we can do things, we can dance, we can sing,

we can do anything.

We want to show the world that they can

instead of people thinking that they can't or

because they're lacking something that

they can't do something.

And that was a very important reason that

I wanted to start the competitive piece,

and why we have a recreational special needs program

and we have a competitive special needs program.

They went to two regional competitions last year and

they got an invitation to the World Dance Championships

as the first special needs team ever.

So just this past August first we went to

Secaucus, New Jersey where they performed

Singing In the Rain at the World Dance Championships,

and they were rewarded a performance award.

That was like the most special moment ever for these kids.

One, two, three, four, five, six, seven, eight.

I would say our biggest goal is just to promote

awareness for all these different needs and

to promote inclusion, and to share these kids

with the world in hopes that other dance studios

will open their doors and start a small program

like we did, because the need is out there.

To be able to share our platform of dance like this

is huge for these families.

For more infomation >> This Class Gives Every Child A Chance To Dance | Southern Living - Duration: 3:55.

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SLAY OR THROW AWAY: IS ZAFUL A SCAM? HONEST REVIEW 👊 - Duration: 14:52.

For more infomation >> SLAY OR THROW AWAY: IS ZAFUL A SCAM? HONEST REVIEW 👊 - Duration: 14:52.

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The Editor: Crash Course Film Production #12 - Duration: 11:07.

A movie, as you know, is basically a sequence of shots.

The shots themselves may be beautiful or strange, kinetic or still, bright or dark.

And, viewed individually, they might carry some meaning.

But the real power of narrative cinema comes when you put those shots together.

Suddenly they have context.

They react to one another, surprising us or putting us at ease.

Cut together, these shots can create whole new levels of meaning and evoke emotions in

ways only cinema can.

And the person whose job it is to make those cuts, to discover that emotional and narrative

alchemy, is… the editor.

[Intro Music Plays]

Like cinematographers, production designers, costumers, and makeup artists, editors must

be part technician, part craftsperson, and part creative artist.

They are responsible for understanding the technology of post-production, from editing

software to integrating sound design, music, and special effects.

But they also need to have a deep understanding of film grammar, a gut instinct for character,

and a powerful sense of timing.

They are the final guardians of the story and the emotional landscape of the film.

A narrative film is a very fragile thing, and one misplaced cut can drastically change

its meaning and impact.

But as crucial as it is, the editor's job is also to hide their work.

Usually, their goal is to make the cuts appear so seamless that the audience doesn't even

notice them at all.

Like so many great artists, the best editors make their work look effortless.

But trust me, it's not!

Among their duties, editors must be able to sort through hours and hours of raw footage

to find the story.

They must train their visual memories to remember tiny differences between takes and shots,

and imagine how they might be cut together.

They must help the director separate the movie they wanted to make, from the movie they

actually shot.

They are fresh eyes, unencumbered by the challenges of getting a shot or the heartbreak of a performance

that didn't turn out.

Editors must also have the taste to recognize when the story isn't working, and the skills

and experience to offer some solutions.

Another way to think of this is that editors are the first audience for a film.

An audience with the power to change it and make it even better.

So how do they do it?

In the beginning, editors worked with razor blades and tape to physically slice the film

into shots and then join those shots together.

It was painstaking work.

One cut could take several minutes, as opposed to the seconds it takes today using editing software.

It was also more difficult to experiment with various cuts.

There was no easy, quick way to go back and undo a particular edit.

Just more razor blades, tape, and time.

An editing machine called a Moviola became standard equipment for editors in the 1920s,

and not a moment too soon!

In addition to streamlining the process, the Movila allowed editors to watch the film as

they were making their cuts.

Then in the 1970s, flatbed editing systems like the Steenbeck and the KEM arrived.

Now editors could move the film backward and forward to examine their edits, and listen

to the recorded soundtrack as they went.

Flatbeds would remain the industry standard until the 1990s, when digital editing systems

like the Avid emerged.

We refer to physical film editing as linear editing, because the process involves editing

your way through the scene or the film in sequence, shot by shot, and choosing cut points

as you go.

It's also called destructive editing, since the editor is literally cutting the film,

irreparably altering it with each transition between shots.

When you edit digitally using computer software, that process is called non-linear editing.

Here, you can scroll to any point in the scene, or in the film, with the touch of a button,

joining and re-joining shots in any order, as many times as you want.

It's also called non-destructive editing.

The main non-linear editing systems include the Avid, Apple's Final Cut Pro, and Adobe Premiere.

Each system has its benefits and drawbacks, and each editor must figure out what works

best for each project in terms of budget, workflow, and ease of use.

Now, when the footage comes in from the set, the editor's first step is to create an

assembly cut.

This is a very rough version of the movie that cuts each scene together in its most

basic form.

They're often very long and sometimes contain multiple takes of a given shot.

The goal of the assembly cut is for the director and editor to see if they've captured the story.

Are there any major plot points missing?

Can the desired tone be achieved with the footage that they have?

Are there any technical problems with the footage?

