Thứ Sáu, 2 tháng 3, 2018

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[Honkai Impact 3rd] Myriad Abyss 26F at 67k° plus Mini-Guide Part 2 for V.Triumph - Duration: 5:17.

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Hello everyone, welcome back for another mini-guide!

This will be a part 2 for my Valkyrie Triumph mini-guide.

If you haven't seen the part 1, the link is in the video description.

Part 1 is all about cancelling or preventing VT's QTE to trigger as well as the reason why you shouldn't use it.

Without further ado, let's get started. This mini-guide will be about attack rotations and a small gear talk when it comes to V.Triumph.

I'll start with my new attack rotation for DB-VR-VT team.

The reason why this gets an update is due to the availability of a new stigmata, Theresa Origins M.

Theresa Origins M is a free stigmata given from a previous event. It reduces weapon skill cooldown by 30%.

This stigmata is mandatory for Valkyrie Ranger on abyss. The better version is Siegfried M with -40% cooldown.

Pairing VR with Dimension Break is common for the extended freeze trick.

Casting Water Spirit Type-II's weapon skill followed by a switch to DB will create a freeze that lasts long thanks to the timelock provided by DB.

But now that Theresa Origins M can be used, this will let VR to quickly re-freeze the enemy much earlier so you can repeat the freeze+timelock combo w/o letting the enemy retaliate.

Yes, it simply means you can infinitely freeze the enemy as long as you can keep rotating the freeze and timelocks.

There is a catch though, for an enemy to take full duration of debuffs, they need to have 0 shields or simply, broken shields.

If you focus on the attack rotations too much and didn't notice the enemy shields, it might lead to a surprise attack so be very careful.

For example, a Honkai Crush with shields can end the freeze+timelock much earlier compared to the shieldless mobs.

And would attack you as soon as they are able to, and if you didn't notice it immediately, that can be fatal.

That's why if you noticed in this video, I always try to be cautious when attacking the debuffed enemies.

I would sometimes shorten my attacks to just 1-charged attack (2 swings) because the enemy might suddenly retaliate.

As for my full attack rotation, I now take advantage of Theresa Origins M.

As usual, start with VR's evasion skill to unleash a Blackhole. Followed by Type-II's weapon skill and then switching to DB for timelock.

I would then do a charged attack (2 swings) which is sometimes followed by another charged attack or just a normal tap to maximize the SP regen.

Now use Blade Field to extend the freeze debuff like how timelock extends debuffs. Followed by 2 charged attacks (4 swings).

Switch back to VR and do some normal taps to regenerate some SP. Once Type II can be used, cast it again and do 2-3 taps.

Switch to DB for timelock and this time you can use Tyr's weapon skill afterwards if you have the weapon for an extra burst.

FInally, switch back to VT to do 2 charged attacks again.

If you're confident that all enemies doesn't have shields, switch back to VR and freeze them again and restart the rotation.

That's the full attack rotation. If that's too long to remember, I'll post a summary in the pinned post below.

Now, unto the small gear talk.

There was a commenter on one of my other video, I'm referring to the 18F Myriad fail video.

This commenter said that Blood Dance is required for Himeko on Myriad.

I don't agree. The damage increase of Blood Dance and Balmung for a physical valk barely has any difference. Different application but both are strong enough.

The heal of Blood Dance is extremely negligible when it comes to Myriad and the only time I would agree that Blood Dance is better is when it comes to elemental Himeko valks.

Another thing this commenter said is that VR should be using a tank build. Basically a high HP pool build.

Again, I don't agree. It might work on lower temperatures but on high temperatures with really painful bleed, it just won't work, more so if it's Myriad.

Reason why is because having a high HP pool only decreases the effectiveness of heals and health packs.

What you need is good sustain in the form of either healing back the HP or mitigating the bleed damage from abyss.

This means that the best stigmata to drastically improve the survivability of the support, which is VR in this case is to use Lier Scarlet's 2-pc set effect.

A poorman's build would be to use Rowland T and Rinaldo B, the heals from these stigmatas would try to counter the bleed as much as possible.

Remember, increasing the max HP is simply just that, it has zero increase on your efficiency.

And that sums up this mini-guide! I hope you guys enjoyed~

For more infomation >> [Honkai Impact 3rd] Myriad Abyss 26F at 67k° plus Mini-Guide Part 2 for V.Triumph - Duration: 5:17.

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Guide to stan MONSTA X (몬스타엑스) - Shownu Version - Duration: 33:13.

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Lucerne Switzerland Travel Guide - Duration: 9:05.

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Hilarious Guide To Dog Breeds That Will Help You Choose Your Next Dog - Duration: 5:08.

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A Guide to Creative Flow · Getting into 'The Zone' · This Book Taught Me How - Duration: 16:59.

For me, getting into the zone is that moment where you kind of cease to exist

in your thinking self; you become whatever you're doing in that moment, and

whatever you're doing is all that you know. If you're drawing it's like there's

no you and the pen and the paper and 'the decision to put this here will result in

this', it all just comes together into a mutual relationship of all these

elements coming together and unfolding right in front of you. To put it simply,

the thing that sets it apart from any other normal drawing practice is that,

when you're in the zone there's no commentary, there's no more voice in your

head analyzing and making decisions and solving problems. When you're in the zone,

that voice stops- the concept of time stops- for however long, you're completely

suspended in just the act of creating. Not thinking, the movement of your hand

ebbs and flows naturally on the page and the marks you make seem to be making

themselves. It's like you're moving the pen as much as the pen is moving you. *mic drop?*

I'm painting a screenshot from Magnificent Seven by the way, and one of

you guys recommended it for its cinematography so I thought I would give

it a go. Definitely looks like a really good film. I thought I'd use this as an

opportunity to test out my landscape painting skills.

Being in the zone is such an incredible place to be and I've realized that it's

no different really to being in a state of meditation. The core concept of

meditation and mindfulness is to connect with the present moment and it's the

same here but instead of anchoring your thoughts on your breathing or your

physical self- your physical sensations- as you do with traditional meditation,

when you are entering the zone it's like we've unintentionally been meditating

the whole time, just focusing on the movement of our hand across the page or

just watching intently as art emerges on a page in front of you. And you might

have noticed recently that quite a few of my videos have shared this similar

tone of being present and mindful while creating; stepping out of the thinking

mind and into the being mind and focusing only on now. I've talked about

how it can help to notice and catch the negative thoughts of the inner critic

before they lead to discouragement and doubt, and also how being in the present

moment can just allow you to enjoy the process of making art regardless of the

end result just taking value in the journey, not just the destination so that

regardless of whether you make the biggest mistake you ever could, no art

practice could ever be seen as a failure.

And I can't pretend that I made this connection myself, of meditation and

being in the zone being pretty much the same thing, even though it does seem

quite obvious now. I've learned so much recently and really been able to change

my approach to creativity and art from what I've learnt from a book that- would

help if I had it to hand- one second-

This is mindfulness and the art of drawing by

Wendy Ann Greenaghl who is a writer and artist with 20 plus years of mindfulness

experience behind her, which she uses to teach people how to create freely,

conquer their inner critic, enjoy art and banish creative blocks. I got this

book as a late birthday present from my friend Linden and it's not big, it's not

wordy and overly complicated, it's quite a small book but it is so packed full of

inspiration and insight.

Also I like- and what I find that a lot of books like this lack is- that it's not

superficial or too out there and airy-fairy. It actually comes with a lot of

practical exercises, at least one or two for each point that the

author makes and so rather than just reading it in thinking 'that's a good

point' and then just moving on with your day, you're encouraged and guided-

sometimes even step-by-step, to take action and do something and put the

things that you've learned into action. You know, not just take the author's word

for it but actually experience it for yourself.

