Thứ Sáu, 1 tháng 6, 2018

Auto news on Youtube Jun 1 2018

♪ [THEME MUSIC] ♪

>> EVERYBODY COMES TO NEW YORK

TO EAT.

EVERYBODY LOVES FOOD.

BUT DO YOU KNOW WHAT IS

DIFFICULT?

GOING INTO THE RESTAURANT

BUSINESS, BEING A CHEF FROM

KANSAS CITY, FROM BROWNSVILLE,

TEXAS, FROM OTHER PLACES.

AND IF YOU WANT TO BE A MICHELIN

CHEF AND YOU WANT TO BE A

CHEF AND YOU GO TO THE

CULINARY INSTITUTE.

SO TODAY, WITH THE HELP OF MY

EXECUTIVE PRODUCER,

WHO'S NOT HERE TODAY,

DREW NIEPORENT, WE'VE

ASSEMBLED A GROUP OF WONDERFUL

CHEFS AND RESTAURANT OWNERS WHO

ARE GOING TO TALK ABOUT THE

DIFFICULTIES AND OPPORTUNITIES

OF RUNNING A RESTAURANT IN NEW

YORK CITY. MY GUESTS INCLUDE:

>> DOUGLAS KIM FROM JEJU

NOODLE BAR.

>> JUSTIN BAZDARICH FROM SPEEDY

ROMEO AND SOON TO BE

OXOMOCO.

>> PJ CALAPA FROM THE SPANIARD

AND NEWLY OPENED SCAMPI.

>> YOU ARE THE BABY.

YOU'RE 37. THE TWO OF YOU ARE

CLOSE TO 40 OR 40 RIGHT?

YOU HAVE BEEN IN THE

BUSINESS FOR CLOSE TO 20 YEARS,

EACH OF YOU.

YOU STARTED AT A YOUNG AGE.

HOW DIFFICULT WAS IT FOR YOU TO

MAKE A DECISION TO LEAVE AN

ESTABLISHED PERSON LIKE MICHAEL

WHITE, A GREAT CHEF, AND GO OUT

ON YOUR OWN?

>> I FEEL LIKE I HAD OPENED FOUR

RESTAURANTS, FIVE FOR HIM AND

OTHERS.

AND OPENING RESTAURANTS REALLY

TAKES A TOLL ON YOU.

I KNEW I ONLY HAD A FEW MORE

LEFT IN ME AND I FELT LIKE IF

I WANTED TO DO IT FOR MYSELF

THAT NOW WAS THE TIME.

>> ONLY HAD A FEW LEFT?

AT 37 YEARS OF AGE?

>> ONCE YOU HOPEFULLY

CREATE A BLUEPRINT THAT

SOMETHINGS THAT'S YOURS

AND YOU'VE MADE ALL THE

DECISIONS TO GET THERE,

I THINK IT BECOMES EASIER.

TALKING ABOUT NEW

CONCEPTS, NEW CITIES AND

NEIGHBORHOODS.

NEW STAFF EVERY TIME, NEW

GENERAL MANAGERS, NEW WINE

TEAM, NEW, NEW, NEW.

IT TAKES QUITE A TOLL ON YOU.

AND THE AMOUNT OF WORK YOU PUT

INTO IT DURING OPENING TIME, I

REALIZED, I FELT LIKE IT GOT TO

THE POINT WHERE IT WAS TIME FOR

ME TO DO IT FOR MYSELF AND LEAVE

THE SAFETY NET.

>> HOW LONG WAS THE

PLANNING?

YOU OPENED FOUR MONTHS AGO?

HOW LONG WAS IT FROM THE IDEA TO

RENT THE PLACE, TO GET FINANCIAL

BACKING, TO OPEN UP THE

RESTAURANT?

>> I MOVED HERE IN 2003, SO

SINCE THEN.

>> ONLY 15 YEARS.

>> ONLY A 15 YEAR PROCESS.

WHEN WE SIGN A LEASE OR I SEND

OUT A BUSINESS PLAN, IT WAS

ABOUT TWO YEARS AGO.

AND THESE GUYS WOULD PROBABLY

AGREE WITH ME, THAT IT WAS ON

THE FASTER SIDE, THAT WE WERE

OPENED BY DECEMBER OF 17.

MY BACKERS WERE PEOPLE I ALREADY

HAD RELATIONSHIPS WITH, PEOPLE

WHO WERE EASY TO DEAL WITH.

WE FOUND A SPACE AND A FASTER

TIME THAN MOST, I THINK.

OR AT LEAST COMPARED TO MY OTHER

SPACE, THE SPANIARD, WHERE WE

SIGN THE LEASE IN 2014 AND

OPENED IN 2017.

I LEARNED FROM THE PROCESS THAT

IT COULD TAKE THAT LONG.

THEN I OPENED TWO PLACES, SIX

MONTHS APART, WHICH NOBODY WOULD

EVER SUGGEST.

>> JUSTIN, YOU, THE

CHEF/OWNER WHO BROUGHT US THESE

WONDERFUL, SCRUMPTIOUS PIZZAS.

HOW DID YOU DECIDE TO GO

INTO YOUR BUSINESS?

>> VERY SIMILAR TO PJ'S STORY

WHERE I HAD WORKED FOR

JEAN-GEORGES VONGERICHTEN

FOR NINE YEARS-

>> ANOTHER POORLY

ILL-PREPARED CHEF.

>> EXACTLY. I THINK WHAT HELPED

ME DECIDE TO DO IT AND THEN

ALSO WHERE I BECAME SUCCESSFUL

WAS I STAYED WITH HIM FOR NINE

YEARS.

I DIDN'T JUMP AROUND FROM CHEF

TO CHEF, SO I WAS AN INTERN TO

START AT JG. AND I WAS PEELING

GARLIC TO PEELING SHALLOTS TO

THEN I BECAME A LINE COOK, AND I

WORKED EVERY STATION AND BECAME

A SOUS CHEF.

I KEPT GOING UP THE RANKS, AND

WITH THAT CAME MORE LEARNING.

FINALLY, I DECIDED TO TRAVEL

WITH HIM AND I OPENED 15

RESTAURANTS IN THREE YEARS.

>> ALL AROUND THE WORLD,

RIGHT?

>> ALL AROUND THE WORLD.

AS PJ MENTIONED, THEY HAD A GOOD

BLUEPRINT ON HOW TO DO IT.