Do the characters make sense?

Where are the plot holes?

Watching an assembly cut for the first time is often both a joyful and painful experience.

There's your film, all put together, coming alive for the first time before your eyes.

But it's also usually a Frankenstein's monster of dead-ends, missed shots, and performances

that haven't been properly paced yet!

But don't panic!

Because there's more work to do!

The next step in the process is to make a rough cut, or several of them.

This is the time for experimentation, for re-thinking the structure of the film.

What if this scene goes here?

What if we move this line to the next scene?

Do we even need this this subplot, or this moment, or this shot?

How can we build the tension, liven a flat scene, or make a joke funnier?

The editor uses rough cuts to focus on the bigger parts of the movie that aren't working.

It's also where the filmmakers can begin to get a sense of what the ultimate run time

of the movie will be.

Once those issues have been solved, the editor moves on to the fine cut.

At this point, the issues are smaller, but no less significant.

It's time to fine tune performances, maximize emotional impact, trim some shots, and extend others.

This is where you ask: When do we cut from one character or another?

Is it better to extend this shot by one frame?

Two frames?

Five?

How can we hide our crappy, animatronic shark?

Two frames can make the difference between Jaws and Sharknado.

Then we come to the final cut.

At this point we are achieving a "locked cut," meaning no more changes to the duration

or order of any shot in the film.

Color correction is happening.

Visual and sound effects are coming in.

Music is being composed, recorded, and selected.

ADR, or automated dialogue replacement, is being recorded and added to the film.

And it's all being mixed so that every image and sound in the film exists in proper balance,

fulfilling the vision of the director, who's now working through the editor and

the post-production team.

Each step in this process is specific and important, but not necessarily distinct.

Every film is different, so often these stages blend into one another.

The editor might have a brilliant re-structuring idea in the fine cut stage, and open the film

back up to re-arrange some scenes.

Or the director might have a sudden desire to extend a pivotal emotional beat just as

the film is locking picture.

However it happens, once all these steps are complete, so is the movie.

And at every step in this process, the editor makes an indelible mark on the project … even

if it's not always obvious.

One of the most powerful effects of the editor's work is the ability to shift a film's perspective.

Who the film cuts to, at what moment, and how long it remains on a character can influence

the audience's identification with a character and their experience.

Editors spend a lot of time asking questions like, "Whose scene is this?" and "Why?"

Usually followed by, "Does it have to be that way?" and "What if we tried it

from another point of view?"

Very often the director is in the room for these conversations, and if they can be open

to it, an editor's ideas can sometimes change the way they think of the film, opening up

new and exciting possibilities.

The more films you make, the more you realize that you can't separate shooting and editing.

They're bound together.

The shots inform the editing and allow for all the experimentation that is to come.

Cinematographers spend a lot of their own prep time thinking and talking about how their

shots might get cut together.

It's all designed to tell the story and evoke the desired emotions.

And so much of it comes down to when to cut.

And how the rhythm of those cuts contributes to the emotional and narrative experience

of the story.

The best editors collaborate very closely with directors and bring out the best in their work.

The great Thelma Schoonmaker has been editing Martin Scorsese films since the earliest days

of his career, from the split-second cuts of Raging Bull to the contemplative stillness

of Silence.

Stephen Spielberg has worked with editor Michael Kahn ever since Close Encounters of the Third Kind.

Quentin Tarantino has long praised the late Sally Menke for corralling his impulses and

bringing order to his films, from Reservoir Dogs to Inglorious Basterds.

Walter Murch is one of the editing greats.

He's cut everything from Apocalypse Now and The Godfather to The English Patient.

He was among the first old-guard editors to switch to a non-linear editing system, and

he wrote the book on film editing, called In the Blink of an Eye.

In it, he lays out his six priorities for cutting away from one shot to another.

The first is emotion.

How does the shot affect the audience emotionally?

What do you want them to feel?

And does a cut add to that emotion, or take away from it?

The second is story.

Does the cut move the story forward?

Each cut needs to advance the story, not bog it down.

Murch's third priority is rhythm.

Just like music, he believes editing must have a beat, a rhythm, a sense of phrasing.

Is a cut interesting here, or dull?

What does it do to the pacing of a scene?

Shake it up?

Or flatten it?

Fourth is something he calls eye trace.

How does the cut affect where the audience focuses in the frame?

The editor should be aware of where they want the audience to be looking, and then use that

to surprise or confirm their instincts, depending on what the scene is trying to accomplish.

The last two priorities charge the editor with being aware of both the two dimensional

place of the screen as well as three dimensional space.

These are fancy ways of saying the cut has the power to maintain or disorient the audience

as to the physical space within the scene.

All told, the editor should be conscious of how the cut affects the audience's understanding

of the world of the film.

Editors are as vital to the filmmaking process as they are low profile.

By the time the film is screening in a theater, no one knows the footage, the emotional beats,

the pacing, and the performances better than the editor.

Without them, we'd just have a pile of random footage.

With them, we have magic.