And getting into the zone is just one part of this book, it has so much to

learn in there because it's not just about the act of drawing. It teaches you

things that you can take into your daily life. So for example, there is a section

on self-portraits that goes into dealing with the scrutiny with which we look

ourselves and dealing with insecurities and self-judgment. It teaches you how to

look at the world through the eyes of an artist, see beauty and inspiration in the

most ordinary and everyday things and just travel through life with new

awareness to the things that are around you. Being able to travel through the

world with your eyes open rather than trapped in your head- which is what I

think most of us do most of the time. Just to give you a sense of what I'm talking about

I'll read a little bit just you can get an idea; 'Suddenly there are things to draw

everywhere. On our walk to work, red rose-hips droop on the tops of

straggling rose bushes in our neighbor's autumn gardens, on the bus the nobbled

nose of an old man or the thick shock of hair on a teenager's head leaves our

fingers itching for a notepad and pen. The gift of mindfulness- the gift of

awareness- is that in clearing our minds, pausing and coming into the present

moment, in simply being, we are offered the whole world and without all the

distractions of the thinking mind to get in the way ,we are able to open to it

more fully, more effortlessly than we ever have before...' And I'm not typically

into like far-out books that you know tell you to be 'one with your

truth' and 'open your heart to the universe'. There's one book in particular

that has come recommended a lot from a lot of people that I watch and listen to,

a self-help book that you really hear about a lot but I honestly- I'm not going

to name it- but I have never been so desperately underwhelmed by a book. I

just find that some of these things can be quite superficial because it's all

well and good to tell me that I need to change my life and these are the things

you need to do to change your life and how great your life will be once you've

changed it but you need to get into the nitty-gritty of how. For me anyway.

And the most valuable how that I learned in this book was how to get into

the zone. Although there are step-by-step instructions in here, it isn't a

step-by-step instructional book. It gives you the tools and information that you

might need to be able to take that forward into your own life and

translate it however it will work for you. So I'm just going to give you some

examples of how I've used it how I've interpreted it and how I fit it into my

art and creative process. So to start with, I have to set my intention. I have

to decide that I'm going to do a mindful drawing because not every drawing

practice is going to be a mindful one. There are times where I do have to be

more critical, if I'm doing studies for example. There are times where I

want to be open to the critical voice, the commentary and the questions I'm

gonna have to ask of myself while I'm doing a study, so I decide beforehand

that the first drawing practice of my day will be a mindful one. That way, no

matter how things go throughout the day creatively, I'll at least have that moment

to myself where I've been able to enjoy the process of creating art and I'll

have that always to look back on as a success for the day. Now the key thing

about the zone is just- to put it simply- keeping your attention on the process of

what you're doing. I don't know if that what's the simplest way to put it.

Basically, if you're thinking about what you are going to have for lunch later,

as I said in the inner critic video, notice it and being able to bring

yourself back to the present moment. So it's just you, your page, the pen, no

judgment, no commentary- good or bad- just an awareness of what's happening. And you

might find, especially at the beginning, that your mind wanders a lot. You might

find that every 10 seconds, you are realizing that you're not focusing on

what you're doing and having to bring yourself back into the present moment,

and that's fine -that's actually pretty good- because if you weren't being

mindful you wouldn't have been aware of the fact that your mind had wandered. So

it's just a case of making sure to try your best to notice the mind wandering

and bringing it back to centre. One really easy way to get a feel of having

your mind in the present moment is my

favorite practice in the book and that is to draw your hand with your eyes

closed. Which sounds a bit silly and maybe if your approach to art isn't to

explore and experiment and enjoy the ride, then maybe this isn't for you but

what I found when I tried this is that I really managed to connect with myself,

the feeling of my hand as it is in that moment, because you have to

feel it to draw it. And you're just letting that feeling almost like flow

through you onto the paper which you're also not looking at. You're just trusting

in yourself and the sensations and you're really focused on just those

things that you're doing you're focused on the feeling of your hand and the

movement of your other hand drawing.

And once you have an idea for how that feels, you can start drawing with your

eyes open and start not just seeing but really looking at what you're drawing.

And being able to hold that attention on what you're drawing and not get lost in

what you think it looks like or what you think it should look like, which I think

we all do a lot. When you are drawing from life and you realize that you

haven't even looked at what you're supposed to be drawing for like five

minutes because you've been caught up in creating the image of it that you think

it has. So I have turned my first drawing of the day almost into its own ritual. I

start by really carefully and intentionally choosing my tools, laying

them out and taking the time to reflect and really think about and feel grateful

for the things I have and the process behind them being made and each little

thing that goes into allowing me to create. Then I'll start a present, mindful

drawing practice and then I will finish off again with a reflection just a

moment to myself to thank myself for showing up, for getting something done

regardless of how it turned out, I have achieved something, and it's important to

recognize that every single time. All it really is is a positive, valuable time

with yourself and all it boils down to is focus. Focus leads to absorption

which leads to flow. And with that in mind, it doesn't really need to be any

more complicated than that. You don't have to follow a routine thinking;

'which part do I do next?'

It isn't a step-by-step path to a meditative state. Just keep it simple and

stay focused.

And with that in mind, you can really apply this mentality to all sorts of

things. If you're a writer you could be staying focused on the sensation of your

fingers on the keyboard or watching the cursor move and letters forming in its

wake, if you're a dancer, be present in the sensations of your body

moving and the cause of effect of this movement leading to sensations

over here.

To finish, there are six kind of truths of mindfulness that apply whether

you're meditating or drawing or writing. And the author in this book has adjusted

them slightly- these six kind of mantras have been around since I think

the book says like the 11th century, one of the leading mindfulness practitioners

I guess outlined these words - and the author has really loosely translated

those to fit in with drawing in mind. So instead of me going on about them, I

will just read them and they are; 'Let go of how you drew yesterday, let go of the

drawing you might do one day, really experience drawing as it is right now,

don't overthink it, don't force it, just relax, just draw.' So if you take anything

from this video, just let it be those six points. Write them down in the front page

of your sketchbook and remind yourself every day of those key things.

Let me know if this video is useful for you in any way, let me know if any of the

points resonated with you all and if you might be interested in adopting

mindfulness into your everyday life. I'll have a link below to this, it will

probably be an Amazon affiliate link which just means I will earn commission

if you do decide to buy it but obviously if you want to search for the book

independently you can do that; I will leave the title of it below. I might make

this a thing this 'this book taught me' make it a series. I am reading a lot more

at the moment and it would help to keep me accountable for my daily- daily??-

monthly drawing targets. So let me know if that's something you'd be interested

in. And if you like this kind of format of a long chatty video, I actually do

these every couple of weeks over on patreon but live so you get to chat and

we get to hang out while I'm doing it; you can ask questions, I also talk a

lot more about the process of my artwork and I talk about the things I am

listening to, reading, learning about, anything

I'm currently obsessed with...

'Vin Diesel as a Viking. Long hair, long beard. Father,

husband, warrior...'

Yeah if you are interested in that haven't have a look.

I'll have that link below. If it doesn't suit your fancy, that is fine. Otherwise,

thank you guys so much for watching and I will see you soon for the next video.

Bye!

For more infomation >> A Guide to Creative Flow · Getting into 'The Zone' · This Book Taught Me How - Duration: 16:59.

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✅ OBS Studio - 2018 Ultimate Guide to Streaming to Twitch [BEST SETTINGS] - Duration: 15:18.

What's up guys welcome back to the

Gaming Careers YouTube channel where we

teach you how to livestream and how to

create content within the gaming niche.

Now, a little over a year ago when this

channel was super small, I created a

video teaching people how to live stream

on Twitch using OBS studio and

what settings you needed, and I didn't

know at the time but when I created the

video it instantly became my most

popular video and it has remained my

most popular video ever since. I think at

the time of recording its taught nearly

700,000 people how to stream to Twitch.

Now with that video being a little over

a year old it is also a little bit

outdated. It has a lot of relevant

information in it still, but it's a bit

outdated really for three main reasons.

