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ధనస్సురాశి | Dhanassu Rasi 2018 | Ugadi Rasi Phalalu | Ugadi Panchangam | Rasi Phalalu 2018 | Ugadi - Duration: 5:55.
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À Quoi Sert L'eau Citronnée ? 10 Raisons De Boire De L'eau De Citron Tous Les Jours - Duration: 5:17.
For more infomation >> À Quoi Sert L'eau Citronnée ? 10 Raisons De Boire De L'eau De Citron Tous Les Jours - Duration: 5:17. -------------------------------------------
Let's create a comic : Sketching - Duration: 2:13.
Next I will be doing the sketching, which will be the base for the inking process.
I create a new layer folder and move all layout sketches into it.
After the roughly drawn first layout sketch, I'm going to add more detailed parts to the sketch...
...so that I can actually use it to place the lineart above it.
I create a new layer and change the name to "Sketch"...
...while also changing the expression color of it to [gray].
I continue drawing the sketch with the [Pencil] tool .
Then I continue to draw, using the [Navigator] palette rotating, ...
...zooming in and out, and flipping the canvas back and forth.
Using [Undo] and [Redo] a lot, is really the key to creating a cleaner sketch.
For parts, where it is difficult to make out the sketch drawing from the underlying draft,...
...it is best to lower the opacity of the layer beneath in the [Layer] palette, to draw more easily.
The sketch for the page is done.
By the way, for the sketch of the two main characters, I used the CLIP STUDIO PAINT 3D models.
I will explain to you how to use these in a different video.
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Let's create a comic : Toning patterns and Exporting - Duration: 18:15.
This time I will finish this monochrome manga page.
First, I create a new layer folder and put all layers I used decoration brushes on into it.
Since I am no longer using the layout draft and sketch layers,
I'll turn them off in the [Layer Property] palette.
I will fill in the black parts of the manuscript next.
I create a separate layer for this.
When I zoom in on those parts and select the [Fill] tool,
I make sure to use the [Refer other layers] option.
With black selected I click on the respective areas and I fill the parts with color.
When encountering gaps and very detailed parts, I switch to the [Pen] tool and paint them in manually.
For areas where lines are not fully closed,
I select the [Fill] tool and activate [Close gap] when filling in.
All solid fills have been added.
To make things easier to see, I hide the layer folder where I gathered the decoration brush effects in.
Next, I'll add screen tones to the page.
A basic method for toning is to use the [Selection] tool.
From the [Selection] tools I choose the [Auto Select] tool and
with [Refer other layers to select] active, I select a part I want to add a tone to.
To select multiple sections, set "How to create" to "Select additionally"
in the [Tool property] palette.
After creating the selection, simply click the [Tone] button on the [Selection Launcher]
that appears underneath the selection.
This will display the [Simple tone settings] window.
I'm going to set the "Number of screen frequency" to 30
and the "Density" to 40%, then click OK.
This creates a new tone layer with a layer mask, where you can see the toned parts.
With the same method, I'm going to add tones in different places.
Since I want to use tones of the same pattern elsewhere,
I select the tone layer's mask and use a pen to paint the additional tone areas.
Apply the same screen tone by using the fill tool and any color.
For areas I didn't mean to add a tone to, I simply use the eraser to delete those sections.
If you want to use a different type of screen tone in areas you already added tones to,
use the [Layer property] palette to make these adjustments.
When a tone layer is selected, the density and pattern of the tone can be changed easily.
For example, by using the "Screen frequency" slider, you can change the tone to one
that is rougher than the current one.
With the "Density" slider, you can easily adjust how bright or dark a tone is going to be.
Further, you can also change the circles of a tone into lines, crosses, noise and more in the [Dot settings].
I'm going to add a patterned tone next.
I select the area I want to tone with the [Auto select] tool and through the [Window] menu
I open the [Material] palette.
Then I click [Monochromatic patterns] and [Patterns].
This is an overview of basic available tones and gradient tones that are included in CLIP STUDIO PAINT or have been dowloaded.
I choose one of the pattern tones and drag it onto the canvas.
With that the patterned tone is pasted.
Just as before, I create a tone layer with a layer mask.
It's easier to see the patterned tone when disabling the layer mask.
Using the [Object] tool and holding onto the handles displayed on the tone layer lets you resize the pattern.
Unnecessary parts can be erased by selecting the layer mask of the tone
and using the [Eraser] tool.
And this is how you can add special patterned tones.
To replace pasted tones with different patterns, select the tone you want from the [Material] palette
and drag it onto the tone layer in the [Layer] palette.
It will simply be replaced like that.
Next, let's try exchanging the pattern for a gradient tone.
To do that, I select [Gradient] in the [Material] palette.
This time, I'm going to use the button [Replace editing layer with selected material] at the bottom of the [Material] palette.
Just as with the other patterns, the gradient's direction and size can be changed
with the displayed handles when using the [Object] tool.
Next, let's try applying a tone by using a color illustration or a layer with a color.
For this example I'm going to create a new layer and change the "Expression color" to [Color].
