Thứ Năm, 31 tháng 5, 2018

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? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Hooray! ? ?

-Anna, the phone's ringing! -Thanks, Gladys!

Science help desk.

Anna speaking. -Hey, Anna.

John Cena here.

Just a quick question, one that's been on my mind

for quite some time.

Why do we have butts?

-Oh, my goodness.

I can't believe John Cena just called!

He asked such an amazing question.

We don't tend to think of our butts

as being particularly important parts of our bodies,

but they're actually pretty fundamental to who we are.

Every animal needs a way to take in energy and release waste.

We take in energy by eating through out mouths,

and we release waste, at least in part,

by pooping through our butts.

-Um, duh! -Right, Gladys.

We take our butts for granted.

But believe it or not, the advent of the anus

allowed for the evolution

of all sorts of diverse life-forms.

Here, let me show you.

The first animals didn't have butts at all.

In fact, they didn't even have digestive tracts.

No mouths, no stomachs, no intestines, no anuses.

These animals just let water wash through them,

carrying food in and waste products out.

-Ahh, the good life. -But then,

a few hundred million years ago,

there was a major innovation -- a gut.

The gut allowed animals to be way more efficient

at drawing nutrients out of their food.

But Not all guts are created equal.

Some early guts were just sacs with a single opening.

Actually, lots of animals today have this body plan.

Jellyfish, for example, poop and eat from the same hole.

-Ahh, the good life.

-No, sac-like guts work just fine,

but they're a bit limiting.

Imagine if, after every meal, you had to redigest your food

and go to the bathroom before you could eat again.

You simply couldn't eat as much each day,

which would mean you'd have to use less energy.

Sac-like guts also limit what you can look like.

You can't be very long if your food has to go in

and come out of the same place.

-Ew. -So, the next big thing

to hit digestive tracts

was what we call the through-gut.

For the first time ever, food went in through one opening,

a mouth,

and waste come out through something new,

something revolutionary --

an anus.

Having an anus is so useful that different lineages of animals

have independently evolved to have them.

And there's a huge variety.

Some creatures have anuses next to their mouths.

Some have more than one anus.

And some may even have transient anuses

that actually appear and disappear.

With an anus, metabolisms could get faster,

and bodies could get longer.

Guts could also get more specialized.

With food only traveling in one direction,

animals could have different segments of their digestive

tract perform different functions,

allowing them to eat things they never could before.

-Moo.

-So the great diversity of life on Earth

is due, in part, to the birth of the butt.

-Ahh, the good life. -Wow!

Amazing!

-I know!

Butts are way more fascinating than you might have thought.

-They are pretty interesting,

but that doesn't explain the human butt.

Why do you humans have tushes that are

so weirdly round and fleshy?

And why do so many of you find them so...

attractive? -Hmm.

That's a great question, Gladys,

and I don't know the answer to it.

But I do know someone who's an expert on the subject.

I'm gonna go ask her.

-Don't forget your coat!

You're gonna catch a cold!

Oy. Kids.

-Whoa.

Hey, Ashley. -Hey, Anna.

-Why do we have such big, round, fleshy butts?

-That's a great question.

-This is Dr Ashley Hammond.

She studies the evolution of apes and humans

and, in particular, she's an expert on their butts.

-You can call me a butthead.

-How long did you go to school to be a butthead?

-Eee.

Probably about 22 years, in total.

-What makes that part of the body so interesting to study?

-Well, butts are very specific to humans.

We have a very large, round, fleshy butt,

and you don't really see that in other primates.

-Our closest living relatives, the chimps,

have pretty unimpressive behinds.

Ashley studies the bones and muscles of the pelvis

to understand what makes the human tush different.

-Chimp butts, they have all the same muscles that we do,

but their muscles are different in size

and different in orientation,

because the bones are shaped differently.

-You see, chimps and other animals that walk around

on four legs have long pelvises.

But humans have a short, squat pelvis,

which brings our center of balance

above our feed and our knees.

That helps to stabilize us as we walk upright.

-Our pelvis has been completely reshaped

because we are walking on two legs.

-As a result, our butt muscles are shorter

and wider than those of apes,

which makes our rumps particularly round.

And the size of our muscles is different, too.

So, basically, the gluteus maximus

is like the biggest muscle in the human butt.

-It's the biggest muscle in the human body.

-Oh, man!

Our butts are so huge!

-Our butts are big. -The gluteus maximus

is not the biggest muscle in a chimp's body, though.

In fact, it's not even the biggest muscle in their butt.

They use their gluteus maximus

primarily for something called hip abduction.