Firstly OBS has had 20 new

versions since I made that video so

there's been lots of updates including a

nifty little auto-configuration wizard

to help get your settings right. Secondly

Twitch has heavily invested in their

infrastructure all around the world and

have updated their broadcasting

guidelines and what settings

you should use to stream since I created

the video and thirdly, graphics cards

companies like AMD and NVIDIA have also

heavily invested into developing chips

that they include with their newest

graphics cards that help take the

encoding process away from the CPU so

for those three reasons the guide is a

little outdated and I thought today I

would do a 2018 version. Now as with the

previous video, we will be going over the

key settings so things like which Twitch

server to stream to, what bitrate, what

framerate, what resolution, but we will be

using the OBS configuration wizard which

wasn't included when I made the last

video and that's going to help set up some

of our settings for us straightaway, so if

you're ready let's dive in!

So first things first, let's download and

install OBS studio by heading to the

website which I've included down in the

description below,

you'll just need to expand the

description to see it and I've also

included a link on-screen. Now once you

arrive at the website you need to choose

your operating system that you're going

to be installing for between Windows, Mac

or Linux. I'll be installing for Windows

but since OBS studio is multi-platform,

all the settings we cover in this video

are appropriate for the Mac and Linux

versions as well. Install the application

as you normally would and launch OBS

when installation has finished. When it

launches it should look something like

this. Now for those of you that are

completely new to OBS, this may look a

little bit hectic, but it's really just

made up of a few different sections.

Firstly up top this is the stream

preview, this shows exactly what OBS

studio is sending out over the Internet

to Twitch. Down in the bottom left you

have the scenes and sources sections.

Scenes are effectively just different

screens that you can switch to, to

display something different to your

viewers. Typically people will have

at least a game scene, a be right

back scene and maybe a starting soon

scene. Sources are individual elements

that you want to display in each scene,

so for example in our game scene we

might want to show the game, that's one

source, as well as the webcam, that's

another source and maybe a

recent subscriber and that's a third

source. In the middle at the bottom we

have the audio mixer, this is where we

can see and change the audio levels of

all the different audio sources. So for

example our desktop audio source or our

microphone source. To the right of that

we have the scene transitions which is

just basically a way of choosing how you

want the transition to show between two

scenes. Finally on the right in the

bottom you have some controls for

starting and stopping your stream or

recording, as well as getting into your

settings. Below that you also have some

little info panel showing you how long

you've been live for, how long you've

been recording for, as well as your CPU

usage and your frame rate. Before diving

straight into these settings and the

configuration wizard the first thing

that we want to do is set up our profile

and our scene collection. If you look up

at the top title bar here you will see

that we have profile untitled and scenes

untitled, and that is because we haven't

set up any profiles or scene collections

yet. OBS allows you to have

multiple different profiles each with

their own set of settings, which are

super useful if you are going to be

streaming to different accounts from

time to time. All we'll do here is we'll

rename the default one by going up to

profile and selecting rename. I'd

recommend naming this whatever your

channel name is and the streaming

platform, so it's easy to make sure you

have the right profile selected when

you're using OBS. So for me that's going

to be 'GamingCareers - Twitch' because

I'm going to be streaming using this

profile, my gaming careers Twitch

channel. OBS also allows you to have many

different scene collections each with

their own set of scenes and sources

inside. This is super useful if you're

going to be streaming different games

from time to time and you want to have a

different looking stream for each game.

Again we're just going to be selecting

scene collection, rename and rename it to

whatever makes sense for your stream. I'm

going to be naming mine 'Gaming Scenes'

because I also have collections for

podcasts and other shows that I do. Now

if we look back up at the top title bar

again you should see that we now have

our profile and scene selection set up

properly. In the previous video that I

recorded last year, at this point we had

to dive deep into the settings of OBS

and start testing our connection. Though

at some point in the last year, OBS added

the auto configuration wizard that aims

to test your computer and your internet

connection to Twitch or YouTube or

whatever platform you end up choosing,

with the aim of setting a lot of these

complex settings like bitrate, server

location, resolution and framerate for

you. Now although these settings that get

set may not be bang-on perfect they

certainly give you a very very good

starting point for your stream settings.

So to run the wizard we come up to tools

and select auto configuration wizard. A

new window will appear which will ask

you if you want to optimize your

settings for streaming with recording

being a secondary, or if you are just

optimizing for recording. Since this is

the ultimate guide to streaming with OBS,

I recommend that you guys choose the

first option and press next. The next

screen allows you to select your base

resolution or your canvas resolution and

your FPS preferences. Let's start with

the base resolution. This should be set

to the resolution that your game is

being run at, so if you're playing on a

1920x1080 monitor and you play your

game at that resolution also, then you

should select 1920x1080 here. It's

worth noting that this isn't necessarily

the same as the resolution that you will

eventually stream at, OBS may advise to

scale down your stream to something like

1280x720 but it's important to set it

here to what your monitor and more

importantly what your game resolution is.

Since my monitor is 1440p I will be

selecting that resolution here. The

second option is your frames per second

or FPS and that allows you to choose a

number of different options as to what

you'd like to stream at. You can select

some hard values like 30 and 60 or

there's also these other two preference

based options. The first one 'either 30 or

60 but prefers 60 when possible', this is

for people that want to prioritize

getting 60 frames per second over their

resolution. Whereas the 'either 60 or 30

but prefer higher resolution', this is for

people that want to prioritize getting a

higher resolution over the 60 frames per

second framerate. So which of these

options should you actually choose, well

that's completely up to you, do you want

the smoothest possible video or the

highest detailed resolution. For fast

paced games such as first-person

shooters or racing games, I would

recommend prioritizing 60 FPS, but feel

free to choose either option.

Just remember the OBS wizard will only

recommend 60 fps or the higher resolution

if it deems your computer and your

connection are good enough to be able to

handle it. Once you've decided you can

click next to move on to the stream

information step. This is where you're

going to be choosing which platform you

wish to stream to as well as entering

your stream key. Firstly stream type

allows you to choose if you are going to

be using a streaming service or if you

want to be using a custom streaming

server. Since we're streaming to

Twitch here I will be choosing streaming

service. Next we'll get a drop-down of

all the different current services that

OBS support, so Twitch, YouTube, Mixer,

Facebook are all in there and we're going

to be selecting Twitch. Next we need to

enter our stream key. So this is the

private key that we can get from our

Twitch account and it's the only thing

required by OBS to allow you to stream

to that Twitch account, so this is a

private key that should be kept private.

To get the key, you can click the little

link in OBS to open up your web browser

to the right page where the stream key

is shown. If you aren't already logged

into Twitch on your browser then you'll

obviously need to log in before you can

get your stream key. You can also always

access your stream key by going to the

Twitch website, then go into your

dashboard, clicking channel

under settings and then finally clicking

on your stream key. Twitch reiterates

that you shouldn't be sharing this key

with anybody else, obviously I'm going to

be showing my key here in this video but

there's also an option to reset your key

which I'll be clicking as soon as I

finish making this video. So last time I

did this, everyone was commenting you

know you said you couldn't show your key

and you showed your key, but obviously I

just reset it after I've made a video.

Select the whole stream key and copy it,

head back to OBS and then paste it into

the stream key box. The next two boxes

should usually be left checked. The first

one which is 'prefer Hardware encoding',

means that OBS will try and use the GPUs

dedicated encoder chip if it has one,

which is usually preferable as it frees

up your CPU which should in theory help

reduce stream issues. However hardware

encoding does also usually result in a

lower quality encoding for streaming. I

personally would recommend using the

hardware encoding if you can and leaving

this box checked, obviously if you're not

sure whether or not your graphics card

has the encoding chip, you can leave this

box checked and OBS will check for you,

but actually the ideal setup would be

for you to test both CPU encoding and

GPU encoding on your stream and seeing

which one you think makes better results

in terms of quality as well as in terms

of the system performance impact. The

second box which is 'estimate bitrate

with a bandwidth test', this just means

that OBS will perform a test to some

local Twitch service to try and find an

ideal bitrate that you can stream at.