Using the pen and the selection tool, I'm painting in the hair with a soft red-ish color.
When you select a layer and click the "Tone" button in the [Layer Property] palette,
a tone is automatically created based on the color density of the original layer.
Decreasing the opacity of the layer itself reduces the density of the tone as well.
Just as before you can change the "Screen frequency"
and patterns of tones in the [Layer Property] palette.
If you paint a darker color with a brush tool, while the tone itself is displayed, it is possible to directly apply shading to the tone.
The effect can be undone by simply disabling the [Tone] button in the [Layer property] palette.
Next, I will show you how to easily draw a sky, using tones.
With the [Auto select] tool and [Refer other layers to select] active, I paste a tone with dots.
I select the [Decoration] tool → [Hatching] and then [Cross hatching (for tone scraping)], also using transparent color.
With the mask of the tone layer selected, I use the cross hatching decoration tool to erase from the tone.
For the clouds I'm using the [Gauze clouds] sub tool from the [Hatching] [Decoration] tools.
Finally, I adjust the "Screen frequency" and density in the [Layer property] palette to achieve values closer to the other tones
The next tool we will look at and use is the gradient tool and in particular the [Manga gradient].
I use the [Auto Select] tool to select the designated area for the gradient tone.
Then I select the [Gradient] tool and the [Manga gradient] from the [Tool] palette.
I move the cursor in the direction in which I want to apply the gradient.
A gradient layer with a layer mask is created.
You can adjust the intensity and direction later by selecting the gradient layer
and operating the handles with the [Object] tool.
When using the [Manga gradient] on a canvas with the "expression color" set to monochrome,
a gradient tone is created automatically.
However, if the "expression color" is something other than monochrome, it will not be converted automatically.
As with the other tones, it is possible to change the "screen frequency" in the [Layer Properties].
I'll set this to 30, the same as for the other tones on this page.
Now the toning is finished.
Once the document is finished, I save it.
First, to preserve the layer structure, I will save it in the CLIP STUDIO PAINT format.
To export this manga page as a monochrome image file,
I select the [File] menu → [Export (Single layer)] and then I choose between [JPEG] or [PNG].
When exporting a monochrome document,
in the export detail settings, I only check the [Text] box for the "Output image" element, then export it.
When exporting this document for upload on the internet, I make sure the expression color is set to " Color" instead.
In order to use halftone dots properly for presentation on the web, it is a good idea to convert all tones to grays.
I change the "Expression color" to [Gray].
Then, I click on "Advanced settings of color" and turn off "Enable tone effect for layer" under "Export settings for tone".
However, if you placed tone layers above the line drawing,
or when you used hatched tones, you may be able to export the work properly even if you leave the check on.
I can fine tune the settings,
while viewing the result in the preview screen that appears after completing the settings.
As this canvas is too large for the web, it needs to be made smaller.
Under [Output size], I change the unit of the document to [px] and set the width to 1,000px.
Then I click OK and export it.
Now, this document can be published on the web.
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Let's create a comic : Text and Balloons - Duration: 6:57.
Now, let's proceed by inputting some dialogue, using a keyboard.
To do that, I choose the [Text] tool from the [Tool] palette.
Clicking on the part where the text is supposed to go, will display a text box.
Text can now be entered simply with the keyboard.
The direction and size of letters can be changed in the [Tool Property] palette.
The entered text is stored on a "Text layer".
By selecting the text on the text layer with the [Object] tool...
...you can make the text box larger or smaller.
Adjust the direction and size of characters and change the font...
...all from the [Tool Property] palette.
To add a letter or character, select the [Text] tool...
...and click on the text box to add text.
Special characters can be entered by using the [Text list] in the [Tool Property] palette.
Once done with entering characters, I create a speech balloon with the "Balloon" tool.
For this example, I will be using the [Balloon Pen], to create a balloon with the pen tool.
Since I want to draw rounded curves for the speech balloon...
...I un-check the "Make corners pointed" check box in the [Tool Properties].
Under "Correction" in the [Sub Tool Details] palette, I set the value for "Stabilization" to 30.
When using the [Balloon] tool, the speech balloon automatically fills in white.
If there are parts of the speech balloon that I don't like, I can just draw on top of it to correct it.
To add the balloon tail, I'm also using the [Balloon pen] tool.
It's also possible to select parts and modify them by using the [Object] tool...
...and then make fine adjustments to the shape of the balloon.
Speech balloons can also be created using materials.
Open the [Material] palette and click the "Balloon" tag.
From the displayed balloons, I'm going to select "Jaggie_Curve_Small_02" ...
...and drag & drop it onto the canvas.
To change the size and adjust the angle of the balloon I use the [Object] tool.
By reducing the opacity of the balloon layer...
...I can check if the speech balloon matches with the original layout and make corrections if needed.
For simple round speech balloons, it is easier to create a beautiful shape by using the [Ellipse balloon]...
...and [Balloon tail] sub-tools from the [Balloon] tool set.
Let's draw another speech balloon with the [Balloon pen].
Because the thickness of the balloon lines is irregular, I need to correct that.