Today we talked about the job of the editor, as both a technician and an artist.

We learned about the history of film editing, from hand-cutting film to using digital editing software.

And we explored the impact of the choices an editor makes in collaboration with the

director, and how those cuts can bring a film to life.

Next time we'll explore marketing, the surprisingly creative work done after the film is edited,

as distributors try to pitch the film to its intended audience.

Crash Course Film Production is produced in association with PBS Digital Studios.

You can head over to their channel to check out a playlist of their latest shows, like

PBS Infinite Series, PBS Space Time, and It's Okay to be Smart.

This episode of Crash Course was filmed in the Doctor Cheryl C. Kinney Crash Course Studio

with the help of these nice people and our amazing graphics team is Thought Cafe.

For more infomation >> The Editor: Crash Course Film Production #12 - Duration: 11:07.

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How to Make Plasma in Your Microwave ... With a Grape - Duration: 3:53.

[♪ INTRO]

When you think about plasma, you know, like when you're just sitting around,

thinking about states of matter, you probably imagine stars, or the stuff that comes out of a lightsaber.

You probably don't think about something you'd make in your kitchen microwave.

But it's totally possible, and there are plenty of YouTube videos to prove it.

Thanks to some cool physics, you don't even need fancy technology.

All you need is a microwave that you're willing to destroy … and a grape.

Plasma is kind of like a gas, except that its atoms have some of their electrons stripped off,

so it's made up of positively-charged ions and a bunch of free electrons zooming around.

To make some, you just have to make some gas really hot,

and then send an electrical current through it.

And a microwave is a great way to do that.

Microwave ovens cook food by bathing it in a kind of light called, shockingly, microwaves.

They're just like the visible light coming out of your computer screen right now,

but their frequency, the number of times they oscillate back and forth each second,

is about 200,000 times lower, so matter responds differently to them.

The waves make water and other molecules in your food vibrate,

which generates the heat that makes your hot pocket hot.

Now, if you throw a regular old grape in a microwave oven,

it will probably just get really hot and explode.

You'll get fruit juice all over the inside of the thing, but you won't see any fireballs.

To get the fiery ball of plasma, the grape needs some preparation.

In those YouTube videos, they're always careful to cut the grape almost completely in half,

except for a tiny strip of skin connecting the two halves.

And that strip is important, because it lets the grape act like an antenna

and that makes the whole experiment work.

A sliced grape happens to be just about the perfect size to trap and amplify microwaves,

and when the waves start flowing in, the grape turns into what's called a dipole antenna,

where the electrical charges in each half get pushed back and forth

across the little slice of skin.

To make sure all the microwaves hit the grape from the same direction,

people will usually take out or cover the spinning plate that rotates the food,

so the charges bounce back and forth in the same way over and over again.

All that focuses the energy of these microwaves onto that tiny bit of skin.

Any water on there boils away pretty quickly and then,

unsurprisingly, the strip catches on fire after just a couple of seconds.

Which is one reason why this is a bad idea to try at home:

Fire and powerful electronics, not usually a good thing to mix together.

But the fire doesn't just disappear after that.

Hot air rises, so the flame climbs up between the two grape halves.

And since the microwave oven is still going, electric current keeps bouncing

back and forth between the sides of the grape,

and across any steam or hot molecules carried up by the fire.

Eventually, it gets so hot that the atoms in the steam, the air, and even the grape

juice have their electrons stripped off, and you get a bunch of plasma.

The plasma fireball shoots out from the grape halves and, if everything goes just right,

or horribly, horribly wrong, it tends to hit the roof of the microwave often pretty spectacularly.

Once that fireball stops and it cools down, the plasma just turns into regular gas again,

and there's nothing to worry about, except, probably, for your broken microwave oven.

Which again, is why this is not a great idea to do in your home microwave oven,

which you probably bought with money.

So if you've seen these grapesplosions on YouTube, there's a lot more to them than

meets the eye, and there's a lot of cool microwave science out there.

But I am not condoning you doing them.

It's the kind of thing that should be done carefully by professional grape exploders.

Thanks for watching!

Besides perfectly cut grapes, there are plenty of other things

you should not stick in the microwave, and we've explained some of them before here on SciShow.

If you've ever wondered why you shouldn't put metal in there,

you can watch our episode where we tell you all about it.

[♪ OUTRO]

For more infomation >> How to Make Plasma in Your Microwave ... With a Grape - Duration: 3:53.

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WAGS LA | Barbie Blank Cries Over Her Husband Sheldon Souray | E! - Duration: 1:08.

For more infomation >> WAGS LA | Barbie Blank Cries Over Her Husband Sheldon Souray | E! - Duration: 1:08.

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A UNIDADE NÃO SE TRATA DE ACORDO - (OS ANJOS) - Duration: 4:27.

For more infomation >> A UNIDADE NÃO SE TRATA DE ACORDO - (OS ANJOS) - Duration: 4:27.

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CLIP STUDIO PAINT EX - REVIEW on iPad Pro! - Duration: 12:59.