Once you're happy you can click next and

OBS will begin to start performing its

configuration tests. What it is doing is

streaming some random data at various

different resolutions, bit rates and

frame rates to Twitch servers without

actually going live to try and work out

what your system and your connection is

capable of. This test is pretty quick,

takes less than a minute and when it is

complete you should get a window showing

the test results. Take a look at all the

different settings that OBS has

recommended, what resolution the output

stream will be at as well as what

bitrate and what FPS. Clicking 'Apply

Settings' will mean that OBS will then

apply these settings to the current

profile. I just want to reiterate

something and make it really clear that

this is OBS's estimate as to what the

ideal settings for your setup would be.

Most people at some point in their

streaming career are going to have to jump

into the settings window and change one

or more of these values

to keep things stable. All of these

settings that have been applied can be

found if you click the Settings button

here on the right and look in the

relevant tab. The stream tab is where

your streaming service and stream key are.

The output tab is where the video

bitrate, the encoder and the recording

options are, and finally the video tab is

where the output resolution and FPS

options are. There's also some tabs for

general, audio hotkeys and advanced for

you to have a look at if your heart so

desires.

The final thing we need to do before we

start streaming is to add a scene and a

source. Let's start by renaming this

default scene called 'scene', by

right-clicking it and choosing rename.

I'm going to call this scene game since

it's going to be the scene that has my

gameplay in. Next move across to the

sources panel and click the plus icon.

This shows all the different types of

sources that you can add to each scene.

Things like text, image overlays, webcams,

browser windows and all sorts of other

things. To keep things super simple for

this video we're just going to be

selecting game capture since we want to

start by capturing our game. Make sure

that you have your game running at the

same time as setting this up so that we

can make sure that it's captured

properly. Name it whatever you want, it

doesn't actually matter what you name it

but it helps to identify each source.

Once you're further on in setting

up your stream you have many

different sources in each scene, it's

going to really help if you have them

named properly. I'm actually going to be

leaving mine as game capture since this

is always going to be the source that

captures my game, no matter if I change

game. Once the game capture window has

opened, it gives you a number of

different options for its mode. If you

always play your games in full-screen

rather than something like windowed or

borderless, you should be able to leave

the mode on 'capture any fullscreen

application', this just means that OBS is

always going to find the full screen

application and choose to use that as

its source. However for some games that

doesn't always work or maybe you're

running your games in a window or a

borderless mode, in which case change the

mode to capture a specific window and

then select the correct window you want

to capture from the next drop-down.

Hopefully you should then see the screen

preview update with your captured game

and that is basically the very

beginnings of building your stream

layout and design. At this point I'd love

to recommend you watch my video on

adding more sources to OBS,

it covers adding games, webcams, overlays

and text as well as covering various

issues that

some game capture methods super from such

as the black screen bug. I've linked the

video down in the description once again,

but also you should be able to click a

little link in the top right corner. I

also have a whole playlist on how to do

various things on OBS, if you're new to

this channel it's definitely worth

subscribing and having a look around all

the cool things that we've learned how

to do for your OBS studio stream. Thanks

so much for watching and hopefully you

have enjoyed this 2018 version of how to

stream to Twitch. Another video that I'm

just going to recommend if you're having

any issues with your stream, I do have a

video on Twitch Inspector, which is a way

of being able to analyze what's going

wrong with your stream and helping

decide what settings to change, so

definitely check out that video. Again

down in the description if you're having

any issues. It's really interesting for

me how much easier this has become.

It's become so much easier to setup your

stream with things like the auto

configuration wizard and there's so much

more detailed information that Twitch is

actually giving out so it's nowhere near

as long of a setup process and hopefully

you've been able to follow along and

have something that you're happy with.

Finally I want to finish just by

thanking again my Patrons. They're

supporting the creation of these videos

for the whole of the Gaming Careers

community so I'd like to say a massive

thanks to these people here for

supporting the channel. If you

haven't yet joined our Discord, we have

over 100 members now all in our

discord channel, talking about how to

improve streams and networking and all

these kind of things as well as just the

general jokes and memes, so if

you haven't joined the discord yet

please do. If you would like to also

become a Patron I would really love it

if you would go and check out my Patreon

page, again linked in the description

below,

there's loads of perks that you can sign

up for such as getting

shoutouts in this video but also things

like stream promotion in discord or

hosted on my website as well as various

other things that I'm offering, so please

do go and have a look at my Patreon and

consider supporting if you have found

these guides helpful. Thank you so much

for watching guys and I will see

subscribers in the next video. Peace!

For more infomation >> ✅ OBS Studio - 2018 Ultimate Guide to Streaming to Twitch [BEST SETTINGS] - Duration: 15:18.

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

Tutorial: How to make a video with photos and music (slideshow guide) - Duration: 11:03.

Hey!

Daria here, and I'm thrilled to see you on the Movavi channel.

My colleague Roman has recently returned from a trip with hundreds of photos from Germany

and Portugal.

To look through all of them would take at least 2 hours.

But Roman had mercy on us; he chose just the best moments and made this highlight reel

of photos in just a few minutes.

I don't know about you, but when for me, I just love reminiscing about past trips.

And to keep those memories alive, I sneak a look at my photo archives every now and then.

There's amazing great new way give your memories a new lease on life: make a stunning

slideshow with animation, titles, stickers and atmospheric transitions.

It's a great alternative to a paper photo album for capturing memorable moments in your

life as well as sharing them with your nearest and dearest.

Also, a video made of photographs can easily become a unique gift for a birthday, graduation

or anniversary.

I'm going to try and make a slideshow like Roman's.

Movavi Video Editor will help me out with that.

I've got a feeling mine won't be any worse.

Well, off we go!

Step 1.

Launch the Movavi Video Editor

I use Movavi Video Editor Plus.

You can download the program and try it for free right now by clicking on the link we've

left for you in the description for this video.

Step 2.

Download the photos you want to use in the slideshow into the program

Click "Create a montage in easy mode".

It will automatically take you to the Montage Wizard where you can not only edit complete

videos but is also eminently suitable for creating a slideshow.

Images can be simply dragged into the program window, or you can add files individually

by clicking on the "Files" button.

You can even add a whole folder!

That's exactly what I'm going to do.

At this stage it's really easy to sequence your photos for the slideshow.

Just click on each image and place it in the required position.

Extra photos can be just as easily removed so you don't overload the slideshow.

Step 3.

Select the background music.

Click "Next" to go to the "Music" tab.

Let the rhythm of the music add some pizzazz!

Cuz that's what makes a video of photographs different from just flicking through photos.

Feel free to upload any music you want, or choose some from the built-in program collection.

This one is a perfect match!

If you want to make a slideshow with no background music, don't choose anything, just click

on the "Next" button.

After you've chosen the music, we need to set the slideshow duration.

You can make your video shorter or longer; it will influence the speed which your photos

are displayed.

The program itself will take care of changing the photos in sync with the beat, rather than

randomly.

Alternatively, you could just click "fit to music length" to ensure that the slideshow

fits the selected length of the music.

In the preview window, you can see right away how your slideshow turns out, and go back

to the previous step if you want to change the photos or music.

I guess it already looks fine the way it is!

You can save the slideshow at this very moment and send the video file to your grandmother

or upload it to YouTube.

But we're going to go beyond that!

I just can't wait to make this video even more vibrant and colourful!

Step 4.

Move on to the full version

Click the "Continue editing" button, if you want to make your slideshow even more dynamic.

This takes you to the full version of the video editor, and your complete slideshow

automatically appears on the timeline.

Photos and video clips generally have a different aspect ratio.

As we're making a video, we recommend choosing the video aspect ratio in the project settings

to avoid those ugly black borders.

