Auto news on Youtube Sep 28 2018

Welcome back to Devita's channel!

So, today I want to swatch and review a famous product (hype!)

I never know that this product is actually super famous. Where were I all these time?

This is the product I'm talking about. It's 3CE Mood Recipe Lip Color Mini Kit.

The product name is a bit too long. It's hard to remember.

So, this is the mini version of regular 3CE Mood Recipe Lip Color.

Because, it's only 1.3g per product, which is very travel friendly.

The color is very pretty, for me. It's like romantic-fall shades.

So, without further do, I'll swatch all the shades, and I will review the product in the end of the video.

For more infomation >> 3CE MOOD RECIPE LIP COLOR MINI KIT REVIEW [ENG SUB] - Duration: 9:31.

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Video: Bexar County Sheriff's Office adds new member to force: Meet Mini-Caliber robot - Duration: 2:08.

For more infomation >> Video: Bexar County Sheriff's Office adds new member to force: Meet Mini-Caliber robot - Duration: 2:08.

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MINI Youtube Kacke: Domians dreckiger Gay-Talk - Duration: 0:27.

For more infomation >> MINI Youtube Kacke: Domians dreckiger Gay-Talk - Duration: 0:27.

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Mini Drop Swirl Soap - Duration: 7:54.

mini drop swirls for the soap challenge club september 2018

recipe, links, & timeline listed below

don't forget your safety gear when making soap

thank you so much for watching, liking, & subscribing! -Holly :)

modifying the squeeze bottle lids

blending the oils and lye

oils and lye at 90 degrees Fahrenheit

blending to an emulsion

oil still separating on the blender (not at emulsion stage)

oil still separating (left); emulsion (right)

pouring 40 percent of the soap into squeeze bottles

creating the base soap; first adding peppermint essential oil

twelve drops of indigo oil with each pour

repeating until the bowl is empty

coloring the squeeze bottle soap

Blue - adding peppermint essential oil; then adding 1 teaspoon indigo oil plus 1/8 teaspoon charcoal oil to 1 cup of soap

cover the opening and always point away from your face

white - adding peppermint essential oil; no color or clays added.

Light Blue - adding 1/2 teaspoon of indigo oil to 1 cup of soap; adding peppermint essential oil

Orange/Yellow - adding 1 teaspoon paprika infused olive oil to 1 cup of soap; adding sweet orange essential oil

Black - adding 1 teaspoon charcoal oil to 1/2 cup of soap; adding Star Anise essential oil.

pouring the suspended mini drops; starting with dark blue

squeezing the bottle as I go

black

orange yellow

white

one more pass with dark blue

removing the straws before starting the top

only swirling the very top layer

the soap was covered, insulated, and left alone for 48 hours. the soap did go through gel phase.

Thank you!

For more infomation >> Mini Drop Swirl Soap - Duration: 7:54.

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Home Studio to Mini Music Venue: Take and Make Great Photography with Gavin Hoey - Duration: 11:18.

In this video

I turn my small home studio

into a mini music venue.

Hello I'm Gavin Hoey

and you're watching AdoramaTV

brought to you by Adorama

the camera store that's got everything

for us photographers

and today you join me

back in my small home studio

except this is actually going to be

a mini music venue

as I'm going to take some pictures

that look like they were taken

on a small stage

in a pub or bar.

Now to make this happen

I thought I'd black out this end of my studio

and honestly I thought it would look better

than it's come out

but it doesn't matter

because with a bit of careful lighting

and lots and lots of fast dissipating smoke

we're going to hide this really well.

For lighting there's some fantastic

stage lighting kits out there,

I haven't got any of those

but what I do have is my eVOLV 200

and Flashpoints speed lights.

Now the reason I'm going to use Flash

is they are incredibly bright

which means I can shoot at lower ISOs

but moreover I actually already own these.

I don't need to get anything special,

however stage lights have one advantage

they move around and do effects,

these don't, so what I'm actually going to do

is do three different setups

using everything from just a single speed light

to all of my lights.

So let's get some lights set,

let's get a performer in

and let's get shooting.