Hey guys! Today I am going to be reviewing something that has been

getting the artist community buzzing online all week long, and that is

Clip Studio Paint Ex being released on iPad Pro. If you don't know what it is

Clip Studio Paint is a digital painting program developed by a Japanese graphics

software company named Celsys (correct me if I'm wrong on the pronunciation there).

So this program has traditionally been marketed towards digital creation of

manga or comics, but it is also catered towards illustrators and animators. So

the introduction of this app on iPad Pro has been really popular for two main

reasons. Firstly, it's a very popular program on desktops already for artists

because it's quite affordable - compared to, say, the Adobe products - and it's got a

lot of really great features for creating art. And, secondly, it has the

full capabilities of the desktop version of the program, which is something that

artists using the iPad Pro haven't been able to experience yet. The current

popular drawing and painting apps on the iPad Pro are very simplified compared to

desktop programs. Before we get into details - this isn't really going to be an

in-depth review of all you can accomplish on this app, but more just a

review on what's to offer in this app in comparison to other drawing apps on

offer. And I'll also just mention that Celsys is offering six months free when

you sign up for a Clip Studio Paint Ex subscription on your iPad Pro before

December 20 2017. But I'd also like to note on that that you can download the

program and try out all the features without actually signing up for a

subscription. I found that you only need to sign up when you're wanting to save a

file. So you can download the app for free and try it out without signing up

for a subscription. So maybe keep note you don't automatically get that six

months free just by downloading the app - you do have to then sign up for a

subscription within the app. And you can find that in the app just by hitting the

logo in the top left hand corner and then hitting "purchase clip studio paint"

down the bottom, and then it brings up the option to subscribe. So my initial

thoughts is I love the full program capabilities of this app. It's definitely

what I was missing on my iPad Pro, because previously I've been using

mostly Procreate. Aince Apple advertises the iPad Pro as a tablet as powerful as

a laptop, it has felt like you should be able to accomplish more than what had

been provided by the drawing programs I'd experienced so far. But I didn't

really buy my iPad Pro expecting full program capabilities, I bought it more as

just a simple and easy way to draw digitally and portably. Because there's

like the Wacom Mobile Studio Pro, but it's portable... but it's kind of more

"portable," like it's really hard to lug around, you still have to plug it into a

powerpoint to use for extended periods of time, whereas the iPad Pro, it's really

small light and you don't really need to plug it in to be able to use it; the

battery lasts for quite a while. I have actually done a separate iPad Pro review

for artists, so I'll leave the link to that video down in the description box.

But yeah, so I never really questioned how popular drawing apps like Procreate,

Autodesk SketchBook, and Adobe Sketch feeling like light versions of desktop

programs, but now having the option of Clip Studio Paint is amazing because it

bridges that gap between having a fully portable drawing device, and full desktop

art program capabilities. So I'm much closer now to accessing what I can on a

desktop, on my iPad... just with a limited screen size and, I

guess, processor. My initial experience of the program has been fantastic!

It feels much more natural to draw and paint with than

Procreate, which I was previously drawing with. Now, Procreate I could sketch with

fine, but line art and painting just never felt right. It was probably to do

with how the brushes performed differently to what I was used to in

Photoshop, and/or the possibility of the pressure curve being off, or different,

although I tried altering it (the pressure curve) in the program they still couldn't get it to

feel right. In contrast, I feel like I could very easily sketch, do line work,

and colour on my iPad with Clip Studio Paint, and it would feel much more

comfortable and familiar. Whilst I love my desktop workstation with my 22 inch

Wacom Cintiq, I do feel like I'm kind of chained to my desk a lot of the time, so

this program is getting me even more excited to be able to draw on my iPad

and work portably, or not have to always work at my desk. There is now the option

of buying the Wacom Cintiq Pro 16 inch, which is not too much smaller than the

22 inch, but it's a lot more portable. You still have to plug it into a powerpoint

to be able to use it, but you obviously have a greater ability of moving your

workstation around. Whereas, this, it's on like a big stand, and it's way too hard

to move around, it's really heavy and you just worry about damaging it. And since

the Clip Studio Paint program is a full version on the iPad Pro, you also have

the capability of taking all of your usual desktop brushes from Clip Studio

Paint, and transferring them onto your iPad for use on that. I do own the PC

version, but I actually haven't really used it that much, so I haven't needed to

do this. For those people who are familiar with Clip Studio Paint, the

interface might look slightly different on the iPad Pro, but you do have the

option of changing to that desktop layout. All you have to do is go into the

Preferences by hitting the logo in the top left-hand corner of the program, then

going to preferences, go into the interface tab, and just

un-tick "configure basic layout of the palettes to one for tablets." So if I do

that there, now you can see that it changes. But you obviously have much less

drawing space, which you want to have as much of as possible, since the iPad

Pro screen is obviously much smaller than a desktop screen. You also have the

option of using the Clip Studio Assets, such as downloading brushes, 3d model

characters, and more from your peers. You even have the capability of connecting a

keyboard to your iPad Pro through bluetooth, or for example, I've got the

Apple Smart Keyboard. And when you connect a keyboard you can actually use

the typical desktop program keyboard shortcuts, so this creates a much more

smoother and faster workflow but also a much more familiar workflow. Like for

example, Procreate - it is a program made just for the iPad, but you do have a

learning curve of figuring out all the new shortcut buttons that they have

programmed into the app. I actually bought this keyboard after downloading

Clip Studio Paint because I wanted to be able to access the keyboard shortcuts,

and you can lean on it a bit to draw on it. It's just quite expensive.