Let's set the method called "Crop", with 1920x1080 resolution for HD-quality output.

Step 5.

Set transitions between your slides

At this stage, different transitions can be added to bring some variety to our slideshow.

To do this, we'll use the "Transitions" tab on the left navigation bar.

I like this classical approach.

Let's grab it.

You can apply any transitions; there are plenty to choose from in the built-in collection

that comes with the program.

If you like consistency, you can apply the same transition to all the slides; just right

mouse click on the one you like and choose "Add to all clips".

Step 6.

Add titles and labels

Click on the "Titles" tab, choose the

option you prefer, and drag it to the timeline by placing it over the appropriate slide.

Double click on the slide with titles on the timeline and enter the text you want.

The colour, size and font of the text can be changed.

To save the changes, click on the "Apply" button in the upper right corner.

I'll apply the titles from the "Intros" section to show the names of the countries

which Roman has been to on the trip.

Also, we'll use some additional titles to apply a few comments.

Just like that.

Finally, we'll use this animation title for the final screen of our slideshow.

Step 7.

Apply filters

Hit the "Filters" button and choose a filter from the categories presented.

Let's drag your preferred filter to the target slide . Do you want to try a different

filter?

Click on the star symbol in the corner of the slide and select "remove".

Let's try another filter.

How about the "camera shake" effect?

That's pretty trendy right now.

I'm also in love with the "Pop-art 4 tiles" filter.

Looks stylish, indeed.

We're a long way from a boring photo album now!

Step 8.

Add stickers and animation.

Choose the "Stickers" tab.

It's a must-have for slideshows!

Just click on the sticker from an appropriate category and drag it on the timeline by placing

it over the target slide.

You can modify the size and position in the preview window.

When it comes to food, there are some great stickers.

Let's add this one.

From the "Travel" section, we'll take a backpack.

In the picture with the married couple, we'll take a heart from the "Objects" section

– maybe more than one.

To animate the object, turn to the "Animation" tab.

Choose a sticker on the timeline and click the "Add animation" button.

With the help of this function, we can make an object or image move the way we want to.

I'd like this one to fly.

That's what I'll do.

We need to set the initial dot where the objects start moving and the final one where the objects

stop.

It's possible to change the object's position, as well as the size and turn angle.

You could make the hearts grow and twist slightly.

The closer the initial and final dots are, the faster the objects will move.

Step 9.

Save the complete photo-video

Let's click the "Export" button and choose the "Saved Video File" tab if you

want to watch the video on your computer in the future.

To play it on a mobile devices, choose that tab; it contains ready-made export settings

to make it easier to watch on iPhones, Android devices, and more.

Now we need to choose the right format and quality for the video, the folder it will

be saved to Click "Start" and hey presto - our video is ready!

Hurray!

It turned out to be just as good as Roman's!

This video can be uploaded on the YouTube and shared with everyone straight away.

In Movavi Video Editor Plus there are plenty of other features like Chroma key, the censorship

effect, the clip stabilization tool, and many many more!

And we want you to experience them for yourself!

The link to the trial version of the program is in the description.

So, what's up?

Did you start the process of making your own video from photos?

I'm looking forward to seeing it!

Leave us a link in the comments.

Do you want to learn more about how to edit photographs before turning them into a slideshow?

I recommend you watch some of our episodes on Movavi Photo Editor.

If you enjoyed this tutorial, like the video.

I will be super happy!

If you're not yet a subscriber to our channel, it's about time you did it!

See you in a bit!

Can't wait for our next meeting!

Bye!

For more infomation >> Tutorial: How to make a video with photos and music (slideshow guide) - Duration: 11:03.

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

Part 4 A Guide for Laboratory Systems Management: LIMS/LIS, ELN, SDMS, IT & Education - Duration: 44:00.

Hello & Welcome, everyone!

Thank you for joining us for today's webinar, hosted by the LiMSforum.

My name is Dinah Ramirez and I'm your Moderator for today's webinar.

Today's Webinar "A Guide for Laboratory Systems Management is PART 4 of a webinar

series that's been presented by Joe Liscouski!

Today we'll be focusing on LIMS, ELNs, SDMS, IT & Education.

If you're joining us for the first time in the series, Joe is an experienced laboratory

automation/computing professional with over forty years experience in the field, including:

-the design and development of automation systems

- LIMS - robotics and data interchange standards

- and consults on the use of computing in lab work.

We're excited to have Joe with us here again for Part 4 in his series, so let's check-in

with Joe and we'll get started!

Alright, Joe, thanks for joining us!

The floor is yours.

Thanks and welcome to the fourth session in this series.

We'll be continuing to look at the factors in making a choice of central database systems,

the added concerns multi-laboratory environments can bring, and the role that information technology

support groups have in this process.

As we've noted in these webinars, this companion book will provide useful background information

on the technologies, support, and other factors that can impact your ability to effectively

use these systems.

It should prove to be a useful reference as the webinars get into more technical details.

Those details will become more apparent in this session, and I will be making references

to sections of the book for more information.

I'll also provide additional reference material at the end of this webinar.

The previous sessions have introduced the major

systems in laboratory informatics and looked at how the return on investment can be measured

evaluated.

In the last session, webinar 3, we began looking at the points that need to be considered when

choosing between a LIMS, ELN, or SDMS for a single lab, plus the documentation needed

to support those decisions.

At this point we are assuming that you've addressed the issue of what type of central

database system you are going to use as a target: LIMS, ELN, SDMS, or a combination

of them.

At this point we aren't looking at specific products, but rather product characteristics

that fit your workflow: large scale repetitive testing or laboratory work diary.

Our initial focus on the central database system as a starting point is based on a simple

premise: Multiple uncoordinated workflows from isolated workstations will leave you

with multiple sources of data and information that will at some point have to be integrated.

Without that integration, comprehensive lab-wide or even technique-wide data analysis and evaluation

will suffer significantly.

You are better off addressing this need as early as you can in your lab's life.

We looked at these points with regard to a single laboratory…

and now we're going to consider the points that might arise in a multi-laboratory environment,

differing implementation structures, and the role of IT support in this work.

Multiple lab situations can arise for a number of reasons: you may be working at a research

complex, or for a company or organization that has multiple campuses.

One laboratory may do testing in support of research and also develop test methods that

will be put to use in quality control labs.

The questions that we want to address are: - can multiple labs benefit from common product usage

and can they agree on one or more product characteristics that can lead them

to successfully choosing and implementing working systems?

The benefits of focusing on a single product or a small set of products include reduced

purchase costs.

Some informatics systems permit multiple independent datasets to run concurrently; you have the

ability to support several labs with a single license.

If you are buying software for several labs, you have better bargaining power.

The other benefits derive from support costs.

If the number of sites you are working with is large enough, the vendor may offer special

support considerations.

If your IT group is supporting your software, they will have an easier time supporting one

product set, particularly if it involves development work.

In addition, the learning curve for lab personnel will be smoother, and if people transfer between

departments, they will have access to systems that they are already familiar with.

Similarly, meeting the needs of regulatory compliance will be simplified.

All of this works if you don't have to compromise on meeting your laboratories needs.

You don't want to have to sacrifice important features or force-fit LIMS functionality into

an ELN.

However, products that support both workflows would be useful, particularly if needs evolve

one way or the other.

When we are dealing with systems like these, there are additional considerations that have

to be taken into account.

Among them are system backups and archives.

Both are designed to address an important problem: data loss and retrieval.

Everything we've covered so far has been concerned with getting data and information.

It has to be protected from loss as well.

System crash, there are floods, storms, electrical failures, and malware to take into account.

Protection against data loss includes backups and archives.

Backup provides short-term insurance against system failure and data loss.

They are copies, essentially a snapshot, of the entire system or major segments of it

depending on your policies.

Different portions of the system may be backed up at different frequencies.

A backup can be used to restore all or part of a system.