AFTER I HAD THOSE REPS

UNDER MY BELT, I FELT THAT I

COULDN'T TAKE THE TRAVEL

ANYMORE.

I REALLY WANTED TO STAY LOCAL,

AND STARTED LOOKING FOR

LOCATIONS IN BROOKLYN NEAR MY

HOUSE.

THAT IS WHERE I FOUND THE FIRST

SPEEDY ROMEO LOCATION.

>> YOUR BUDDY SAID HE

CAME OVER IN 2003.

HOW DID YOU DECIDE TO LEAVE

KANSAS? LIKE DOROTHY.

DECIDE TO COME TO THE BIG APPLE,

TO EMERALD CITY?

>> IT'S A LONG STORY.

I WENT TO SCHOOL AT ARIZONA

STATE UNIVERSITY, AND AFTER

THAT, I STARTED COOKING THERE TO

MAKE MONEY WHILE IN SCHOOL.

I ENDED UP MOVING TO

FREDERICKSBURG, TEXAS.

I WORKED FOR A BELGIAN WOMAN

WITH A FRENCH PALETTE.

SHE SHOWED ME THE JEAN-GEORGE,

COOKING AT HOME LIKE A FOUR-STAR

CHEF COOKBOOK. AND IT WAS

THE PICTURES OF CENTRAL PARK,

THE INTERIOR OF THE KITCHEN, OF

THE DINING ROOM.

I WAS LIKE, THIS IS MY GOAL, TO

WORK IN A PLACE LIKE THIS.

SO I STARTED SEARCHING CULINARY

SCHOOL, THEN FRENCH CULINARY WAS

COMING ON THE MAP.

SO I ENDED UP GOING THERE.

I GOT THE PHONE NUMBER TO THE

JEAN-GEORGE KITCHEN CAREER

SERVICES OFFICE, AND I ASKED IF

I COULD COME WORK FOR FREE.

BECAUSE BACK THEN YOU COULD

BRING PEOPLE TO WORK IN THE

KITCHEN FOR FREE.

I STARTED FREE, AND SNOWBALLED

FROM THERE.

>> DOUGLAS, OUR FRIEND WHO

LIVES IN NEW JERSEY.

TELL US ABOUT YOUR CAREER.

>> WHEN I MET DREW WAS IN

1999, WHEN I WORKED AT NOBU.

>> YOU WORK AT THE

ORIGINAL?

>> THE ORIGINAL, CORRECT.

PROBABLY 4.5 YEARS, AND I

DECIDED TO LEARN MORE ABOUT

COOKING.

SO I APPLIED TO THE CIA,

CULINARY INSTITUTE OF AMERICA.

AT ONE POINT, I THINK IT WAS THE

10TH ANNIVERSARY OF NOBU, AND I

WAS IN THE BATHROOM.

WE WORK TAKING A -- WE WERE BOTH

IN THE BATHROOM, SIDE-BY-SIDE.

ONE DAY, HE WAS TELLING ME.

WE MADE A GREAT DECISION.

AND I SAID WHAT WAS IT?

HE SAID, IF YOU WANT TO BE

BETTER THAN NOBU, YOU HAVE TO

LEAVE NOBLE AND SEARCH FOR

A NEW JOURNEY. OKAY, MAKES

SENSE. EVER SINCE THEN I'LL

TRY TO LEARN AS MUCH AS

POSSIBLE AND I'VE BEEN

PURSUING THE KNOWLEDGE AS

MUCH AS POSSIBLE.

SO I TRY TO WORK AT BIG

RESTAURANTS TO TRY TO UNDERSTAND

THE FINANCIAL SIDE OF IT.

>> BEFORE YOU OPENED YOUR

RESTAURANT, WHICH IS OPEN SEVEN

MONTHS, YOU WERE WORKING AT ZUMA

HAD 120 CHEFS WORKING FOR

YOU OVER THERE.

>> YOU NEVER REALIZE HOW

BIG IT IS, 26,000 SQUARE FEET, A

HUGE FACILITY.

>> AT THE TIME, I WAS

TRYING TO LEARN ABOUT THE BIGGER

OPERATION SIDE OF IT.

I STILL HAD THE UNDERSTANDING

THAT MAYBE IT IS TIME FOR ME TO

OPEN MY SMALL PROJECTS.

PERHAPS SOMETHING I CAN --

>> HOW DID YOU DECIDE TO

GO INTO THE NOODLE CONCEPT?

>> I'M NOT SURE IF I

SHOULD TELL YOU, BUT I'VE NEVER

COOKED A NOODLE IN MY LIFE.

IT WAS THE FIRST TIME I ACTUALLY

DONE IT IN MY LIFE. AND OF

COURSE YOU KNOW HOW TO COOK

AND YOU KNOW HOW TO MAKE

STOCK, YOU KNOW HOW IT WORKS.

>> YOU WERE SAYING THE

STOCK CAN TAKE 12 HOURS?

>> YEAH, IT CAN TAKE UP TO 8

TO 12 HOURS. SOME CHEFS SAY

OVERNIGHT, BUT IT'S VERY

DIFFICULT TO MAKE BUT UNLESS

YOU UNDERSTAND TECHNICAL

>> SO WAIT, YOU DIDN'T MAKE

NOODLES BEFORE YOU WENT INTO-

>> NEVER. I ENEVR WORKED IN A

RAMEN RESTAURANT OR A

NOODLE RESTAURANT IN MY LIFE.

>> WE'RE GOING TO TAKE ON

HIM IN A SECOND.

WE KNOW HE LIKES FISH, BUT WHY

DID YOU GO INTO THE NOODLE BAR?

>> I THOUGHT THERE WAS

STILL HYPE FOR THE NOODLE IN NEW

YORK CITY, AND FOR ME, IT WAS

THE FASTEST ONE TO OPEN.

IF I WERE DOING FINE DINING OR

SOMETHING DIFFERENT, IT WOULD

TAKE LONGER TO OPEN.

SOME PROJECTS WOULD TAKE YEARS

AND YEARS.

FOR ME, I THOUGHT, WHAT CAN I DO

TO MAKE THIS THING HAPPEN

QUICKLY?

THEN WE HAVE, IN CULTURE, IT IS

SIMILAR TO JAPANESE RAMEN.

SO I WANTED TO DO SOMETHING

LIKE THAT AND THAT WAS IT.