If you're abducting your limbs, you're spreading them out wide.

-And this is important if you're a chimpanzee or an orangutan

or really any ape that's up in the trees,

because you have to move through the tree branches,

or you will fall to your death.

So you have to be able to reach real far

and grab the branches around you.

-The human gluteus maximus is what's called a hip extensor.

It helps us pull our legs backward.

It also stabilizes our trunks as we move around on two legs.

And in modern humans, it's especially important

for walking on an incline,

squatting, and running.

So the size of our gluteus maximus reflects

just how necessary it is.

From the bones to the muscles,

our backsides look the way they do

because they help us with the most human of traits --

moving about on two legs.

There's just one more question I need Ashley to answer.

As the epic poet Sir Mix-a-Lot once said,

"I like big butts, and I cannot lie."

So why do many humans have a particular attraction to butts?

-Interest in butts has a long history in primates.

If we look at other kinds of primates,

they are also very interested

in the butts of other animals of their species.

-Some male monkeys have rainbow-colored butts.

It's their way of getting the attention

of the females in their group.

And so their butts are, like, kind of the flashy clothing.

-They're neon signs -- "Look at my butt."

-Some female monkeys and apes have extravagant butts, too.

At certain times of year,

their backsides will blow up like balloons.

-And what that is, it's also a signal,

but it's signaling to the males in their group

that they are capable and ready to have babies.

-What are the differences in humans

between boy and girl butts? -Okay.

So, generally, women have wider butts than males,

and this is because women have to do

one really important task that males do not do,

and that is give birth.

-Humans are smart,

and our babies have particularly large brains,

so human mothers have to have wide pelvises

to let their big-headed babies pass through.

So, while no one knows for sure,

our butts might be a sign of fertility,

because they could indicate

that we're able to have healthy babies.

Ashley, thank you so much

for sharing all of your butt knowledge with us!

Buttheads unite!

See ya!

-All right, butts, where were we?

-Wow!

Who knew that your behinds were so important

to the survival of your species.

-I know, right?

-Well, seems like you've now

thoroughly answered John Cena's question.

Want to break for lunch?

There's a great new Korean place around the corner.

Their bibimbap is fantastic.

-Hold your horses, Gladys.

There's one more butt-centric question I'd like to answer.

We now know why we have butts, but when do we have butts?

-Huh?

-What I mean is, when does your butt appear in your development?

Turns out the timing depends on what sort of animal you are.

Here, let me show you.

Come on, Gladys.

-Oh, geez.

-Let's say you're a human, like me.

You started off as a single cell,

and that cell divided and divided and divided

until it became a hollow ball of cells, balled a blastula.

Then, something unusual happened.

The blastula started to pucker.

A depression began forming in the ball of cells.

Eventually, it poked all the way through to the other side,

creating almost a doughnut shape --

a sphere with an outside wall, an inside wall,

and a hole in the middle.

That inside wall became your gut, and that depression,

that first defining feature in the ball of cells,

became your anus.

The other side of the doughnut hole became your mouth,

and the timing of this development is so important

that our entire lineage is named after it.

All the animals with backbones, plus sea cucumbers, starfish,

and lots of others are called deuterostomes,

which means "mouth second."

In other words, our anuses came first.

However, if you're a snail or an earthworm,

you're known as a protostome, meaning "mouth first."

That initial depression in the ball of cells

became your mouth, and your anus appeared second.

-So, you're telling me

that your butt was your first defining feature?

-That's right, Gladys.

-Wha ha ha ha ha!

-Well, on that note, I think we really have

comprehensively answered

John Cena's question.

So there's only one thing left to do.

-Sing! -

? ? Bright and flashy butts in primates. ? ?

? ? Guess that's one way of getting a date. ? ?

? ? Mouth in the front, and the butt in the back. ? ?

? ? Two different places to poop and snack. ? ?

? ? Butts, butts. ? ?

? ? It's butts for us. ? ?

? ? Butts, butts. ? ?

? ? It's butts for us. ? ?

? ? Gotta go to bed ?

? It's getting late. ? ?

? ? Glad I got a butt. ? ?

? ? Everything's gonna be... ? ?

? ? pretty good. ? ?

? ? Pretty good. ? ?

Hooray!

-Hooray! -

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Science magic show. ? ?

? ? Hooray! ? ?

For more infomation >> Why do we have butts? | Anna's Science Magic Show Hooray! - Duration: 12:53.

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Why do Professionals use Flash Meter? - Duration: 15:50.