As for drawbacks, I think the most obvious drawback I've found so far is

the lack of integration with cloud-based programs like iCloud, Dropbox, or Google

Drive. Cloud-based filing systems are very quickly becoming the norm,

especially with the fact that artists are no longer changed to the one

workstation, but can work on their desktops, laptops, or iPads, and need to be

able to easily swap between one another. This means, for example, easily taking a

sketch from your iPad onto your desktop. Clip Studio Paint works like it's got

its own file system integrated into the program, and you have to export files to

save to your iPad for external use, such as uploading to social media, or to send

or upload them elsewhere, like Dropbox. I also couldn't figure out how to

export a PSD file from my Dropbox onto my iPad, to then opening Clip Studio

Paint, so I'm not sure whether that's possible or not. And if it is possible,

it's not very straightforward to work out. In the Clip Studio Paint online tips

they actually explain using iTunes as a way of transferring files from desktop

to iPad, which is actually a pretty terrible way to work, in my opinion. I

don't think anyone actually uses iTunes anymore... So I did find that a bit odd.

These days I actually work on Photoshop files straight out of Dropbox. This means

I can open a file straight out of Dropbox and save it while I'm working,

and then if I choose to, I could then go open the file on my laptop and make some

edits save, it on there, and then I can easily return to this updated version on

my desktop without needing to physically spend time uploading a file. So having

that sort of capability on the iPad Pro would be spectacular;

it would take out a lot of steps and save a lot of time when taking an

artwork from my iPad onto my desktop. Another point that could be a major

drawback for a lot of people is the fact that it has a subscription-based method

of payment, and this is $11.49AUD per month. I believe it's $8.99USD.

In my honest, opinion I think this program is great

and I'd get a lot of use out of it, so the monthly subscription isn't the

biggest problem for me. I think those artists who would have their iPad Pro as

their only digital creating workstation, it's pretty reasonable. But it's one of

those things where it depends on how much use YOU get out of it, and whether

that makes the cost worth it. So! My final thoughts, is this program is amazing for

the iPad Pro. I know it has convinced a lot of artists to actually go out and

buy an iPad Pro, just because of this program coming out. I think this is a

game-changer in regards to having a portable digital art workstation. I think

it's perfect for the artist who wants a simple, easy-to-use, all-rounder

program for basic digital art creation, such as for a hobbyist. Or, for the artist

who wants a portable digital painting program with full desktop program

capabilities, and/or acts like a desktop program; therefore is familiar to use, and

so doesn't have a giant learning curve like Procreate, if you're used to

using things like Photoshop. And as a reminder there is a six month free trial

offer going on until December 20 2017. And just a reminder, this doesn't

automatically happen when you download the program, you do have to physically

sign up for it through the program. I will note that I haven't yet tested out

how the program handles really large file sizes, or files with lots and lots

of layers, but I think this will also depend a bit on which particular model

of iPad Pro you have. I'll also note that you can go on to their website and look

through all their tips for what you can accomplish through this program, and how

to use it, so I'll leave the link to that down in the description box. But

otherwise that's pretty much all I had to say for my brief review on Clip

Studio Paint Ex on iPad Pro. If you enjoyed this video or if you found it

helpful, then please give me a thumbs up, and if you want to see more videos like

this, then just let me know, give me some requests and I'll see what

I can do, and if you want to see more videos like this then please subscribe

to my channel! And otherwise I'll see you guys in the next video. Bye!

And also it's actually a pretty good stand, like if you-- ....well, that was... terrible.

For more infomation >> CLIP STUDIO PAINT EX - REVIEW on iPad Pro! - Duration: 12:59.

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Coloring Pages for Kids Happy Circles - How to Draw Happy Circles Shape for Children - Duration: 10:36.

[Music]

[Music]

[Music]

[Music]

[Music]

[Music]

[Music]

[Music]

[Music]

Magic

Coloring Pages

For more infomation >> Coloring Pages for Kids Happy Circles - How to Draw Happy Circles Shape for Children - Duration: 10:36.

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DEP releases results of investigation of dairy farm - Duration: 1:45.

For more infomation >> DEP releases results of investigation of dairy farm - Duration: 1:45.

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Open Education in Practice: Integrating OER Into Your Course - Duration: 4:28.

This week's video is going to talk about how you can integrate Open Educational Resources,

or OER, into your teaching.

Open Educational Resources provide a great opportunity for saving students money

in the classroom.