>> THE THREE OF YOU COME

FROM GREAT CULINARY BACKGROUNDS,

WORKING FOR TOP CHEFS AND

OPERATORS AND EVERYTHING ELSE.

HOW DID YOU DECIDE TO OPEN

YOURS? THAT'S NOT A PRODUCT

THAT I ALWAYS SEE IN THE JEAN-

GEORGE MENU'S.

>> ONE THING JEAN-GEORGE SAID TO

ME WHILE WE WERE DINING OUT, IT

WAS AT A HIGHER END RESTAURANT,

SHOOTING FOR THE STARS IN

CREATIVITY.

HE LOOKED AT US AND SAID

CULINARY GENIUS WON'T PAY THE

BILLS.

THIS IS A BUSINESS, THE

RESTAURANT INDUSTRY IS A

BUSINESS.

FOR ME, I WANTED A VERY

APPROACHABLE MENU.

I HAD DONE A LITTLE PIZZA AT

SOME OF THE HOTEL RESTAURANTS I

HAD OPENED FOR JEAN-GEORGE, BUT

NEVER WOODFIRED.

I KNEW I WANTED TO DO A

WOODFIRED CONCEPT WITH THE

OVEN AND THE GRILL AND SO

FROM THERE I JUST NEEDED

TO MAKE SURE THE MENU WAS

VERY APPROACHABLE BY A LARGE

DEMOGRAPHIC.

>> NOW IN THE SAME MANNER,

I KNOW YOU LIVED IN BROOKLYN

BUT CLINTON HILL AS A GROWING

NEIGHBORHOOD.

HOW LONG HAD YOU BEEN

IN CLINTON HILL BEFORE YOU

OPENED UP THE FIRST SPEEDY?

>> I HAD ACTUALLY LIVED IN

FORT GREENE, AND I HAD LIVED

IN FORT GREEN FOR PROBABLY

SEVEN YEAR BEFORE I OPENED

THE CLINTON HILL LOCATION.

WE ARE ON THE BORDER OF CLINTON

HILL/ BEDSTUY. AND SO I HAD

SEEN WHAT HAD HAPPENED IN

CLINTON HILL WITH RESTAURANTS

AND BARS OPENING AND THE

DOWNTOWN BROOKLYN

STARTING TO GROW. AND EVERYTHING

SORT OF GROWING OUT FROM

THERE.

>> I'M GOING TO GIVE A

GREAT STORY YOU HAVE TO TELL

DREW.

WHEN WE WERE DOING SHOWS ON

BROOKLYN, I SAID DREW, WHY DON'T

YOU OPEN IN BROOKLYN?

HE SAID THE ONLY PEOPLE WHO

WOULD GO TO BROOKLYN ARE HUSBAND

AND WIVES, MAYBE EIGHT PEOPLE IN

A RESTAURANT.

BUT LOOK IT WHAT HAPPENED.

YOU AREN'T ONLY PIZZA.

YOU HAVE STEAK AND OTHER

PRODUCTS.

>> WE HAVE A WOODFIRED

GRILL SO THAT FUELS THE REST

OF THE MENU WHERE WE HAVE

EIGHT TO 10 APPETIZERS AND

SOME ITEMS OFF THE GRILL.

WE KEEP IT IN THE SAME VEIN OF

NOTHING TOO PRETENTIOUS.

>> HOW DID YOU DECIDE TO

VENTURE TO THE HIP, LOWER EAST

SIDE?

>> I LIVE ACROSS THE STREET

FROM THE BROOKLYN LOCATION.

AT A CERTAIN POINT, I FELT TOO

COMFORTABLE AND WANTED TO

CHALLENGE MYSELF AND BRANCH OUT.

WE FOUND A PROPERTY, SORT OF A

SIMILAR SITUATION WHERE I WENT

OFF THE BEATEN PATH TO FIND THE

FIRST LOCATION WHERE WE'RE

ALMOST IN BEDSTUY. AND WHEN

WE OPENED THAT PEOPLE WERE

LIKE, YOU ARE A PIONEER TO

EVEN THINK THAT THIS IS GOING

TO BE A GOOD IDEA-

>> WE HAVE A TERM-

IT MEANS CRAZY.

>> SORT OF SIMILAR ON THE

LOWER EAST SIDE WHERE WE

FOUND A LOCATION THAT WAS

SORT OF ON THE OUTSKIRTS,

IT'S NOT IN THE HEART WHERE

ALL THE BARS AND RESTAURANTS,

WE'RE SORT OF ON THE OUTSIDE,

THERE'S A LOT OF DEVELOPMENT

OVER THERE HAPPENING.

>> I THINK PART OF IT IS

ALL THREE OF YOU ARE

DESTINATIONS.

YOU ARE IN A CONVENIENT

LOCATION, BUT ALSO A

DESTINATION.

PJ, FISH.

YOU WORK FOR A GUY WHO

PREDOMINATELY MADE ITALIAN FOOD.

>> I DID, BUT I WORKED AT NOBU

BEFORE THAT FOR 5.5 YEARS.

I FELL IN LOVE WITH THE SASHIMI.

WHEN I WAS THERE, I SAID I WOULD

NEVER COOK ITALIAN FOOD.

IT WAS THE FOOD OF MY FATHER'S

SIDE OF THE FAMILY.

>> NORTHERN? SOUTHERN?

>> SOUTHERN SICILIAN?

SOUTHERN COASTAL.

I GREW UP ON THE SOUTHERN COAST

OF TEXAS. MY

GRANDFATHER ON MY MOMS SIDE WAS

A FISHERMAN.

SO THERE WAS ALWAYS THIS FISH

AROUND MY HOUSE. WHETHER

IT WAS COOKED OR RAW.

EVEN AT MY HOUSE IN TEXAS

MY GRANDMOTHER WOULD MAKE

CEVICHE.

IT WAS IMPORTANT TO ME AND I

LOVED THOSE FLAVORS.

AND I GOT A TASTE OF IT AT NOBU.

MY FRIENDS WHO WERE WORKING AT

THESE BIG ITALIAN RESTAURANTS,

OH, I'LL NEVER COOK THAT FOOD.

IT IS TOO RUSTIC.

THEN I GOT A TASTE OF IT.

I WENT TO ESCA AND I MET

MICHAEL.

THIS IS BLOWING MY MIND RIGHT

NOW.

THIS IS FOOD THAT IS MORE

FAMILIAR TO WHAT I'M USED TO,

BUT IT LETS ME USE ALL I LEARNED

ABOUT SERVING RAW FISH.