I select the balloon with the [Object] tool and increase the thickness of the lines...
...by adjusting the brush size in the [Tool Properties].
For the small speech balloons I'm going to hand-draw the characters inside.
To do that I create a new layer above the balloon layer.
Then, I choose the [Calligraphy] tool from the pen tools selection...
...and draw the character by hand on that layer.
And this is how I added the dialogue according to my base layout sketch.
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మా నక్షత్రం మంచిది మాకు కష్టాలు ఎందుకు | Jathakam In Telugu | Nakshatralu Telugu | Mana Balaji - Duration: 6:17.
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Let's create a comic : The process of creating a comic - Duration: 2:07.
Hello everyone. I am Caterina Rocchi, the principal of "Lucca Manga School" in Italy.
This time I will introduce how to draw a manga page.
First I will create a monochrome manga and then show you how to turn it into a colored version.
Let me summarize the manga production workflow.
First, let's create a new page.
Before even starting to draft the page, a rough composition is made.
This composition sketch is drawn to lay out the story and images.
At this stage, think of the panel divisions, dialog positions, and image arrangement.
After that, it's time to sketch the page.
Since these lines are the base for the final line art, a detailed sketch is drawn carefully.
After drawing the lines, I cleaned up the page.
Based on the draft, the characters are inked first.
The speech bubbles are created on a designated layer.
The panel borders are made in a frame border folder, and panels are cut based on the sketch.
It is easier to edit characters, backgrounds, effect lines, and hand-drawn letters...
...when their parts are on different layers.
Next, it's filling in solid black parts and adding screen tones.
In case of a colored page, colors would be added here.
Finally, finishing touches are added.
For this page, I finished by adding the white highlights.
It's also important to check if there are any parts that need correcting.
After that, the page only needs to be exported, and it is done.
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Benarkah Burung Tidak Dapat Melintas Di Atas Ka'bah? - Duration: 3:33.
For more infomation >> Benarkah Burung Tidak Dapat Melintas Di Atas Ka'bah? - Duration: 3:33. -------------------------------------------
Let's create a comic : Creating a new canvas, resolution and layers - Duration: 3:00.
Let's have a look at how to create a manga manuscript.
Choose "New..." from the [File] menu in the upper left of the screen.
The manuscript settings dialog will be displayed.
For this document, I am choosing the purple icon for "Comic" manuscripts...
...and the finished size will be A4.
In the finished bookbinding size settings, you can set the crop marks to be displayed on the canvas.
In this case, let's continue with the default settings of 5 mm.
Next, I set the resolution.
When drawing monochrome manga, it's best to set the resolution to 600 dpi.
When drawing color manga, change the resolution to 350dpi.
Since we are making a monochrome page this time, I'm setting the resolution to 600 dpi...
...with the "Basic expression color" set to "Monochrome".
When drawing manga for publication on the internet...
...it's not necessary to consider a finished book binding size.
In this case, select the orange "Illustration" icon when opening a new document.
You can set the resolution to as low as 72 dpi.
If you later export the file for the web...
...it is useful to change the units for the page to "px" for "pixels".
Set the expression color to "color" and press the OK button to start drawing.
Since we will be drawing a document meant for printing this time...
...I will click the purple icon again and return to the previous setting.
When all settings are adjusted, click the [OK] button in the upper right to create the canvas.
And that's how a canvas is made.
Next, we prepare to draw a rough layout.
Since the "Basic expression color" of the file is set to "Monochrome",
even if you select red from the [Color wheel] and try to draw lines...
...they will be in black and white .
To draw colored lines for sketches and drafts...
...set the layer "Expression color" in the [Layer Property] palette to [Color].
With these settings it's now possible to use any color from the color wheel.
Since the document's "Basic expression color" was set to "Monochrome"...
...all newly created layers will first be set to "Monochrome".
Therefore, if you would like to draw lines with any other color...
...change the expression color in the [Layer Property] palette.
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SOMETHING FOR THE FANS (YOU BETTER HURRY LOL) 😱 - Duration: 4:55.