Archives are another form of backup and will include both actively used documents and historical

information organized so that it is easily searched and has the ability to retrieve the

contents, including older versions of documents.

Those have to be backed up as well.

This is a subject that could warrant a session of its own.

I mention it here because of the impact of these activities on IT support and how that

can be affected by the choices made in both product selection and use by multiple labs.

In case you are wondering, I have my work backed up or archived three different ways

including remote archives.

The backup is a current snapshot of the disk drives on the system.

The archives contain historical information including current and older versions of files.

A little paranoia goes a long way.

Why is this important to you?

The shift from paper-based systems to electronic media offers something you didn't have before:

protection against loss of laboratory work, plus the ability to easily re-organize it

and distribute it for use elsewhere.

It also raises a concern that you didn't have before: security against electronic theft

and malicious behavior including ransom-ware and other problems.

We are beginning to define the roles of an outside organization in laboratory work, that

of IT support.

One important characteristic of LIMS and ELNs designed for laboratory work is the ability

to connect instruments and data systems either directly to the database systems or through

an intermediate system like an SDMS.

This is an important selling point for these systems and a key component of improving productivity

and Return On Investment.

Instrument data can be automatically entered into the database and work lists can be sent

from the data-system to instrument/experiment workstations.

How significant these points are, and how they fit into your needs is going be a consideration

in the next few slides.

What we will be covering will have a direct bearing on multi-lab systems support and suitability.

How data and information are collected and moved around the laboratory, between data

sources and destinations, will have some bearing on how you prepare for centralized database

systems and where they are located.

The three primary modes of collection and communications are shown on the screen:

analog data capture with digital controls, serial communications, and Ethernet compliant systems.

These can range from instrument-computer combinations that are one-to-one or many-instruments-to-one-computer,

to devices with built in communications protocols and connectors.

We'll look at the implications for centralized database systems in the next few slides.

The output of an analog device can go to a meter, chart-recorder, or most commonly today,

a computer system.

The instrument (data source) has to be close to the computer to avoid cabling problems

as well as noise elimination.

Normally the computer will provide instrument control (including an autosampler) via digital

switches through a digital I/O card.

The computer provides the analysis of the data, with reporting and communications (usually

via Ethernet or WiFi) to an SDMS system or LIMS/LIS, ELN.

The distance between the instrument computer workstation and the instrument is dependent

on the nature of the control and data signals, acquisition speed, and the options for data

conversion over intermediate networked devices.

High speed data collection and the use of hyphenated techniques argue for close physical

proximity to facilitate acquisition and control.

Low speed devices such as chromatographs would permit longer separations particularly if

care was taken for noise-rejection in cabling.

Since the computer provides data storage and communications buffering, the proximity of

the computer to the centralized data system isn't a problem as long as provision for

fault tolerance to the loss of a network connection is built in.

This becomes more of an issue as the database computer becomes more physically distant from

the instrument system due to the potential for delays and downtime.

The loss of a connection will impact information transfer in both directions; test results

in one direction, work lists in the other.

Some common laboratory devices are really packages of a measuring instrument and computer

control system.

The instrument provides the analog signal and the computer converts it into digital

form and provides serial or Ethernet communications protocols to computer system.

pH meters and balances, are among the devices that fall into this type of instrumentation.

These devices are usually designed to work in two possible modes: front panel controls

operated by a person, and programmable modes that depend on instructions from computers.

Front panel operations are controlled by the analysts needs; take a measurement, transmit

it, etc.

The back-panel command structure is a simple command-and-reply sequence.

For example a balance may be told to record a weight and send it back to a computer.

This requires an active connection, if there is a delay or either the instrument or computer

goes off-line, nothing happens.

LIMS, ELNs, and laboratory execution systems usually have facilities to connect these devices

to a computer and controlling them.

A Laboratory Execution System for example,

may interact with a balance by instructing the analyst to place something on the balance

pan, press a button and then the software records the weight in its data set, ready

to be used in the step of the process.

LIMS and ELNs have similar functions.

If the connection between the software system and device drops out, nothing will happen

and the analyst will have to revert to manual front-panel operations, entering the information

into the database later.

When we talk about connecting instrument to centralized database systems, we aren't

talking about analog or digital interfaces.

What we are looking at is communications between computer systems, exchanging files or serial

data.

Even in those cases, serial communications is best done with the use of a local (to the

lab) intermediate computer.

Connecting instruments, really means connecting the computer systems that are attached to

instruments and transferring files, or if data exchange standards are in place, exchanging

messages.

The problem with serial data is twofold: first there is the lack of an error free communications

protocol with error detection and correction, and, second, considering the previous examples,

there is the possibility of delays in transmission resulting in problems carrying out lab tasks.

It is easier to let a local computer handle the instrument responses and package the resulting

information in a file transmitted over networks.

Fundamentally, time critical, fast response tasks should be serviced by local-to-the-lab

computers.

This is part of the planning needed in laying out lab networks.

When files are transmitted by an instrument workstation to a LIMS, ELN, LES or SDMS, they

are received and analyzed to extract the necessary information.

The information is then entered into the database system.

The words "interfacing" and "communications" are not synonyms.

They represent different technologies, and we have to be careful how they are applied

to laboratory work.

It's important to understand the distinction between the "instrument" and the "data

system".

We don't normally interface instruments to LIMS/ELNs.

The interfacing is done through a computer system that communicates to the LIMS/ELNs.

We'll go into instrument interfacing and data systems in more detail in a later session,

it is very important to the design of your labs technology.

The need for a distinction between "interfacing" and "communications" will begin to become

clear in the next few slides.

This is a simple situation: one lab, one system.

With this arrangement the lab has complete flexibility in connecting instrumentation

to the LIMS or ELN, as well as configuring the database to meet their needs.

If specialized programming is needed to support an instrument, the lab has the freedom to

do so.

All of the instrument types in the previous slides could be supported.

One consideration in particular is worth noting: commercial data systems have a library of

software available to support instrumentation and make instrument-computer connections easier.

What happens if your device isn't supported.

If it is a low cost device, it might be far easier and less costly to replace with one

that is.

If not, find something similar and modify the software.

Otherwise you have an add-on project.

Instrument support requirements should be part of the user requirements.

Software modifications are an IT issue.

Until the advent of high-speed networks, this was the typical laboratory system configuration.

IT would be responsible for hardware support, operating systems, and infrastructure, as

well as system backup.

The support for the lab application software might come from corporate IT, but might also

be a lab function or contracted to a 3rd party.

The multiple lab variation is just a repeat configuration for each lab.

With this arrangement the labs retain complete flexibility in connecting instrumentation

to the LIMS or ELN, as well as configuring the database to meet their needs.

If specialized programming is needed to support an instrument, the lab has the freedom to

do so.

If different labs have similar interconnection needs, the development work done for one lab

can be repeated elsewhere.

This is one clear benefit for standardizing on product sets as long as it doesn't compromise

the labs work.

This situation could be replicated for a number of labs based on the same products, each lab

having full independence.

IT support would have to manage multiple computer systems dealing with support, updates, and

so on.

Each system would be individually backed up and the data system archived, as noted earlier

this could be done automatically.

This puts a considerable burden on IT staff, which could be mitigated by automated backup

procedures.

Backup and archiving facilities would have to be incorporated into the user requirements

along with the policies for backup frequency and archiving of backups.

There would also have to be periodic testing of the backups and archives to make sure the

process is working.

The next variation provides support benefits, but starts putting some complexity into the

system.

In this arrangement we have 3 independent labs sharing access to a common LIMS installation

(could be an ELN, or a multi-functional system) with each lab having its own copy of a database;

note: not all vendors support this configuration.

This could be considered as a variation of the software-as-a-service model, with the

software hosted on a private corporate server instead of the vendors.

Another variation is the use of virtualization.

Virtualization is a software technology that allows one or more servers to host multiple

copies of software running independently.