SO THOSE THINGS CAME TOGETHER

FOR ME, THIS PASTA AND THIS

CONCEPT.

FOLLOWING IN THAT TREND OF NOBU,

THE MAN, AND THESE COMPOSED

DISHES OF NOT JUST FISH OVER

RICE, BUT THESE COMPLEX,

COMPOSED CRUDO DISHES.

I KNEW THAT FOR A RESTAURANT

TO BE SUCCESSFUL, IT HAS TO BE

SOMETHING THAT IS CRAVABLE.

AND IT HAS TO BE A DISH LIKE

THAT MACKEREL I HAD AT

SCAMPI, I CAN'T WAIT TO

GO BACK FOR IT.

>> HERE'S THE QUESTION.

EACH ONE OF YOU IS IN BUSINESS A

COUPLE OF YEARS OR A SHORTER

AMOUNT OF TIME.

WHAT IS THE BIGGEST CHALLENGE

YOU HAVE?

IT IS QUALITY, GETTING STAFF-

>> IT IS EVERYTHING.

>> NO, BUT YOU ARE SAYING

THAT YOU ARE CLOSED ON MONDAY

BECAUSE IT'S DIFFICULT FOR YOU

TO GET STAFF.

>> HIRING STAFF IS DIFFICULT.

>> CHEFS AND COOKS ARE NOT

AS PASSIONATE AS THEY USED TO

BE.

SO, TURNOVER IS FAST.

>> I THINK THAT IN AN

INTERESTING WAY, THE THREE OF US

CAME TO NEW YORK AT AROUND THE

SAME TIME.

>> YOU ARE THE BABY, REMEMBER.

>> WE STARTED COOKING IN NEW

YORK AT A TIME WHEN IT WAS STILL

AN HONOR TO BE IN THESE

KITCHENS.

LIKE HE SAID, I WORKED FOR FREE.

NOW, WITH LABOR LAWS, THAT IS

NOT EVER ALLOWED.

BUT IT WAS AN HONOR TO BE IN

THAT DOOR, AND YOU GOT TO SEE

THE ROUGH SIDE OF THESE

KITCHENS.

BUT HOW MUCH RESPECT GOES INTO

THE FOOD, IT BLEW MY MIND.

I FEEL LIKE IT HAS GONE OUT THE

WINDOW.

>> HOW DO YOU GET YOUR

REPUTATION?

YOU HAD A REPUTATION WORKING FOR

THESE GREAT CHEFS AND

RESTAURANTEURS. HOW DO YOU

BUILD YOUR OWN REPUTATION

ON YOUR OWN RESTAURANT TODAY?

>> I THINK PJ NAILED IT WITH

THE CRAVEABILITY.

IT'S THE WORD OF MOUTH ONCE

PEOPLE HAVE COME TO THE

RESTAURANT THAT IT'S JUST LIKE,

OH MY GOD I HAD THIS PIZZA

AT SPEEDY ROMEO, AND LET

ME TELL YOU ALL ABOUT IT.

IT IS NOT TOO EXPENSIVE AND OUT

OF THE REALM OF SOMETHING THEY

CAN'T HAVE ONCE A WEEK.

IT POPS INTO THEIR BRAIN AGAIN.

>> FOR YEARS, PEOPLE WOULD

GO TO WILLIAMSBURG BEFORE

WILLIAMSBURG WAS HIP FOR TWO

RESTAURANTS.

PETER LUGER'S OR BAMONTE'S.

IT WAS A CULT THING.

PETER LUGER HAD LIMITED CREDIT

CARDS.

THERE WERE NOT ATM'S.

IT WAS A CASH SITUATION.

PEOPLE WANTED TO GO, IT WAS A

DESTINATION.

NO OFFENSE, IT IS A

SEMI-DESTINATION FOR SOMEONE IN

MANHATTAN TO GO TO BEDSTUY OR

CLINTON HILL.

BUT IF SOMEBODY SEES ON THE FOOD

NETWORK, SPEEDY ROMEO, OR READ

AN ARTICLE, THAT HELPS YOU.

HOW ARE YOU PROMOTING YOURSELF?

YOU WERE SAYING, YOU ARE OFF THE

BEATEN TRACK A LITTLE BIT IN

TRIBECA, AT THE END OF GREENWICH

STREET.

HOW DO YOU PROMOTE YOURSELF TO

MAKE THAT REPUTATION?

YOU WERE PART OF A GREAT

REPUTATION WERE YOU WERE.

>> AGREED, YOU CAN'T SLEEP ON IT

ANY OF THESE DAYS. IT'S NOT THE

DAYS OF THE NEW YORK TIMES OR

NOTHING.

WITH THIS REPUTATION, I WAS VERY

LUCKY THAT EARLY ON, MICHAEL WAS

LIKE, YOU ARE THE CHEF, THE

FACE.

AS MUCH AS I'M THE OWNER, WE

WILL PUT YOU FORWARD FOR ALL OF

THESE THINGS.

THAT WAS SORT OF A PLAN FOR ME

AND FOR HIM TO SORT OF DEVELOP A

NAME FOR MYSELF.

>> BECAUSE HE CAME INTO A

NEIGHBORHOOD THAT WAS NOT KNOWN

FOR RESTAURANTS.

SO, HE NEEDED A FACE.

THAT IS PART OF THE SITUATION

THAT, AS I WAS SAYING, WHAT I

LEARNED ON MANY OF MY FOOD SHOWS

BEFORE, YOU HAVE TO TOUCH YOUR

TABLE.

YOU HAVE TO WALK AROUND AND

TOUCH THE TABLE AND TALK TO YOUR

CUSTOMERS AND SOMETIMES

BUY THE EXTRA HORS DOUEVRES.

>> SURE, AND MY GOAL WAS

UNDERSTANDING AT THAT POINT

THAT HE WAS GROWING VERY

QUICKLY AND HE KNEW THAT HE

COULDN'T TOUCH ALL THE TABLES,

HE WAS HAPPY LETTING ME BE THE

FACE OF THE RESTAURANT.

THE OTHER THING IS, DON'T BURN

ANY BRIDGES, WHEN IT COMES TO

PRESS, GUEST INTERACTION-

>> VERY TRUE.

I THINK THAT THESE DAYS, SOCIAL

MEDIA IS SUCH A STRONG PRESS

OUTLET.