But a blog post on Open Pedagogy posted earlier this year talks about OER in a different way.

It reads: "When faculty use OER, we aren't just saving students money on textbooks:

we are directly impacting that students' ability to enroll in, persist through, and

successfully complete a course."

But why?

Because when you use OER or open textbooks in place of a traditional textbook in your

class, every student is able to afford and access that resource from Day One.

Now here's the big question: how does using that resource change what you do in a class?

Or put another way, how will the "open" aspect of OER impact the way you teach?

You don't have to change your methods or incorporate the "openness" of your resources

into your assignments or course planning if you really don't want to.

However, if you choose to ignore these aspects of your open resources, what's the point

of including them in your class?

It'll save students money, but there's so much more you can do.

Instead, consider challenging yourself.

Consider asking yourself "how will I edit these resources or my teaching to accommodate

the open resources to my course objectives?

The Open Education Consortium has listed seven steps that you can take to integrate open educational

resources into your teaching.

To keep things simple, I'm going to summarize five of those here.

First, Articulate expectations, goals, and learning outcomes for your course.

Explaining how your resources relate to what you teach and what you expect your class to

learn can be useful for you, your students, and (if you're creating a resource to release online),

it can provide context for future instructors who use your work as well.

Second, allow active engagement with your resources.

Develop activities where students can evaluate or revise OER in your subject area, encourage

students to seek out material online, or engage with websites like Wikipedia where you can

update or critique material that has been submitted openly.

Teach your students to evaluate their resources, and to engage with the material in a new way,

not just absorb it as they go along.

Third, encourage students to have enjoyable and meaningful experiences with your course.

Using Open Educational Resources means that much of your course materials will be available

online, and that you can continue to develop the course content over time as well.

Why not get your students involved in creating resources you can use in future classes, like

video summaries of textbook chapters, or infographics to explain complicated ideas?

The students can get credit for their work, and have homework that persists and can be

used by instructors after they've completed the class.

This can help students to see the impact and importance of their work, and encourage them

to make sure they understand the material better over time.

Fourth, provide opportunities for useful reflection on what users have learned.

Allow students to reflect on their experience with your new resources, to comment on what

they liked and didn't, and how it impacted their learning.

OER are openly licensed, so if there's something small that just doesn't work for your students,

you can edit that out for the next course you teach.

And finally, link learning with students' own circumstances.

Because OER allow for more freedom both in how and what you present to your class, you

have the ability to give the material a more local context.

That might mean you bring in information specific to Iowa in an Agronomy or Agriculture lesson

plan, or it might mean that you use language that your students are more familiar with.

If you're sharing an Open Educational Resource online, other instructors might translate

your work into their language, or provide examples that relate to how they and their

students live in their country, state, or even county.

You have a lot of options for making an open resource your own and making it relatable

and attractive for your students.

Think about that and what that could mean for your teaching.

Open educational resources aren't just analogs

for the materials you already use in your courses.

That is one way you can use them, but ideally they should be dynamic, learner-oriented,

based and rooted in your course objectives, and open to change.

By reviewing your materials, what you want from them, and what they can do for your class,

you can more effectively integrate OER into your classroom.

Thanks for watching and as always, contact your librarian or check out our library guides

if you have any questions.

For more infomation >> Open Education in Practice: Integrating OER Into Your Course - Duration: 4:28.

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Crochet Koala Tutorial - Duration: 53:35.

Hello everyone welcome, I'm Kerri. Today I'll be showing you how to crochet this

koala appliqué. It's slightly bigger than the ones I've shown you previously.

For the koala our main colour will be a light grey, we'll also need a darker

gray, black and white crochet cotton or wool. I like to use four ply crochet

cotton. I find cotton gives you a crisper finish. You'll also need a crochet hook,

scissors, I use sewing thread to stitch my appliqués together. I use a darning

needle to weave in my ends, and a sewing needle to stitch them together.

I do have links to the materials you'll need in the description below. Now I'm

going to start with the head and my light grey. I make a magic loop, and work

three chain, and fourteen double crochet into the circle.

I pull the circle tight, and slip stitch into the third chain. For row two I start

with three chain, and I work a double crochet into the same place as the chain,

and then I work two double crochet into each stitch around.

So I'll continue round this row and I'll meet you at the end. At the end of

the row we join with a slip stitch into the third chain. Now rows three, four, and

five we'll work the same. We start with three chain, and work one double crochet

in the same place as the chain, and then we work one double crochet into each of the

next two stitches, and two double crochet into the following stitch, and repeat

that around. One double crochet into each of the next two stitches, and two

into the following stitch, and then at the end of the row we join with a slip

stitch into the third chain. So that's rows three, four, and five. So

I'll complete rows three, four, and five and I'll be back and we'll start on the

ears. Now that's up to row five finished. So the head's finished. Now I'm going to

start with this ear here. So I join my white, the second stitch after my loop. I'll

just pull that a bit looser so it doesn't come undone. And I start with two

chain, and work a half double crochet in the same place as the chain, and then I

work one half double crochet into each of the next two stitches,

and two half double crochet into the following stitch, then one half double

crochet into each of the next two stitches, and two half double crochet

into the following stitch, and that's the first row of the ear. Then we work two

chain, and turn and the work a decrease half double crochet over the first two

stitches, and then one half double crochet into each stitch until we get

to the last two stitches.