There are some benefits and limitations that are imposed on the lab.

Note: the SDMS is configured to be local-to-the-lab in order to facilitate tasks that need fast

responses.

There are multiple configurations possible with these systems and you have evaluate your

needs to determine the one most appropriate for your work.

From the labs standpoint they have access to fully functional centralized database systems:

LIMS or ELNs for example.

Laboratory data is concentrated in the SDMS with necessary information passed through

to the central database system.

The SDMS acts a buffer or primary storage for laboratory instrument data.

The centralized data system would not be modified to meet individual labs needs.

This is necessary to ensure that the data systems are easily upgraded and supported

without having to re-implement custom modifications.

Those modifications would be implemented in the SDMS which is supported by each laboratory's

independent configuration.

The major benefits are in the cost of the system when compared to purchasing and installing

multiple independent systems, the cost reduction for support and maintenance,

making it easier to add

additional labs, and the ease of providing backup and archiving.

Security and physical access control is provided by IT staff.

One popular technology application is moving software and data systems to the cloud.

From a network topology standpoint, this configuration and that on the previous slide are pretty

much the same.

The list of benefits from cloud implementations, particularly those that are vendor supported,

are considerable.

However the issues do need attention.

One of the obvious points is that the server for the database system isn't anywhere you are

likely to be able to visit.

And that raises some issue of it own.

We are used having the web take us virtually anywhere in the world with a few clicks, and

having the results pop up quickly.

We can enter information into systems without having any idea where they are, and expect

good response times.

Networks are fast enough that we are able to distinguish between the response times

for areas with well developed networks and those with less sophisticated systems.

Right now we are experiencing an example of the networks capabilities; I'm in Massachusetts,

our producer is in Michigan, and you are all over the place.

The distance between client and server systems can be measured in two ways: the time it takes

to send/receive data/information, and, the physical separation between them.

In most cases the physical separation doesn't matter, but the point-to-point physical span

can have significant impact on performance when life is less than ideal.

When we are in a planning process we have to work against potential problems, including

the security of your intellectual property.

When the servers move off-campus distance concerns increase, and new ones are added:

Those are security, downtime, delays, and legal issues.

Geographically distributed networks raise some issues.

The most obvious are delays and interruptions, those 404, file not found errors.

Or the "email delayed" messages.

They aren't frequent, but they happen.

Planning for them is essential.

Even situations like the one we are experiencing now can have problems that need to be planned

for, and I hope I didn't just jinks it.

For example we have rehearsal recordings that we can use if something prevents a live presentation.

The problem for your lab is: "what happens if your connection to your LIMS or ELN is

lost?"

What are the vendors backup plans?

Do they have redundant systems that you can switch to if there is a problem?

How often are they synchronized?

Do you know how to access them?

Have you tested the process?

The further away you are from the server the more room they have for problems to occur.

Among the causes for problems are power outages, storms like the large hurricanes experienced

in the US and elsewhere, and the potential for earthquakes.

You may feel that you are in a safe area, but how about your vendor's servers and

the space in between?

These aren't reasons to avoid using the technologies available, but areas where planning

has to be done, including testing, running the equivalent of fire drills to make sure

that plans actually work.

This is a subject where your IT groups experience, in conjunction with your vendors come into

play.

The time to make these plans is before implementation has begun, in fact, before you sign anything.

Another concern is security.

The networks we rely upon are global in extent.

So are the people who would like to have access to your data and information.

Are your corporate and remote systems protected against attacks that can include unauthorized

access, malware, denial of services, ransom ware, and other unpleasant issues.

The typical SAAS vendor will say that their security is better than your corporate systems.

This is another area where your IT group can work with your prospective vendors to ensure

functioning and safe systems.

The last point I want to make on this subject is legal issues.

When you are using software hosted on 3rd party platforms you become subject to a number

of legal issues that may originate in your location, country, or the country where your

servers are located.

For example, you may be working with a Software-as-a-Service vendor

for a database, and they host it on

a sub-contractors server farm that has locations in your country or another.

Each of these can contribute to legal concerns.

And you may not have done anything wrong.

Vendors may offer the option of hosting your database and software on either a private

server or a shared system.

If you are on a shared system, and someone else does something bad, the entire server

may be impounded, including your data.

The laws on this subject vary widely by country, and it is an evolving issue.

This is one where both IT and your legal department may need to be included before finalizing

the relationship with the vendor.

We began this presentation looking at the options for lab informatics, with all systems

residing within the labs walls, and then considered the possibility of reducing costs by several

labs using the same products. That depends upon individual labs needs analysis

converging down to compatible solutions.

That being the case, we then looked at the ramifications of consolidating systems into

shared on-site servers and then having those databases hosted by off-site 3rd party vendors,

the Software-as-a-Service model.

We also looked at how instrument interfacing, data systems, and communication affected the

distribution of informatics inside the lab and working with remote systems.

In the previous webinar, we made a statement that even startup labs need to focus on the

centralized database as one of their initial priorities, determining if they need a LIMS

or ELN for example to support their labs information capture and analysis.

Vendor supported Software-as-a-Service models may be a good way to implement those tools

while minimizing the financial investment.

In all of this, we made frequent reference to the role of IT support.

Now it is time to begin looking at that subject in more detail.

We first raised the Information Technology Support issue in webinar 3, when we discussed

needs development.

Now as we start looking at implementation and support options, particularly when the

central database system might migrate from the lab to on-campus hosting and then to off-site,

possibly by 3rd party support, the need for coordination with IT becomes more important.

There are shared responsibilities between lab personnel and IT support for the successful

use of informatics systems in the lab.

As we've discussed the lab user community is responsible for determining what is needed

and how it should function.

They have to be intimately involved in product specification and selection, as well as evaluating

the implementation options and the final system.

This stuff directly impacts their ability to work, and, the validity of the lab processes

being executed.

So what exactly should the role of IT be?

They aren't just people who support hardware and software, they need to be advisors on

software issues and in particular support.

That includes their ability to support users, and, their evaluation of vendor's ability

to support products and ensure that they are working properly.

This world is a lot more complex than office products, and people need to have the right

balance of skills to be successful, your laboratory depends on it.

We need to consider the role of corporate IT, and the possible addition of a LAB-IT

function.

In most organizations, corporate IT is responsible for hardware support, operating systems, and

frequently used applications software, office applications for example as well as corporate

database systems, and in many companies enterprise resource planning systems, and help desk support.

Enterprise resource planning includes a number of functions that run the businesses including

customer service, human resources, accounting, production, sales, and so on.

These are large, expensive system that can encompass an entire business operation.

We'll get to how that can impact your lab later, probably in the next webinar.

While the capabilities provided by corporate IT are important to the labs operation, fully

supporting laboratories is usually a bit outside their experience.

The items on the left are what companies typically see as a description of IT support.

Organizations that support manufacturing and scientific work may be able to justify personnel

that are specialized in those fields.

In some cases you may have people holding advanced scientific or engineering degrees

providing an IT support function.

The items on the right are more typical of laboratory systems.

The first bullet for example might be at odds with corporate policies of upgrading operating

systems; in a lab an upgrade could be a disaster.

There are a large number of lab applications found in any facility, which is a significant

contrast to most business operations.

Vendors can skimp on documentation, they are more interested in the technical aspect of

their products than effective user documentation and support.

The impact of system problems can be serious.

Problems can easily snowball as work gets backed up.

And finally it is really hard to find people with the skills needed to support lab work.

It isn't just technical know-how, it's people skills, trouble-shooting, and problems

solving.

With a wee bit of pressure added to keep it interesting.

What we need to do is to develop professionals with a balance of skills to meet the increasingly

complex demands of technology management in scientific and laboratory work.

At one time that might have meant understanding LIMS or ELNs, or robotics, or instrument interfacing.

Now it is a complex and specialized mix of talents needed to bridge science and technology.