>> I THINK THAT YOUR

BUSINESSES -- I'M MORE OF AN

INSTAGRAM SOCIAL MEDIA THEN

ON FACEBOOK.

INSTAGRAM IS IMPORTANT, PEOPLE

LOOK AT THE ITEM THEY ARE

FOLLOWING.

>> WE TALK ABOUT, WHEN WE PUT

NEW DISHES ON THE MENU,

IF THEY ARE INSTAGRAMMABLE.

IT'S A PART OF EVERYTHING NOW.

>> I MET A GUY A COUPLE

YEARS AGO, HIS SPECIALTY WAS

THAT HE WAS A FOOD PHOTOGRAPHER.

THAT IS WHAT YOU NEED, FOR THE

QUALITY OF THE FOOD.

YOU CAN HAVE A GREAT THING, BUT

IT IS ALSO THE PRESENTATION AND

PICTURES.

THE LOYALTY OF CUSTOMERS.

AT ONE TIME, DREW, I'M SITTING

IN HIS CHAIR. WE WOULD SAY,

VISITORS TO NEW YORK, WE USED

TO CALL THEM TOURISTS.

THEY'RE NO LONGER TOURSISTS.

WHEN YOU HAVE 62.8 MILLION

PEOPLE COMING TO NEW YORK CITY,

THESE ARE VISITORS TO NEW

YORK AND THESE VISITORS

ARE YOUR CUSTOMERS.

HOW MANY WOULD YOU SAY ARE

NATIVES WHO LIVE IN NEW YORK,

AND PEOPLE WHO ARE

OUT-OF-TOWNERS OR VISITORS WHO

COME TO YOUR RESTAURANTS?

>> IN MY CASE, I THINK IT IS 40%

VISITORS AND 40% LOCAL PEOPLE,

AND MAYBE 20 PEOPLE FROM

SOMEWHERE OUTSIDE THE COUNTRY.

LUCKILY, WE GOT A REVIEW

FROM THE NEW YORK TIMES

AND NEW YORK MAGAZINE, SO

THE PEOPLE WHO SEE IT COME FROM

A LITTLE FURTHER.

BUT WE ARE AN WEST VILLAGE,

WHICH IS CALLED GREENWICH

VILLAGE AS WELL, SO THE LOCAL

PEOPLE ARE STARTING TO HEAR

ABOUT US AND ARE STARTING

TO COME BACK. AS A CUSTOMER

THEY HAVE A LOYALTY BECAUSE

THEY KEEP COMING BACK.

I SEE SOME OF THE CUSTOMERS

COMING EVERY WEEK OR TWICE A

WEEK-

>> WHICH IS GREAT.

>> IT'S AN INTERESTING SITUATION

IN BROOKLYN, AND WE'VE ALSO SEEN

IT IN THE LOWER EAST SIDE, BUT

THE FIRST CUSTOMERS THAT CAME TO

THE DOOR IN THE BEGINNING WERE

THE LOCALS THAT LIVE NEARBY,

YOUNG FAMILIES THAT WERE

STARTING -- BOUGHT BROWNSTONES

AND ARE BRINGING UP THEIR FAMILY

THERE.

INTERESTINGLY, OUR FIRST SUMMER,

WE WERE VERY SLOW.

THE SECOND SUMMER WE WERE VERY

STEADY.

IT TURNS OUT THAT A LOT OF THE

PEOPLE WHO GO OUT OF TOWN FOR

SUMMER PUT THEIR HOUSES ON

AIRBNB AND LISTED US AS ONE OF

THE LOCAL PLACES TO GO.

SO THE PEOPLE THAT GO OUT OF

TOWN WERE REPLACED BY THESE

OUT-OF-TOWNERS, AND THOSE WERE

LOTS OF EUROPEANS, PEOPLE COMING

FOR A MONTH OR SO OR A COUPLE OF

WEEKS.

SO IT GOES WITH THAT TOUCHING OF

THE TABLE.

>> WHO DO YOU SEE WHEN YOU

OPEN UP THE MEXICAN, IN

GREENPOINT? WHO DO YOU THINK

MOST OF YOUR CUSTOMERS WILL BE?

YOUR LOCALS?

>> I THINK IT WILL BE A LOT OF

LOCALS, PEOPLE WHO LIVE IN

GREENPOINT.

WE'VE HEARD A LOT THAT THERE'S

NOT MUCH OVER THERE.

>> SURE, UNLESS YOU WANT

GERMAN FOOD THAT IS 50 YEARS

OLD.

>> WE KNOW THE NEIGHBORHOOD IS

EXCITED.

IT LOOKS SIMILAR TO THE WAY THE

BROOKLYN, BEDSTUY, CLINTON HILL

NEIGHBORHOOD LOOKS.

LOT OF STROLLERS ON THE STREET.

A LOT OF PEOPLE, A LOT OF

FOOT TRAFFIC. AND THAT

DRIVES A LOT OF BUSINESS.

>> PJ, YOU ARE RIGHT OFF

OF NOMAN AND FLAT IRON.

>> SOMEWHAT CONVENIENT.

MORE CONVENIENT FOR NEW YORKERS.

THAT WHOLE AREA HAS BEEN

REDEVELOPED IN THE LAST 10 YEARS

FOR RESIDENTIAL.

SO YOU ARE SEEING A LOT OF

PEOPLE MOVE IN.

THIS WAS A DECISION WE MADE A

WHILE BACK TO BE THERE.

A FAIR AMOUNT OF PEOPLE COMING

FROM TEXAS TO SEE US, BECAUSE I

STAY VERY CLOSE TO THAT SORT OF

TEXAS CONNECTION.

THEY ARE VERY LOYAL THE TEXANS.

>> THEY DON'T COME EVERY

WEEK.

>> NO THEY DON'T, BUT WE LOVE

ALL OF OUR CUSTOMERS EQUALLY.

WE NEED THEM ALL THESE DAYS.

>> WHAT ABOUT FOOD AS

OPPOSED TO ALCOHOL?

>> SCAMPI IS LIKE 60-40 FOOD.

AND SPANIARD, 75-25 ALCOHOL AND

FOOD.

>> JUSTIN?

>> 70-30, PRETTY CONSISTENT

WITH BOTH, FOOD TO BEVERAGE.

>> 75-25, BUT IT IS HARD

FOR A NOODLE RESTAURANT.

>> FOR A NOODLE RESTAURANT

THAT'S A RELATIVELY LARGE

ALCOHOL CONSUMPTION.