Over the last two stitches we work a decrease half double crochet, and then we

work two chain, and turn, and we work a decrease half double crochet over the

first two stitches, and then we work a joined half double crochet over the next

three stitches,

and then a decrease half double crochet over the last two stitches, and that's

the white of the ear. Now fasten that off.

And now I start with my grey, and I work one double crochet into each of the

next three stitches. Just find a good place to work so it doesn't show up

too much around your ear. Sometimes it can be a bit hard to find a good place.

Now we're going to work the little wavy pieces. For each wave we work two double

treble into one stitch, and one double treble into the following stitch. So two

double treble,

into one stitch, and then a double treble into the following stitch,

and then into the next stitch we work two half double crochet. And that's the first

wave, and then we repeat that, we work two double treble,

and then one double treble into the next stitch,

and then two half double crochet into the next.

And then we work one more wave of two double treble into one stitch,

a double treble in the following stitch,

and then two half double crochet.

I'll find another place, that's showing a bit much.

And then we work one double crochet into each stitch around the rest of the ear,

and slip stitch into the head, and fasten off. And that's the first ear done.

Now we miss seventeen stitches, and join our white into the eighteenth stitch,

and start with two chain, and work a half double crochet into the same place, and

then we work one half double crochet into each of the next two stitches, two

half double crochet into the following stitch, one half double crochet into each

of the next two stitches, and two half double crochet into the next, and then two

chain, and a decrease half double crochet over the first two stitches,

and work one half double crochet into each stitch until we're at the last

two,

and a decrease half double crochet over the last two stitches. Then two chain, and

turn, and we work one decrease half double crochet over the first two

stitches, a joined half double crochet over the next three stitches, and a

decrease half double crochet over the last two, and fasten off.

Now I'll just weave in my ends to make it a bit easier to do the outer ear.

Now for the outside of the second ear we miss one stitch before the white

part and join up the stitch before, and then we work one double crochet into

each of the next six stitches.

Now we start the wavy parts, so we work two double treble into the next stitch,

one double treble into the following stitch,

and then two half double crochet into the next.

For the next wavy piece we work two double treble into the next stitch,

one double treble into the following stitch,

and two half double crochet into the following stitch. And

for the last wavy piece we work two double treble into the next stitch,

one double treble into the following stitch,

and two half double crochet into the next, and now just continue around your

ear with one double crochet into each stitch,

and then slip stitch into the head, and

fasten off. And there's the head and ears done. I'll start on the nose now. With my

black I make a magic loop, and start with four chain, and work a treble into

the circle.

Then I work four double crochet,

three treble,

four double crochet,

and one treble. Pull the circle tight, and slip stitch into the fourth chain. For

row two we work two chain, and work one half double crochet into the same place as

the chain, and then we work two half double crochet into each stitch around.

So I'll continue around the nose and I'll be back. At the end of the row we

slip stitch into the second chain, and fasten off, and that's the nose finished.

For the inner eyes, we make two. We start with a magic loop, and one chain, and we

work eight single crochet into the circle.

Pull the circle tight

and slip stitch into the chain and fasten off.

For the outer eye, we start with a magic loop, and two chain, and we work ten half double

crochet into the circle.

Pull the circle tight, and slip stitch into the second chain, and fasten off.

We'll need two.

For the white part of the tummy we start with a magic loop, and three chain, and we

work fourteen double crochet into our circle.

We pull our circle tight, and slip stitch into the third chain. For row two we

start with three chain, and work a double crochet into the same place as the chain,

and then we work two double crochet into each stitch around. So I'll finish this

row and I'll be back. At the end of the row we slip stitch into the third chain.

Now rows three and four are worked the same. We start with three chain, and work one

double crochet in the same place as the chain, and then we work one double

crochet into each of the next two stitches, and two double crochet in the

following stitch,

and we repeat that around, so one double crochet into each of the next two

stitches, and then two double crochet into the following stitch all the way

around, and then we join with a slip stitch into the third chain. So I'll work

row three and four, and finish off the tummy piece, and then I'll be back. And

that's the four rows of the tummy part finished, I'll fasten that off. And now I

start on the body part, it's in behind the tummy and the arms. I'm using the

light grey, and I start with a magic loop, and three chain. It's made the same

as the head, so we start with three chain, and then we work fourteen double crochet

into the loop,

and then pull our circle tight and slip stitch into the third chain. For row two we

work three chain, and one double crochet in the same place as the chain, and then

two double crochet into each stitch around. So I'll do this row and I'll meet

you at the end. At the end of the row we join with a slip stitch into the third

chain. Now rows three, four, and five are worked the same. We start with three chain,

and work one double crochet in the same place as the chain, and then we work one

double crochet into each of the next two stitches, and two double crochet into the

following stitch, and repeat that around, one double crochet into each of the next

two stitches, and two into the following stitch, and then at the end of the row we

join with a slip stitch into the third chain.