The work may expand to include modeling, simulation, and the ability to handle Big-Data computing

applications and analysis.

Beyond that, these people will need to be able to understand the needs of scientists

and develop the tools to meet their labs needs.

This is where session five will begin.

And that is currently scheduled for April 26th.

During this session we've covered a lot of ground including the ability for multiple

labs to use common products, and the options for various levels of managing central databases

on the corporate and cloud levels.

Vendor hosted cloud systems could provide an easy entry point for small lab into informatics

technologies.

Care should be taken to ensure that they meet your requirements, and that they provide a

migration path to corporate on-premise hosting should that be desirable.

There will be a slide following this one in the handouts (PDF) you will have access to as part of

the webinar series.

It will have a list of additional references that will be useful for the labs work.

That's the end of the formal presentation.

Are there any questions that people would like to address?

Thank you Joe!

I'd like to remind everyone that you can submit your

questions or comments using the chat box on the right-hand side of your screen.

So feel free to go ahead and do that.

While we wait for any questions or comments to come through, we do have a few questions

for Joe that came in that he'd like to address.

So, we'll go ahead and address those questions

and we'll give you a few moments if you do want to go ahead and submit any of your questions or comments.

I also want to mention that we will be providing a recording and the

slides to everyone after the webinar today.

It will be posted on the LiMSforum.

I know we did get a few of those questions and comments in the chatbox earlier.

Ok, so Joe here's one of the first few questions here.

You mentioned that the first major component of lab informatics should be the central database system.

How do you protect yourself from making a mistake?

Well, the major approach to doing that is making sure you've done a thorough job of specifying the system.

Really figure out what it is you need to get done, what you want the system to accomplish

and what model, whether it be the LIMS model or ELN model, fits what your workflow is.

You need to talk to people who are knowledgeable in the field

and look for systems that provide for flexibility.

There are a number of them and the number is increasing

that support both LIMS and ELN functions,

so it might be easier to transition between the two of them.

But the real one, the real kicker,

is making sure you do a really good analysis and evaluation of what it is you need to get accomplished

and how your lab wants to work.

Ok great! And here is another question that we received.

What if IT support people are pushing for a system based on their ERP system? Is this a good idea?

Usually not, we'll be going into some more detail in webinar 5.

We look at more about the details of IT support and start looking at some build or buy solutions.

IT people that are using enterprise resource planning systems

have invested a lot of effort, a lot of time, and a lot of money, and a lot of training

to learn how to use those systems.

And they may have sold them on the idea that these systems are gonna do everything

that the company needs to have done.

And then the lab people raise their hand...

and there's a lot of things in labs that they probably haven't considered.

They may try to build the system around an ERP

but that's usually not a good idea...some people have done it...

but the builder or buy solution, the build or buy problem is a significant one.

It really needs a lot of thought and a lot of work.

Okay, interesting, great!

There's one last question that we received in advance here

and we'll see if any additional questions come through the chat box.

How realistic is it to want to connect instruments to a remote database system from the lab?

All right, you remember there is a distinction between the instrument which provides an analog output

and the computer system.

And in many cases when a salesman sells you an instrument,

they automatically sell you the computer as if they're the same thing.

You don't connect instruments the analog output to remote computers...it simply doesn't work.

What you really do is communicate the database structure.

File sharing, for example, between the computer that's attached to the instrument to a remote computer.

So often, when you talk to a Salesman, you'll say I want to reconnect this instrument to

my LIMS system or a remote ELN.

What you're really doing is a computer to computer connection, not the instrument itself

as part of the instrument package.

Okay great, thank you for answering those questions.

It does look like we have a couple questions that came in through the chat window as well.

This first one here... it looks like, it seems like the question is asking:

Can you provide criteria to consider for remote server hosting?

What do you mean by criteria?

Basically, when you're dealing with a remote server you're really dealing with

something akin to a time sharing...

...a time sharing operation

where you're sending data to an instrument, you're sending data to a remote database

and getting information back.

It's a lot like working with a web browser.

So among the things you want to be concerned about are response times, response speed,

how the data is being controlled, uptime on the servers, that kind of thing.

Basically ensure that when the server is there, when you need the server to be there, it'll be there working.

Not quite sure what it is you're trying to get at.

Okay yeah, if there's some more clarification that's needed,

just let us know in the chat box, but hopefully that answered your question regarding hosting.

Yep, if it didn't on the bottom of the slides is my email address. Just send me a note and we can talk that way.

Okay great, that's wonderful that you've provided your contact information Joe so that if anyone wants to

speak with you one-on-one then you can certainly contact Joe and he's a great resource for that.

And it does look like that does answer Nathan's question there.

Another question that came through is:

What is the difference between a traditional SDMS and a LIMS that has a module that emulates similar

functionality, but is not considered a true SDMS?

An example is provided...

Ex. A lab where it doesn't have an SDMS, but says they have similar functionality through a module.

Well, it's a lot like saying you've got something that looks just like a duck but it's not quite a duck.

It's kind of hard to answer that question without knowing what your situation is.

SDMS's have been around for a while.

Waters has a number of them.

A matter of fact, Waters was originally provided by a third party and became part of their system.

The question really comes down to is, what do you need to have done?

An SDMS can be looked at as being a very large filing cabinet that can handle a lot of different stuff:

Reports, documents, images, instrument data... that's sorted by project, by instrument type, sample types...

you can sort things a number of different ways.

So the easiest way to answer that question, is say:

These are the functions I need. These are the facilities that I need. This is how I want my lab to work.

Does the SDMS meet those needs?

And then, when you turn around to a LIMS vendor, for example, and look at what they provide...

...you can say fine, does your system meet all these needs? Or is there a lot of hacking or a lot of software

development that has to be done to get things working?

An SDMS provides a point of connection for a lot of instrumentation,

a place where a lot of data can get dumped that doesn't fit into a LIMS file structure.

And then the parts that do belong in the LIMS file structure can be extracted and moved forward.

So again, a lot depends on what problem you want to solve.

Okay, great. Thanks for answering that and of course if you do want to talk with Joe, one-on-one, his email

is available on the slides and we've provided it through our communication emails,

so you can dig there as well.

It does look like that did address their question Joe, so thank you.

Joe's email address again is joe.liscouski@gmail.com

It will be in the slides, so you can connect with him.

I don't see any other questions that are coming through at this point in time.

What we can do is we can start with our closing information and of course if any other questions

come through, feel free to go ahead and submit those. But it looks like we've covered all of those questions.

Joe is there anything else that you would want to cover before we go ahead and wrap up here today?

Just thank you for you being here and as I said the next session we're going to get into more

information about IT support; that tends to be a very important question.

We'll be beginning to look at the build or buy; and then future sessions will look at instrumentation,

instrument data systems, and moving down the line to sample preparation.

Okay great, thank you so much Joe! It doesn't look like there's anything else coming through,

so I believe that that will conclude our webinar session here today! Thank you so much!

And as a reminder we will be sending a follow-up to everyone registered with a link to the recording,

as well as the slides. You can locate Parts 1, 2, & 3 of this webinar series on the LiMSforum

and we'll include that in our follow-up email as well.

So we'll see you next time and thank you so much!

For more infomation >> Part 4 A Guide for Laboratory Systems Management: LIMS/LIS, ELN, SDMS, IT & Education - Duration: 44:00.

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

Sublime Text 3 Geek Installation Guide & Tutorial with Free License / Serial Key [ 2018 ] - Duration: 11:06.

Nobody can give you freedom, nobody can give you equality or justice if you are a man you take it.- Malcolm X

I already Include the download link w / working license in the description to save your time. :)

For more infomation >> Sublime Text 3 Geek Installation Guide & Tutorial with Free License / Serial Key [ 2018 ] - Duration: 11:06.

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

#4 (*NEW*) warframe 💀 challenge complete | skill up | tutorial | game play | guide | review (2018) - Duration: 14:52.

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