>> I FEEL LIKE THE ONLY REASON

SCAMPI IS IN THAT 40-ISH FOR

ALCOHOL IS BECAUSE WE

DO HAVE SOME HIGHER PRICED

WINE. WE DO HAVE A BIG BAR

AND I SORT OF LEARNED IT

FROM THE SPANIARD THAT

THE BAR BUSINESS IS A GOOD ONE.

SO WE REALLY TRY TO PUSH

THE BAR AT SCAMPI.

WE HAVE A BIG FRONT AREA THAT IS

GOOD FOR WALK-INS.

>> ONE THING IS TRUE, DREW

HAS BROUGHT IN ANOTHER GREAT

GROUP OF DYNAMIC CHEFS.

EXPLAIN TO ME WHAT KIND OF

PIZZAS WE HAVE HERE.

>> THE ONE CLOSEST TO ME IS THE

ST. LOUIS. IT'S SAN MARZANO

TOMATO SAUCE, HOT SOPPRESSATA,

HOUSEMADE ITALIAN SAUSAGE,

CHEESE FROM ST. LOUIS, PICKLED

CHILIES.

THE OTHER IS CALLED THE PAUL'S

BOUTIQUE. IT IS AN HOMAGE TO

THE LOWER EAST SIDE.

IT IS DIJON BECHAMEL

KATZ'S PASTRAMI THAT WE GET 50,

60 POUNDS A WEEK FROM

ACROSS THE STREET. FONTINA

CHEESE, SAUERKRAUT COOKED

OFF, EVERYTHING BAGEL CRUST,

THOUSAND ISLAND DRESSING.

>> WE ARE GOING TO EAT

AFTERWARD.

I WOULD LIKE TO THANK DOUGLAS,

JUSTIN, AND PJ AND UNTIL WE

SEE YOU AGAIN.

>> THANK YOU FOR HAVING US.

♪ [THEME MUSIC] ♪

Auto news on Youtube Jun 1 2018

Oh, hi I'm Matt.

And today I want to help you feel confident

and ready for your job interview.

So let's answer the question

What should I wear to a job interview?

The first and easiest answer to this question is . . .

well it depends.

It depends on the people interviewing you,

so you need to do your homework.

It's best practice to match your outfit to

the organization you're interviewing with.

So, before you go in

find out what their dress code is.

You could search their website,

talk with a friend that works there,

or just ask the recruiter working with you.

If they're just casual

dress casual,

business casual business casual,

business professional . . . you get the idea.

Research shows people are more comfortable

when they're dressed alike.

Plus, it's a lot easier for interviewers

to visualize you working there if you . . .

. . . well

. . . look like you work there.

Hey is this where the interview is at?

Alright! Lookin' good.

So, what exactly are the different dress code types?

Let's break them down.

As a general rule of thumb,

business professional means

suits or blazer and dress pants,

buttoned down shirts,

ties,

pant suits or skirts,

and nice shoes.

Business casual usually means

dress slacks,

chinos or khakis,

tucked in buttoned down

or polo shirts,

blouse and dress pants,

or a skirt,

or maybe a conservative dress

and scuff free shoes.

When dressing casually for an interview,

you can't go wrong

with collard shirts

conservative pants,

maybe even a comfortable dress,

and shoes without too much wear and tear.

If you're ever in doubt

err on the side of over dressing.

This may be less than ideal,

but over dressing can give the impression that

you really care

and that's usually a good thing.

Let's take a minute now to discuss

DO's and DON'Ts.

Above all else,

do dress well.

Always wear your best outfits.

Research shows that well-dressed employees

are more trusted

and appear more confident

and successful.

But also, be comfortable.

Dressing comfortably reduces stress.

So, even if you need to wear

business professional clothes for an interview,

be sure you're true to yourself

and comfortable.

"And I'm like buddy I've never even been to Michigan."

[Laughing]

"Stop it! Stop it! You're killin' me."

[Laughing]

Being uncomfortable is going to

increase your stress levels

and that's not going to do you any favors.

Are you okay?

Along a similar vein,

wear clothes that fit your body well.

If you wear clothes that don't fit well,

again,

it will show.

Hopefully this goes without saying,

but make sure you

and your clothes are clean.

Always appear well groomed,

freshly bathed and germ free.

You want to look sharp

not smell sharp.

Good hygiene is expected.

Poor hygiene is a distraction

and leaves a bad impression.

OK.

Now let's discuss the don'ts.

Casual doesn't mean pajamas

or gym clothes.

It's still important to look polished

and professional no matter what.

So, leave those clothes at home.

Also avoid shorts,

hats, flip flops,

and if you want to play it safe, jeans,

especially holey jeans.

On the flip side, don't dress too formal.

You can leave the tux

and prom dress at home.

And despite how attractive you are

avoid revealing clothes,

low necklines,

short skirts, visible underwear,

and whatever this guy's wearing,

just . . . just . . . don't.

Also, avoid clothing

that makes you appear immature.

Really it comes down to this:

avoid anything that is distracting.

So don't wear really large accessories

or too many accessories,

or outdated clothes,

flashy clothes,

bright neon colors.

Don't wear too much cologne

or perfume,

or sunglasses on your head,

top hats,

fake mustaches,

or Ronald Reagan ski masks,

or . . . [Laughs] Ron

Reagan ski mask.

That's not a thing.

Bottom line you want the

interviewers to talk about you afterward

not what you were wearing.

Remember an interview is your chance

to show why you are qualified for a job.

And, when you do your homework

and wear the right clothes,

while avoiding the wrong clothes,

you give yourself a better chance to

leave a good impression

and get that job.

So go out there

and nail that interview.

I believe in you.

My greatest strength.

I'd say judgment,

knowing how to act

what to say.

Or how to dress?

Absolutely.

Hmmm. What About your greatest weaknesses?

I'm freezing like all the time.

Do you guys have the AC on blast or something?

Auto news on Youtube Jun 1 2018

-

? ? 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.

-------------------------------------------

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.

-------------------------------------------

June 2018: What can I do? - Duration: 1:09.

( wake up )

This morning, what am I going to post this for?

Let's see!

Two months ago, I was having my summer vacation

I am HOME right now!

Let's see! Come on!

Are you already having a vacation before?

Are you having fun with family, friends and others?

Now, what will I do this month, June?