hey welcome back and then today's video boy I tell you what we're out here in
the country out here in the southern US United States we're just getting it done
not to tell you what this is a rip Zillah and we are in the business and I
just wanted to give something back to you and we are glad that you are here
thank you kindly for coming around welcome back to being awesome special
video I'm very sleepy but this is no time for sleep
plenty of time for sleep when we pass on to the great beyond but I will tell you
that I'm gonna give you something first first-come first-served you'll wish that
you had your notifications turned on I've told you to turn your notifications
on I've told you to be here before anybody else and then all I got to say
is either are you ain't shut up ring gah gah gah gah okay where is it at I got
you a Google card it's where's that there it is alright alright
there it is look this is legitimate first-come first-served if you get it
you got it whoever gets it you got it so there it
is and you're welcome and I do want to say that I am additionally going to be
giving away gift cards for the quiz you pass you fail quiz for the Mars Argo did
you take it you would want to take it better take it whatever the heck I'm
trying to say anyways I've just giving something back to you because I love you
guys the rep tweeters I'm going to be doing
monthly giveaways on the rep tweeters with the list of amazing beautiful
tweeters on my represent whitter sharing is caring there's 49 members currently
and I'll be doing a giveaway to everyone on the list all these people are already
entered into a monthly giveaway and maybe I'll give away more than one thing
that's just how it goes so if you want to get in on that go to
rips little tweeter and you need to start being a part of the community that
the rip squad community I'm giving back to you guys like you guys give back to
me and that's just the kind of thing that we do around these parts I'll tell
you what but yeah also before
special special shout-out to Chris II can tell yo and mouth sir Nick bouncer
Nick is that it is that what is this did I say that right oh please please be
Jesus say that I got that right these guys are great fans great great
fans they've been watching all my videos and man this means a lot to me for you
guys to be fans roommate to me it is so extremely such a big deal to me because
we started this channel zero and now we're really close to the 15,000 and
probably gonna have around 30,000 by the end of the year and that's a really bits
a big deal and that means the channel is doing really good and I just want to
give back to you guys as much as I can because that's my southern hospitality
you know what I'm saying so yeah I'm gonna be doing those
giveaways lots of Giveaways this year I want you I want to give you guys things
I just wanna give you stuff let's that's it that's it Stalin does give you some
stuff so yeah I love you guys and as interesting as this video is and I don't
care what you say it's freaky and interesting and it's a little bit harder
because yesterday we was a little bit serious in the video but right now it's
all about having fun it's all about being here being present being a part of
the red slug community and just having fun but let me know what you think leave
your creative interesting responses the comment box below like this always
brothers this I will see you the next video
yes that is right I do have a southern accent and it is but real okay boy I
tell you okay all right don't forget that this channel left you
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Let's create a comic : Drafting the comic - Duration: 2:18.
This time I'll be drawing the basic layout, which will be the base for the manga page.
First, I create a layer for the draft.
I double click the layer name "Layer 1", and change its name to "Draft".
I am choosing the [Real Pencil] out of the [Pencil] tools to draft the layout.
The initial "Expression color" of the layer has been set to "Monochrome"...
...so drawings can only be done in black or white.
I will change the "Expression color" of the layer to "Gray", so...
... that I can now draw different shades when drafting out the image.
Further, I click the [Layer color] in the [Layer property] palette...
... to use a light blue color when sketching out the layout, which makes it easier to proceed with the dawing.
Using the previously selected [Real Pencil] I start to draft the layout.
In accordance with the reference lines and bleed border of the page...
...I consider the panel layout, the characters' positioning and the placement of dialogue.
In case I change the layer I work on...
...it's easier to change the layer color to best distinguish the contents of the layers from each other.
The draft of the page is finished.
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Rebels Recon #4.7: Inside "A Fool's Hope" & "Family Reunion - and Farewell" | Star Wars Rebels - Duration: 18:58.
Hey there, internet friends, it's Andi Gutierrez.
Walking and talking to you for the last time from inside Lucasfilm headquarters.
Wow, now that was a serious finale right?
It had action, adventure, purrgils.
Now join me for the very last time as I sit down with cast and crew to talk about this remarkable show.
This is Rebels Recon.
Alongside old friends, Ezra comes up with a plan to launch the Imperial dome out of Lothal but is thwarted by Grand Admiral Thrawn.
If you truly wish to save Lothal, Commander Bridger,
the only term I'll accept is your immediate and unconditional surrender.
Despite Hera's please Ezra surrenders to Thrawn
is brought before the Emperor himself and is given the opportunity to reunite with his parents.
You'll always be a part of me.
I have to let you go.
With help from the Purrgil, Ezra disappears into hyperspace with Thrawn.
Leaving his home world free of occupation and the rest of the crew to continue to fight with the Rebellion.
It looks like the people are with you, General Syndulla.
Then if the Empire wants a fight, we'll be ready for them.
This week marked the end of the Rebels journey together.
I sat down with cast and crew to talk about why Ezra is so important to everyone he meets,
his interactions with the Emperor,
tying the whole four seasons together, and so much more.
Check it out!
Almost all the friends that Ezra has made since season one come together to help him now.
What makes Ezra such an important person to all these unique personalities?
He's willing to see beyond who they appear to be at first.
Ezra's main skill is his ability to have insight and actually care about other people.
He's able to just kind of connect with things on a deeper level.
And I think that's attributable to how I was raised.
His ability to forge relationships and have friends
and surround himself with good people turns out to be a very good thing in the end.
Honestly we've never had scenes this large before with this amount of characters on screen at one time.
In animation it's always a challenge because the more characters you have,
ships, sets, it makes the scene really heavy and difficult to render.
This is the end.
Like, we're ending the whole thing, we got to go out with a bang.
So everyone was kind of all hands on deck,
trying to just make sure that these episodes were great and that they felt full.
We definitely didn't want you going in feeling that these episode were empty.
So a lot more has been put into some of this stuff to really show that.
What's it like seeing all four seasons of the show starting to get tied together like?
It's kind of amazing to see how far we've come really.
I mean, it just feels like, wow, we've been doing this for a while.