Hello everyone, welcome to Pixel Viilage and I'm Radhakrishnan. In this video

we're gonna talk about a flash meter. What is a flash meter and how to use it? When we

shoot outdoors in available light situations, we make use of the in-camera

exposure meter. With the help of the histogram, we further assess the exposure.

It is true even with a TTL controlled flash system, but when we move indoors, by

moving indoors I mean, when we move into a studio set up the scenario changes. In

the studio, we usually work with a different set of flashes, different type

of flash, which are not usually TTL flashes. You have to individually set

each flash and measure it and expose it In a studio situation, guess work may not

be the right way to go about when you decide on an exposure. Here, we have a

typical Studio setup and we go there and we set up one by one each light and

demonstrate to you how a flash meter is used and what are the advantages. So,

let's get on with the shoot. Let me introduce to you the setup: we have three

studio flashes here, they are from Godox the QT600II, there are two soft

boxes and one is with a standard reflector and a grid on it

and we have a few reflectors too. Well of course we have a model, for a change

we have a rather obedient one this time, she's not going to move till the end of

the shoot. This is not a video on the flash meter and its features but this is

a video on how to use the flash meter and why one should use the flash meter

When we use a meter like this to meter continuous light sunlight any kind of

continuous light source, you call this a light meter. And when we use this meter in a

different menu setting to measure a flash this will be called a flash meter

Unlike the in-camera exposure meter that reads the reflected light

a flash meter reads the incident light and gives you an exposure value which is

equivalent to an 18% gray reading. Now this dome it's called a 3D dome

which sits on top of the exposure meter, reads the incident light and gives you

a corresponding aperture value and all you need to do, is to set that value in

your camera and shoot. There is one more way of taking reading of using this

flash is by retracting this dome inside, which means it will not take give your

three-dimensional reading will give you reading from only one direction. It will

not take into consideration the reflected light that is this this light

is causing. We use this kind of reading when you are shooting say flat surfaces,

products, certain flat products for example, but when you are shooting let's

say for example in this case our model, rather obedient model, we keep the dome

in this 3D position. Okay now like in the camera, even in the flash meter there are

three major controls, the ISO, the shutter speed and the aperture control, which is

of course an f-stop. Here in the studio what we are interested is in finding the

appropriate or an accurate aperture value because you've already decided to

work on a particular ISO. Shutter speed cannot be changed because you're going

to work with the sync speed or the synchro speed of your camera, you can't

go above that and all you need to find is the aperture value. So let's start

with a single light setting first. Nikhil can you come over and move these two

lights and let's work with only one light. Okay now, we have our beautiful

model. One light. This is an old meter that we had

in the studio and we recently acquired a new one the latest from Sekonic

Thank You Nikhil it's called the L858D speed master. The advantage with the

speed master is that it's all digital it's got touch controls and it's a

latest from sekonic, it's got tons of controls on it, lots of features we will

go through the features one by one in another video, but here we will use it

for measuring this simple light setup. Like I mentioned earlier, I've set the

ISO value 100 and I'm going to take this flash reading. Okay, I'm gonna face this

dome towards the flash and I'm gonna take a reading here. Yes okay it's f/11

100 ISO f/11. Now this light like I said is giving a fill light here though it is

about three four five stops under for this light, I'm still going to switch it

off so that you guys can actually see the way the camera will see

Okay Nikhil can you switch off the working light okay so this is the kind

of contrast that we have in our image so let's read the shadow okay

Flash please. Okay it's about just over f/2.8 and give me the background reading

fire f/4 one more f/4. Okay, so I'm going to shoot at f/11 and see what happens and

I'm going to use a Nikon D850 with a 50mm lens

okay as expected let me see it in full screen, nice the

key light at f/11 has exposed the skin properly, the shadow is is really deep

and the background is gone great exactly as expected. Now, this is where a

professional commercial photographer make use of this tool very effectively

Very unlike, let's say, a wedding photographer or an amateur or an

enthusiast or a passionate photographer, his images are used in many, I mean,

the commercial advertising photographers images are used in almost all possible

medium, besides that a commercial photographer is actually translating

art director's or a creative person's idea into an image. Now, he has a set of vision,

a set ideas that he has briefed before the shoot and he wants the image to be

in a particular way. Now, to achieve that you need to measure the light you can't