The first day of June, I am just letting you know that I am planning to

buy school supplies for the next level of Senior High School

As soon as I started joining at the start of K-11 Grade in Senior High School

For incoming in Grade K-11

Let's see what's next! GO!

Are you ready for?

Back to school?

Working?

And other more?

If you're watching this video, please don't forget to click the button '' LIKE and SUBSCRIBE '' this channel

For you, what are you planning to do this month? Let me know in the comments!

Good luck, Deaf Hope!

For more infomation >> June 2018: What can I do? - Duration: 1:09.

-------------------------------------------

Why Don't We Just Make Water Chemically in a Lab ? - Explained . - Duration: 3:55.

Why Don't We Just Make Water Chemically in a Lab?

This is a well known fact that water is scarce.

Not any water, but the water which we can drink .

Although earth is majorly covered by water (water covers 71% of the surface of Earth), but out

of that water 97% of water is held by oceans which is saline i.e undrinkable.

The remaining 3% is also not so readily available.

Indeed, water is scarce.

So why can't we just make water chemically in laboratories?

We know the formula, right?

We know that it is formed by the combination of hydrogen and oxygen.

So why don't we do it already?

The problem with manufacturing water It is not as easy as it appears to be.

Combination of hydrogen and oxygen atoms is accompanied by release of tremendous amount of energy.

Hydrogen, being the simplest element in the world, consists of only 1 electron in its orbit.

Oxygen on the other hand, has 6 electrons in its outermost orbit, 2 short of a completely filled outermost shell.

There is an energy barrier which has to be overcome to bring these two elements together.

Also hydrogen is a highly flammable gas and oxygen supports combustion, so what happens when they come together, that too in large quantities?

Take a guess.

This chemical reaction, when occurs, produces a large amount of energy, which may amount to a full scale, deadly explosion.

This is exactly what happened in the Hindenburg Disaster in 1937.

Hindenburg Disaster .

The Hindenburg disaster took place as the German passenger airship LZ 129 Hindenburg caught fire and was

destroyed during its attempt to dock with its mooring mast.

It was found out that the fire was started by an electric spark which was caused by a buildup of static electricity on the airship.

As there was abundant oxygen in the air outside the airship,

it reacted rapidly with the hydrogen in the airship and a lethal explosion rocked the airship.

But yes, as a result of the chemical reaction, water was created.

Any solution?

In order to manufacture water to cater to the needs of such a large population on the planet,

the laboratories and the facilities required to contain such great and spontaneous emission of energy

would be too expensive to be practically and economically viable.

But yes, there is an alternative.

One way to 'make' water would be to extract the water that is already present in the air as water-vapor.

Using sheets of cooled metal, the air temperature can be rapidly dropped, allowing the water vapour to condense.

Whisson Windmill .

The Whisson Windmill does just that.

And it produces around 12,000 litres (2,600 gallons) of water in a day at a very low cost and almost no impact on the environment.

On a much smaller scale, something which is used in disaster-struck areas as a portable water-maker,

a generator can be used that can draw air through a cooled chamber, producing 545 litres in one day.

It is pretty much evident that water is not that easy to make.

So our best bet is to conserve the water that we already have access to.

So, Should We Still Try To Make Water Chemically In A Lab Or Not ?

Is There Any Much Easier Way To Do It .

What Do you Think About It ?

Let Us Know In The Comment Section .

If you Like This Video, Then Hit The Like Button And Share This Video With Your Friends .

And One More Thing, Don't Forget To Subscribe .

And Stay Curious And Keep Learning .

For more infomation >> Why Don't We Just Make Water Chemically in a Lab ? - Explained . - Duration: 3:55.

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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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Part our program at Children's, with people like Dennis is to

transition you not just from PT but back to the

field. And one of the great things about being an athletic

trainer is and that's unique to our position is we are typically

there at the initial injury and then all the way until that

athlete is right back out on the field playig again at 100

percent. So following a surgery, it's -- there's not a whole lot

you can do with an athlete right away. A lot of it is just making

sure they're feeling okay. There are some minimal little

exercises you can do with them, but mainly you're just checking

up on them, making sure they're feeling okay and then also

mentally, that they're engaged and you're making sure that they

see a big picture. This is going to be a hard day for you today,

but each day you're going to get better and you give them the big

picture goals and get them excited about the rehab to come.

So the important part about our athletic trainers at Children's

Hospital is that they not just rehab you, but they have

programs that aim to decrease the risk that you'll either tear

the one that we've operated on, or the one that we haven't. Part

of coming back all the way is not just making sure that the

knee you had surgery on is functioning properly, but total

body is functionally moving properly and efficiently and the

way it's supposed to. And those are the things that we check.

Dennis--he's our club athletic trainer, and he's at every

single training, every single game. There's a huge

psychological component to my job. There's people who will

tell you that the athletic trainer is the team

pscyhologist, team relationship expert, team everything because

we're the only ones who are just around all the time. The effect

that I can have just on one person and their life, it may

just be another ACL to me that I've rehabbed, and been around

for many, many times, but it makes it really special when an

athlete like Carolyn, you know, you really connect with her and

she really gets through the rehab process and feels like you

were a huge component of her success in getting back on the

field. It meant the world to me. It made a big difference for me,

actually, because I could come to the field and you were always

there, I could do my workouts or whatever with you, and that

helped a lot. And then you were always there to give me good

advice. And yeah, it was nice just to have someone who knew

what was going on and you could talk to my doctor whenever I

needed it. And I remember whenever I would be sad or feel

down about it, you were there to pick me up and help me and

always motivate me. I absolutely love the personal relationships

you get in athletic training. I mean, I get to really build a

bond with a lot of these athletes that are life-long. I

tell them when they all go on to other things, I always tell my

athletes that once I'm your athletic trainer, I'm always

your athletic trainer.

For more infomation >> The Connection Journey: The Difference Athletic Trainers Make - Duration: 3:01.

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Make A Difference Stamp Set by Stampin' Up! - Duration: 3:40.