And it's sort of is a reminder that like actually there's been a lot that's transpired in this world.
You can't help but smile.
You can't help but think like, oh, I get to see my friend again who had been in to record a year ago.
Mhmm.
Which is so sick and it's fun. It's kind of putting a nice bow on all of it.
It's the weirdest family reunion ever.
[Laughing]
We are such a weird, big, dysfunctional family.
It's amazing.
There's a lot of nostalgia that comes up with that.
It just brings up all the emotions at once, which I think was the intention.
With the amount of time I have you can only have so many characters and service each one of them well.
And just with a Ghost crew you want to make sure that you're wrapping up each of their individual arcs
and it's a tough thing.
But I think it worked out for the most part and I think some people would be surprised by the role certain people play in.
There were a lot of debates along the way for what was the best thing for every character to do.
Ezra tells Sabine, I know I can always count on you and really trusts her, perhaps more than anybody else.
How has their relationship evolved since season one?
I think the really incredible thing about watching the two of them grow up
together as young people lost in a really big galaxy
is understanding that one of the strengths of their relationship
is actually how they've grown and they've been able to see each other through.
And I think, very much, both taking their lessons from Kanan and Hera, I think, has shaped them into the people that they are.
You may not be able to control the world around you but you can control how you treat other people and how you work with them.
And I think their bond is so strong that there's nobody else that he could rely on quite like her.
It's been a varied thing and I think everybody's knee-jerk reaction is to ship the two.
You know to think that the because the two are similar in age that there's some type of gravity between them romantically.
And I think it's very strong at this point to show boys and girls being friends in supportive of one another.
Everybody has their different relationships and it's just not something that had to be romantically dimensional.
In order to tempt Ezra, Palpatine appears be kindly former senator that we know from the prequel trilogy.
Were there any differences in lighting him?
Yeah, it's the same trick from Clone Wars.
It's the ice back.
You light Palpatine regally
and then you go ahead and you light Sidious usually from below to catch the jaw line.
Then from above to put the shadow over the eyes.
Here we just really wanted him to come across as that very genial like your grandfather almost.
So we really had to make sure we played it so like his eyebrows were up a little bit
and trying to keep him sort of more upright.
So whenever he's the Emperor we kind of hunch him a little bit.
So sort of subtle changes just to make sure the audience really knows what they're looking at and which one.
He tries to play on your perceptions all the time.
When he's in the void world and he's listening to Ezra,
he hears Ezra's wish that his life could be different and that he'd like to see his mom and dad.
So he knows the alternate reality that Ezra wishes for.
Because when you're tasked with a great burden and something you have to do
it's normal for you to wish that these things weren't happening to you
and it's normal for you to wish that your life was simpler
and that these challenges fell elsewhere.
And so the whole thing at the end is if the Emperor can offer him that wish
that maybe this kid will take it and thus take himself out of the equation.
Ezra has always had a special connection to the animals that culminates with his plan involving the purrgils.
How does this connection make Ezra unique to other Jedi that we've met in the saga?
I think one of the great things in the length of the show,
we've had the time to really develop how he is in tune with the world around him.
And what comes most natural to him.
And I think different Jedi may have different skill sets.
There might be different things that they are more adept at.
But one of the things about Ezra that I think is so remarkable is the sense of empathy
and how in tune he is with the wildlife of his planet, right?
Not just this planet but the galaxy as a whole.
What I love about the purrgil, if you go all the way back to season 2
and some of that feeling of like, oh, filler.
Right?
Right?
And I think hopefully people will feel as we
get to the very end of the season that none of it was filler and none of it was
wasted and establishing this connection for doing Ezra and the world around him
is very much a part of who he is.
The dome that's been in the middle of the Lothal capital has been a ship.
Yes.
This whole time.
Absolutely.
How exactly does that dome work?
They would land this thing in the middle of a city that existed
and immediately the Empire has tremendous presence, tremendous power.
And it also means that once they're done pillaging the place they can leave and just discard it.
I've always thought of it as you know some type of ship.
You just don't know it and I think that's kind of fun.
Whenever you've got something like that you immediately approach it from the same way
they would light or photograph miniatures back in the day.
So you always have those wide shots with the long lens to make everything feel bigger.
Dave was pretty clear throughout the whole season about making Lothal look like it was polluted and dirty, acidic looking city.
So we went for that approach then towards the end when that dome takes off Dave finally mentioned blue sky.
From the beginning of Rebels he's like, "I don't want to see a blue sky, no blue sky".
Until we get to the very end very end, where we finally have that dome kind of coming up above the clouds.
Just to give it that kind of representation that we all know of seeing a large object up in the air.
So can you give us any hints as to where Ezra and Thrawn ended up?
Yeah, I thought a lot about that.
Yeah.
I'm sure you have.
I wonder and it's one of those things where you go, "boy, I'd love to do it end credits scene"
but as tempting as that is I go well if I ever cover that then I want to do it right
and I don't want to commit to things right now because things might change.
So I have a lot of theories about it and what I think happens and where they are.