really guess do a guess work. These images needs to be like I said earlier

needs to be reproduced in our possible medium, so it has to be within a certain

range of exposures, so that it can be reproduced very comfortably everywhere

From a newsprint to the best possible printing medium. He will definitely make

use of the dynamic range of the sensor but he will keep his exposures within a

certain range because all print mediums cannot really reproduce everything that

you've shot. Okay, so that actually calls for another video, from an image to a

print, we'll talk about it soon. So here 11 is the key light exposed very well

and you have the shadow which is just under four but still there is some

information some area is black but not completely gone into deep rich black so

I'm going to say my shadows are going to be within three

stops, of the key light. So for which there are two things that I can do I can

bring in a reflector or I can bring another light. I'm going to bring in

another light. Nikhil can you come switch on the second light and start filling

the shadow and give me a reading of f/4 we will adjust the brightness in such a

way that we get an exposure value of f/4. One thing that you do be careful

about taking the second flash reading is you need to cut the dome from this light

otherwise he'll actually, you know, complicate the reading. So I'm going to

cut it I'm going to read only this. Fire please. Okay now it is f4. Let's take a

shot. Ready. That's my second image the shadow is filled to my satisfaction. Now

let's look at both the images together So this is the histogram of the 1st

image which lots of contrast you can see the black closer to zero value and here

you can see the black slightly shifted opened up and now I know that my shadow

area is well within the range that I wanted to. It'll get a little more

complicated when I add a third light in this case I'm going to add a rim light

ok Nikhil can you bring in the rim light ok switch it on. Nice now for that rim

light to be a rim light, it has to be brighter than my key light. Which means I

need to meter it and make sure that it is not more than one-and-a-half - 2 stops of

my key light or my camera exposure setting. So I'm going to take a reading

here, I'm going to cut this from all other lights, I'm going to read only this

light. Ok fire. Okay I you need to increase the power little, go up ok fire

again okay. This is now one-and-a-half stop

over. Let's take a shot when I say one-and-a-half stop over, it means my key

light is f/11 my fill light is f/4 and that is f/16 and half

Okay. If you look at the histogram, nothing is getting overexposed, right?

Let's try and increase the rim light a little more. Can you increase it by let's

say one stop one more stop? Okay, fire no it's too much bring it down, fire again

Okay now I have f/22 I'm gonna over expose the highlights by two stops. Okay we

still have information on the skin and in the highlight area, I still have

enough information. if I move my cursor around I can see the position where the

highlight is, which is somewhere here which is well within the 255 limits

Let's try and push it up by a little more. Okay Nikhil increase it a

little more. Fire, yes f/32. Okay the lights please. Okay I am looking at the final

image, I have not touched the key light and the fill light. I am interested now

in the highlight. Highlight, here at this point is very close to the 255. Now

imagine a condition where I am NOT metering it, I am going by my eye I'm

going by what I am seeing either on the screen or on the LCD monitor and I am

going only by the histogram okay. What will have happened is that by the time

this image goes through first a processing, second and image retouching

and then a digital pre-press processing and before by the time it reaches a

print station, you will have lost information in the highlight. It would

have gone completely cut out. So if you know where it's going to be printed, you

can select an appropriate proportions for this exposure, because as a pro

photographer, like I said your duty is to translate someone else's idea into print

or onto a screen and for which you need to understand and record all the levels

in a particular proportion. If you have a meter, you will be able to do it

perfectly well. You can choose the working aperture, you can choose what the shadow is

going to be and you can select what the highlights going to be. So, if you go back

and look at all three images alongside, you can see the difference. Before you

actually get into the shoot itself you can decide where you want to expose what

should be the shadow and what should be the highlight. If you don't have a meter

you will only keep guessing and putting a lot of people into a lot of stress. So

do you really need a flash meter? I have this friend who is a very good

photographer always wanted to break into this Pro commercial photographer league

He's really capable he has some of the best equipment that money can buy. I keep

seeing his pictures and I see that he would become technically perfect if he

started metering his image as well. So I recommended that he should get a flash

meter at the earliest opportunity. Note that a flash meter is a gateway to

becoming a professional commercial photographer, but will bring in certain

work discipline that is required to be qualified in that league

I'm not patronizing anyone, here I'm trying to explain the kind of effort

that I've took on my way to becoming a commercial advertising photographer. I

met this friend again after six-seven months I asked him did you buy a flash

meter, he showed me his new bike and said I bought this of course the flash meter

doesn't cost so much, but still he opted for a bike instead of a flash meter. Now

the question is again do you need a flash meter and you want to get the

exact exposure values then this is the way to go. To the rest there is a

motorbike waiting. Bye for now

you

For more infomation >> Why do Professionals use Flash Meter? - Duration: 15:50.

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How do I become a Pilot? - Duration: 0:19.

The airplane is going really really fast

and much faster than you think.

You have to always be ahead of the airplane, monitoring

open line of communication, with your colleagues

It is crucial to know when the fun stops

and the serious begins.

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