So that's rows three, four, and five. So I'll complete rows three, four, and five

and I'll be back. And that's the body finished. For the arms we start with

thirty chain.

We miss the first four chain, and then we work one treble in to each of the

next fourteen chain.

Next we work one double crochet into each of the next seven chain,

and then one half double crochet into each of the next four chain,

and then four half double crochet into the last chain.

Now we work back into the back of the chain, and we work one half double crochet into

each of the next four,

and then one double crochet into each of the next seven,

and lastly one treble into each of the remaining stitches.

Both arms are worked the same,

and we fasten off.

Now I'll work the leg now. I start with eight chain,

and I work four treble into the fifth chain from the hook,

and then I work one half double crochet into each of the next two chain,

and then three half double crochet into the last chain,

and then I work into the back of the chain. I work one half double crochet

into each of the next two,

and then I slip stitch into the top there, of the chain. For row two I start

with three chain, and I work one double crochet into the same place as the chain,

and then I work two double crochet into each stitch around. So I'll work

around this row and I'll meet you at the end. At the end of the row we join

with a slip stitch into the third chain. For row three we start with three

chain, and work one double crochet into the same place, and then we work one

double crochet into each of the next two stitches, and two double crochet into

the following stitch, and we repeat that all the way around. So one double crochet

into each of the next two stitches, and two into the following stitch. So I'll

finish this row and I'll be back. At the end of the row we slip stitch into the

third chain, and fasten off. And that's the leg finished, we'll need two legs. Now

I'm going to start on the foot. So I've got my darker grey. I start with eight chain,

and I work four treble into the fifth chain from the hook,

and then one half double crochet into each of the next two chain,

and three half double crochet into the last chain,

and then into the back of the chain we work one half double crochet into each

of the next two chain,

and join with a slip stitch into the top of the chain. For row two we start with

three chain, and work one double crochet into the same place as the chain, and then

we work two double crochet into each stitch around.

So I'll finish this row and I'll be back. At the end of the row we slip stitch

into the third chain, and fasten off, and

that's the foot finished, we need two feet.

For the paw pad I'm using black, and I start with the magic loop, and one chain,

and then I work eight single crochet into the circle.

I pull the circle tight and slip stitch into the chain.

I'll need two of those. I'm going to work the claws now, so I've got black and I

join just near the top of the the arm.

I'm going to work a finger into each of the four stitches round the

top. For the first finger I work six chain, and slip stitch into the same

place, and slip stitch into the next stitch, and work six chain, slip stitch

into the next stitch, and work six chain,

and then slip stitch into the same place, and then slip stitch into the next

stitch, and work four chain, and slip stitch into the same place, and fasten

off. The last little one's for the thumb,

and they'll just push in together. For the other arm, it will be going the other

way, or bend it in the other way. So we start with the thumb,

and we join in, and work four chain, and slip stitch into the same place, and then

slip stitch into the next stitch, and work six chain,

slip stitch into the same stitch, and slip stitch into the next stitch, and six

chain again, slip stitch into the same place, and then slip stitch into the next

stitch, and work another six chain, and then slip stitch into the same stitch,

and fasten off.

Now I'll weave in my endings and do another foot, leg, eyes, and paw pad, and

I'll be back to put it together. Now the first thing I'm going to do is stitch

the nose onto the head, it goes just about there, the bottom of the nose will

touch the line, the second line in. I'll also stitch the black, the inner eyes onto

the outer eyes, and the paw pads they go on the narrow end. So just in there, if

you're not sure of the placement of anything I do have my patterns with

pictures on my website. So I'll stitch these on, I'll also stitch on a mouth

while I've got black thread and I'll stitch on the claws. I'm just going to use the

cotton, the black cotton that I used to crochet the nose. So I'll do those and

I'll be back. Now all that sewing is done, next I'm going to stitch my eyes on, they

just go in there like that.

I'll also stitch the tummy onto the body, just in like that. And I'll stitch

the feet on to the legs,

they just fit in like that.

So I'll do that and I'll be back. Now I'm going to stitch my feet to the body, the

edge of the feet goes just at the last, where the last row starts, so just in

like that. So I'll stitch those on, also I'll stitch the arms on to the

head. I start them, leave a bit of a gap, and the one with the thumb, the thumb

points in, and this thumb will point in this way. So I'll stitch them onto

the head evenly, and then I'll be back and we'll join the head to the body.

Now there's the head and arm stitched together, and the body and the feet. Next we

stitch the head to the body, just in at the top, the head just goes slightly on

to the white, but very little, and we ease the arms around, they go slightly onto

the feet, like that.

So I'll stitch that together and I'll be back to show you the finished koala. And

there's the finished koala. If you liked my video please like, subscribe, and share.

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the subscribe button. Thank you for watching, see you next time. Bye.

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