I'll say this much, they're not dead.
Both of them survived it.
Both Ezra and Thrawn I would say survived it.
[Chopper sounds]
[Chopper sounds]
[Spit sound]
[Chopper sounds]
It's strange that people keep asking "who does the voice of Chopper?"
This whole notion that there's a human behind a him is absurd.
[Chopper sounds]
[Chopper sounds]
[Chopper sounds]
Chop!
Chopper!
[Chopper sounds]
Hang on, buddy.
We must have dozed off there.
[Chopper sounds]
Calm down.
Chopper, Chopper, calm down.
You had a bad dream.
[Chopper sounds]
No, no, don't be silly, don't be crazy.
[Chopper sounds]
No, no, no, you're you, I'm me.
You're you, you're nobody else, you're Chopper.
You have nothing to worry about, buddy.
And none of Chopper Cam was canon.
For four years now I have stalked and interrupted punched my fist through a monitor
and popped up in weirder and weirder places to ask the Lucasfilm's story group's Pablo Hildago your pressing Rebels questions.
And this week is no exception.
...except that it's the last one but I promise it'll be good.
Let's go.
Hey Pablo, much easier to find you this week.
Do you realize where we are Andi?
The hallway on the way to the cafeteria?
No, this is this is where it all started.
This is where we first did our very first social question.
Oh, that's fitting.
So I have one last one for you.
It's totally different now.
Old Man Miller used to have a field, we'd go there and throw rocks all the time.
Okay.
Jordan asks...
You could really smell the pies on a Sunday too, coming down here.
Umm
Yeah, well, the thing is the Emperor could see what was happening in the World Between Worlds because Ezra entered it.
Ezra was what, who he was focusing on.
And using his sith alchemy he was able to get sort of like a hand grip in but he couldn't actually go in.
So that's what the Emperor is looking for he's looking for, some sort of foothold.
Some sort of handhold, something to grab onto that will bring him into that realm.
That's super interesting, thank you so much, Pablo.
Yeah, you know I have a question for you.
Okay, shoot.
So we've been doing this segment for years and now it's ending.
What's gonna become of this?
I have no idea.
Have questions about the finale or any other Rebels questions you want answered?
Tweet em to @StarWars and we'll answer what we can online because we won't be able to do them on the show anymore.
But now is the time where I would normally show you a clip from next week's episode.
but since the series is over I thought I'd sit down with cast and crew to talk about their favorite memories of making the show.
Enjoy!
What was your favorite moment of season four?
Oh boy, that's a tough one.
Ummm.
That moment when Kanan comes out with a haircut and gets on the kites and takes off.
The way that that was edited, everything about that just it seemed like we were firing on all cylinders.
The interaction between Kanan and Hera right before he died.
They were so good together.
You know just the little bits we got to do, obviously the kiss and everything like that made them seem such a complete thing.
The fact that I could get the outfits in 405 to happen.
Like Kanan looks like the rejected Bee Gee brother.
His outfit is ludicrous for when they escape and hide.
It's always for me the goofy stuff that you can sneak in.
The episode after Kanan's death.
There is this beautiful moment where Hera is debating her next step
and Kanan appears on her shoulder and to me it's just such an important moment
because we see that although Kanan may not be present he will always be there.
Probably the Void world.
The World Between Worlds because it's something I've been thinking about a long time
and I wanted to find a way to bring all of Star Wars together.
To get a sense that these things are influencing and touching each other and that these characters are kind of eternal.
And it was a difficult thing to do because it's so minimalist in a way but by being so minimalist I think it felt really grand in scale.
How about your favorite moment in the entire series?
I think my favorite moment of the entire series was when we did Obi-Wan and Maul.
It got talked about, about like there's gonna be this big epic Jedi fight
and we're gonna do all the stuff and obviously we didn't do it that way.
It was much more sort of samurai and more like in your mind and little foot changes
and different things like that but I thought it really would be how it would happen.
Bringing in Ben Kenobi, the Alec Guinness character, was just a one-two punch.
Especially with the showdown with Maul.
I couldn't think of a better to bring him into the saga again.
For me personally, the season 2 finale.
That moment with Ahsoka and Darth Vader and she finally confronts him and says, "I'm no Jedi"
I still think about it and I get goosebumps.
There's no question.
There's nothing in the show that hits higher than when AP-5 is all alone in space.
AP-5 floating in space singing to himself.
I will remember that more than anything else in the show.
There are a couple of regrets, there was a version of the baby puffer pigs that was designed
but we couldn't do because there wasn't time to build them.
So we ended up just shrinking the grown puffer pig down.
Which still works but the baby puffer pig was this, like, epic thing that just didn't get to happen.
There are definitely moments that stand out to me throughout the season.
I loved in season one that first adventure we got to see Hera and Sabine on together.
I loved seeing the growth of Sabine's character.
I loved seeing Ezra evolve over time.
I was so excited when Ahsoka came into the series.
When Maul came back.
I liked the painting that moves of the Mortis gods.
I've been trying to do a 2D thing like that for a long time and my friends at Ghost Bot did a great job bringing that to life.