Hello, I'm Brandi at the Stampin' Up! Home Office. I'd like to show you an amazing

stamp set called Make a Difference. This is a 143-piece

photopolymer stamp set. It's designed to help you add creator markings to the

back of your creations. So you get some pieces that say things like "homemade by"

or "handcrafted just for you." Let's check out one of these samples with a card

back. So here's the cute little card that I made, then if you flip over to the back--

"Hand stamped by Shelli" (gave her a little credit there). The set has two

different alphabet designs, and a full set of numbers. You even get several sets

of these double letters. See the double F double T, even a th. Also, the stamp set

has a really tiny footprint--meaning you can put the letters really close

together on a block. That's how we stamped this little "hello" at the top of

this project. So you could just build your word right on a block and stamp it

over and over again. Another option is you can mount your letters individually

like I've done here. Let's go ahead and make a project. On this project I'm

just going to stamp the word "hello" so I've got my Pear Pizzazz ink all ready, and

here's my letter H, so let's start there. And then when I grab the e, because this

is photopolymer, it's pretty simple to just line it up and go right next to

that, for that joined-up look. And then this double L comes in handy. And of

course finish up with the O. And here's how the finished project

looks. Cute little hello, and it's pretty simple to stamp those letters one at a

time. But if you want a little shortcut, let's try using the Stamparatus. On this

project, I want to stamp the word "congratulations" and that's quite a few

letters! So I figured I would use my Stamparatus to help me out. So I've got

my little strip of paper ready, and this is how I like to measure up and see

where to lay my paper. I've just got some washi tape here. And what I've put up

here is every other letter to spell congratulations, and then over here I've

got the opposite letters. So let's just tap a little Rich Razzleberry ink on there.

And it's pretty easy to get that right back into my spot

doesn't look like it says much yet, but let's add all the other letters. And

there you go! So here is my finished sample with my congratulations. Now, if I

have my Stamparatus set up that way, I can make a whole bunch of cards. And then

of course, for the back of my card, I've added a creator marking there to go to

my website. Here's another peek at all our pretty

samples from today. This stamp set is a must-have for your stamp collection. To

get your Make a Difference Stamp Set, contact your demonstrator or visit

www.stampinup.com. Thanks!

For more infomation >> Make A Difference Stamp Set by Stampin' Up! - Duration: 3:40.

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The Difference Between Empaths and Lightworkers - Duration: 4:01.

The Difference Between Empaths and Lightworkers

Empaths and lightworkers are sometimes confused.

That is fine since they actually refer to people who have sensitive feeling.

However, there are actually some differences that separate between empaths and lightworker.

In a simple definition, empaths are people who can absorb and truly feel the emotions

of others.

While they do enjoy healing or helping others, this traits does not make them a lightworker.

Although, it's to be expected that there are some people who can be both just that not

all are both.

On the other hand, a lightworker is someone who is working to save the planet.

Someone who was sent here for that purpose.

Lightworkers are extra sensitive and often can be quite receptive to any energies they

come in contact with.

Let's see the whole list to understand more between empaths and lightworkers.

Please subscribe, click the bell and watch this video until the end to know the complete

information.

The Difference Between Empaths and Lightworkers

#1 - Needs to change the world

Lightworkers actually want to save the world from fear, disease, and other negativity.

Their main purpose in this life is to ensure people to have lesser conflict from time to

time.

Meanwhile, empaths typically only stop on the point that they can feel the world needs

change, but they have no ability to do so.

#2 - Better healing arts

Lightworkers are basically dedicating their life to heal the world.

They somehow love to study about fixing the world they are living in.

they are also eager to experiment by helping other people to be free from their problems.

Meanwhile, empaths usually only concern on how they can feel someone else.

They may provide suggestion, yet they need to be approached first before they are willing

to say something.

#3 - Love being around with people

Lightworkers have trained their mind to be around with a lot of people.

Compared to empaths, they can survive longer in the crowd without being exhausted.

It is also another reason why only lightworkers who are willing to act to save the world.

#4 - Called for healing

Empaths usually use their skills just to read someone's mind.

They rarely feel obligated to fix problems that people have.

However, lightworkers are quite different.

They feel called when someone – especially those who close to them – feel bad either

physically or mentally.

They try to figure out ways to cure them.

#5 - Who's to heal

Empaths are usually cannot control themselves when they start to care about others.

They only want to provide suggestions, solutions, and cure to other people.

They start doing that without knowing that their body actually the one that needs fixes.

Lightworkers, however, are different.

They know that they cannot help the world if they haven't helped themselves.

All in all, that's the key differences between being an empath and being a lightworker.

See?

They are not the same thing, but they are still quite similar, and in some cases they

can be one person.

The empath will become overwhelmed in crowds, and can tell when someone is being dishonest

whereas the lightworker likes to be out and about for the most part and is not quite intuitive.

Regardless of which of these two you are, you are wonderful.

If you are an empath or a lightworker you need to work to control your gift.

There is nothing worse than an uneducated individual with a skill like this.

So, Really cool information isn't it?

I hope you enjoy this short video, if you have something on your mind, please share

your thoughts and experiences in the comments below!

Don't forget to subscribe to our channel and watch all our other amazing videos!

Thanks for watching!

For more infomation >> The Difference Between Empaths and Lightworkers - Duration: 4:01.

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Jung In knows there's a 'Difference' in latest 'Listen' project track - Duration: 0:53.

Jung In has dropped the latest track for the 'Listen' project, "Difference".SEE ALSO: [RECAP] Identity LA 2018 and Exclusive Interview with Headliner Hotel Garuda "Difference" is the 25th track from the Mystic Entertainment 'Listen' project, and it's about realizing the differences between you and someone else and overcoming them through love

The ballad was written and composed by Yoon Jong Shin with the help of Kang Hwa Sung

Check out Jung In's "Difference" above, and let us know what you think in the comments below! Jung In,difference,

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Crook used sledgehammer to bore through Best Buy wall - Duration: 1:15.

For more infomation >> Crook used sledgehammer to bore through Best Buy wall - Duration: 1:15.

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Download New Beat

For more infomation >> Download New Beat

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Minnesota Zoo Brings Out The Critters For 40th - Duration: 3:06.

For more infomation >> Minnesota Zoo Brings Out The Critters For 40th - Duration: 3:06.

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Glam Doll Named Minnesota's Best Donut Shop - Duration: 1:30.

For more infomation >> Glam Doll Named Minnesota's Best Donut Shop - Duration: 1:30.

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Minnesota State Trooper survives head-on crash - Duration: 1:42.

For more infomation >> Minnesota State Trooper survives head-on crash - Duration: 1:42.

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YMCA Offers Free Summer Membership To Minnesota, Wisconsin Teens - Duration: 0:27.

For more infomation >> YMCA Offers Free Summer Membership To Minnesota, Wisconsin Teens - Duration: 0:27.

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