I think that Kanan's death is a very powerful moment.
I think that it was a big responsibility to do and a challenging moment and an important moment for the audience.
I think we did it really well.
What is your favorite memory of working on Rebels?
One of the highlights for me was actually attending Celebration Orlando last year.
It was my first time and we screened several episodes from season four.
And getting to be in the audience with real fans of the show and feel their energy and excitement was so incredible.
To get to be part of a community that I truthfully hadn't been before and was welcomed immediately into.
I think at that point I realized that this was even more special than I thought it might be.
The very first episode when we all kind of came together and were meeting each other
because it paralleled what was happening in the show so well.
One of my favorite memories was one of my first memories is when I met Freddie Prinze Jr.
and he just sat next to me, he's like, "hey man, really looking forward to this, I'm Freddie".
It was really hard not to just instantly like that guy with how enthusiastic and open he was in terms of inviting me into this group.
That was when I knew that the Rebels group was awesome.
I was able to kind of be that real-life Ahsoka to the Rebels cast, which was really cool.
Same with Clone Wars and now with Rebels,
it's all about the people and your Star Wars family that you develop these close relationships that you'll have the rest of your life.
Favorite moment?
When I found out we were green lit and I found out that we were gonna pull together again.
It's like an Ocean's eleven moment,
Because they were brand-new characters there was that sort of hurdle to overcome
because we couldn't sort of get that instant recognition that you get with using an Anakin or an Obi-Wan.
It was a fun challenge to come up with characters that felt like
they could walk through a shot from any of the movies but no one had ever seen before.
Realizing that Rebels does not exist in this one little island
and the connectivity that we were able to forge with Rogue One was just like beyond our wildest dreams.
And everyone was so encouraging and excited to do that.
Put Chopper on the big screen and then to take Forest Whitaker and Genevieve O'Reilly and put them on our animated show.
I think it kind of represents something that only Lucasfilm could really pull off.
What did working on Star Wars Rebels mean to you?
For me, it's a real sense of completion.
We all work really hard on the show and we didn't think we're just making a kids show,
we didn't think we're just making an animated TV show,
I mean we're making Star Wars.
Just to see it come to an end.
It's gratifying but the best part is we actually got to tell the story and end it the way we wanted.
So to see the whole thing from beginning all the way through to the end, it's huge.
Just being invited to contribute at all is a huge, huge honor for me
because this is something that's extremely meaningful to me.
I grew up with it, we all grew up with it, and it never stops being cool.
It never stops being really exciting.
They're so well made, they're so well written and they're so fun to, you know, be a part of these stories.
It's all been just a fantastic ride.
It's been more fun than I can even express.
You are now a member of this enormous community of fans, of participants, of actors, of creators,
who all have one thing in common, is that they enjoy Star Wars.
That's like a really cool thing to me and I'm so glad to be fortunate to be a part of it and it's a lot of fun.
There is a generation of Star Wars fans that was introduced to Star Wars through Rebels.
To really see a new generation loving Star Wars because of Rebels, it makes me so happy.
Working on the show has meant everything and I think the relationships that we've built both on the creative side,
as we worked together for the first time and how significant that was to be a part of this.
When you spend your life doing something every day and we all have a choice,
there's nothing more rewarding than working on something that people care about.
It was an important show coming out of this big change in the company.
And, you know, having George stepping away from Star Wars.
I felt it was really important to maintain the animation division.
I wanted to maintain a pipeline in a way of telling stories that I know he really believed in
and I wanted to tell stories that I feel are very true to his Star Wars
and the Star Wars that he taught me when working on Clone Wars so it was important.
It was important for fans because a lot of fans were wondering what is this gonna look like now?
What's Lucasfilm and Star Wars gonna be?
I think we made something that we can all be very proud of.
I think that we grew as a group and our skills as storytellers and I'm very proud of Rebels.
And yeah, I'm pretty pleased and, you know, it's great to be a part of it.
Thanks for watching Rebels Recon, not only this episode but the whole series in general.
And thank you so much to the crew of Rebels and Rebels Recon for working tirelessly behind the scenes for years to make this happen.
Without them none of this would be possible.
And as always if you want to know more about this episode or about Rebels in general
check out the complete episode guide up on StarWars.com right now.
Thanks again and may the Force be with you.
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Postres Kawaii pero Feos 😹 + Mi Rutina de Ejercicios JAPON [VLOGS DIARIOS] 01-03-18 - Duration: 21:01.
For more infomation >> Postres Kawaii pero Feos 😹 + Mi Rutina de Ejercicios JAPON [VLOGS DIARIOS] 01-03-18 - Duration: 21:01. -------------------------------------------
Flying Shark | Schoolies Video | Songs For Children by Kids Channel - Duration: 1:02:07.
Flying Shark
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MOLDE - Duration: 3:44.
Hello!
Cant´you wish everyone welcome?
Yess, today we woke up in Molde
Scandic Hotel
And we had a very nice breakfast
In about twenty minutes we are going to the hill.
And do some jumps.
Welcome!
Noo! Don´t do it like that, do it normally.
Hello Edvart!
What do you think about yesterday?
Just trash?
YES
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Nieuwe privacywet AVG voor BLOGGERS - Duration: 5:36.
For more infomation >> Nieuwe privacywet AVG voor BLOGGERS - Duration: 5:36. -------------------------------------------
Top 3 Reverse Mortgage Strategies for Financial Advisors - Duration: 3:56.
My name is Kent Kopen.
Today we are going to talk about financial professionals. The top 3 reverse mortgage strategies
for financial advisors include: Repositioning Debt, Establishing a Portfolio Shock Absorber, Reverse
Purchase Strategy.
All financial advisors share a common challenge: help clients fund their lifestyle without
spending retirement savings too quickly.
The goal is to help clients not outlive their money.
#1Reposition Debt to Eliminate MonthlyPayments. Most experts
think a 4% annual portfolio withdrawal rate is sustainable.
Unfortunately, clients often withdraw more because their expenses exceed their income.
Common budget-busters include existing mortgages, credit cards and medical
bills.
When debt is consolidated with a reverse mortgage, payments are deferred until the last borrower
leaves the house.
Eliminated monthly payments help lower portfolio withdrawal rates.
This reduces advisor risk from clients running out of money.
#2Alternate Funding Source During Market Distress. Most advisors and clients
are happy with their portfolio growth over the last 8 years.
They feel better about their retirement prospects than they did in 2009.
When clients expect the same gains in the future, their expectations create challenges
for FAs.
Since markets mean-revert, how do advisors justify wrap fees in a bear market?
One way to demonstrate value is through portfolio preservation.
A reverse mortgage line of credit can be an alternate retirement funding source during
market distress.
Mitigating sequence of returns risk has a powerful effect on preserving a portfolio.
#3Reverse Purchase Strategy toLower Expenses and Increase Reserves. When
a client runs out of cash they usually cannot qualify for a conventional loan.
This impedes downsizing, which leaves them feeling stuck in the wrong house.
If they can't get or afford a mortgage payment, conventional wisdom says they must sell and
rent.
Our published Reverse Purchase Strategy is a better alternative.
There are three elements of the Reverse Purchase Strategy.
1) Sell a house that's too big, too expensive, or just no longer fits.
2) Use some proceeds, and a reverse mortgage, to buy a home that does fit better.
3)Pay down remaining debt and employ an advisor to wisely invest the difference.
With a reverse mortgage, the client has no monthly principal and interest payment.
This improves cash flow.
Excess sale proceeds create a much-needed financial cushion.
When a client's wealth is mostly home equity, non-budgeted expenses are dangerous and stressful.
They don't want to tell their kids so they turn to credit cards and get into a jam.
Financial professionals who understand these strategies can offer better alternatives.
To see how much your client can get with a reverse mortgage, go to: ReverseLoanAmount.com
Kent Kopen,Certified Reverse Mortgage Professionalwww.theReverseAdvisor.com(800) 208-1252
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Let's create a comic :Background (2) - Duration: 5:08.
There are many useful functions to use when creating a manga page.
For example, you can create a "Manga background" using a photo.
Import an image using the [File] menu and paste the photo onto the canvas.
When importing a photo into a monochrome page, it will be automatically converted into a tone image.
For now I will disable this function and use the color photo.
Then I adjust the size and layout of the photo.
Once the placement is final, I activate the [Tone] function in the [Layer Property] palette.
Clicking the button next to [Density] in the [Layer Property] palette...
...allows me to transform the photo into a manga-like background.
I activate [Posterization] by checking the box as well.
The tones are divided into different gray tones.
I will divide the tone into solidly filled parts and lighter gray tones.
The part of the solid fills is at a value of 100, the lighter tone parts are set to 30 with posterization.
These can be adjusted by dragging the slider left and right.
Once I'm satisfied, I move on to the next task.
I'm going to change the "Screen frequency" of the tone in the [Layer property] palette.
Then I move the layer with the transformed photo into the [Frame Border folder].
To hide unnecessary parts of the background image, ...
... I create a layer mask and use the [Eraser] to delete those on the mask.
Next, let's try drawing a manga-like background using a 3D object.
In the [Window] menu I choose [Materials] and open the Folder named [3D Materials].
Here, I'll drag and drop the 3D model of a car from the [Material] palette.
To adjust the camera angle and position, I use the icons displayed in the upper left of the object.
In the [Tool property] palette, it may be useful to switch the display mode...
... of the layer from [Fast] to [Normal].
For this image I'm going to turn off [Apply light source].
Just as with the photo from before,...
... I'm going to apply the [Tone] feature from the [Layer property] palette.
I activate posterization for the tone [Density]...
... and add a solid fill to the automatically created two tones,...
...by clicking on the slider and setting the new tone value to 100.
As I find the shadows a bit too strong,...
...I un-check the [Shadow] check box in the [Tool Property] palette under [Apply light source].
The surrounding lines are very thin in this case,...
...so I'm going to add a black border with the [Border effect].
And this is how you create a manga-like background from a 3D model.
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