So to help me out today,

I've got the amazing IF-E,

IF-E is a grime artist

and he's going to be performing

in my mini music venue.

Now to start with we're going to kick off

with a single light just a speed light

and the speed light is going to go right here,

behind IF-E pointing at the back of his head.

Now there's a couple of reasons for doing this

firstly it should give us a really great lighting effect

but also if the light is coming in this way

then the light isn't going to illuminate

my rather dodgy looking blacked-out area

back here. Now the only downside with having

a single light facing towards the camera

is if IF-E's facing me

then all I'm going to see is just a silhouette

of the front of his face

and it's all going to be black

and really not work.

So the solution is IF-E

your audience is out there.

Okay let's take a test shot

and see how this looks.

Okay we're going to do a single test shot

first of all.

As you can see

it looks okay.

It doesn't look spectacular

so to make this amazing

we need the secret ingredient

and the secret ingredient is Sam

on the smoke machine

so she's going to put some smoke

behind IF-E but in front of the light

and that's going to do a couple of things.

It's going to make the lights spread out

much further but it's also going to reduce

some control because smoke

does all sorts of weird things

so be prepared to adjust your shooting

as the smoke changes in the room.

Alright let's get this warmed up.

Let's get IF-E some music

and let's get shooting.

The exposures on these I'm doing by eye

rather than metering.

If it looks right,

it is right.

So all that smoke is cleared

and we're ready for the

second setup. Now this is either

a two light or a three light setup

depending on the look

you want to achieve.

Now I'm going to start with a two light setup

and they are back here,

two eVOLV 200s

both of them have a grid

and a red gel.

The red gel is there

for a little bit of color

and the grid is a bit of direction.

Once again I want to try

and avoid getting light spilling

onto this background

and illuminating it because it's not that good.

Let's have a look

and see how this looks.

Again we'll take a picture without any smoke,

so whilst that looks really dramatic

it does have a couple of problems.

First of all it's a very strong red color

and it's coming from behind

so there's really no light

on IF-E's face.

Now to solve both those

problems I'm going to use a third

eVOLV 200

this time it's got a standard reflector

and another grid. Now the grid is there,

so I can push light forwards

but trying to avoid it spilling

onto the background.

It's white light,

there's no gels here

but I need to try

and make sure that this light

actually reaches IF-E.

It's going to go really high

because the higher I can put it,

the more down I can direct it

and the more away from the background

it will fall but I have to ask IF-E a question.

IF-E, if you look at that light

can you see through the grid

and see the light?

Yes I can.

Okay so from IF-E's point of view,

if he can see the light

the light can see him

and we're good to go.

Let's have a look at this.

That just adds a little bit

of balance back to the lights

and I think that looks really good.

Once again the thing that's missing

from this is some smoke,

so let's get some smoke into the scene,

let's get some music running,

let's take some more pictures.

So for the third and final setup

I've gone all out with literally all of my eVOLV 200s,

so this is a five light setup,

so I've got two eVOLV 200s down here,

they're the same ones that were up high

but now they're lower down.

These should add a little bit more light

down to this lower area of the shot

where it's a little bit sort of missing

in the previous three light setup.

To fill in the top,

I've got two eVOLV 200s up here.

Now these have these standard reflector

and they've got that

for a couple of reasons.

The first one is it will give a much wider

flood of light

and the second reason

is it comes with the optional

grid and gel kit.

Now I'm just going to use the gels

and I've got the blue gels in here,

I've got blue gels

from the eVOLV 200s

down at the bottom, as well,

they're not quite the same tone of blue

and I think that adds a little bit

but I'm going to be prepared

to change the colors anyway

because if this was a real lighting scenario

the lights would be changing

color all the time

so I've got some red gels

that I can swap out for the blue gels

halfway through IF-E's set.

Let's try this without any smoke

and see how it looks.

Okay here we go.

As you can see there's still a little bit

of smoke in the atmosphere

and that looks actually really good

so we're going to add a lot of smoke

in here which is going to make it tricky

for you to see in the video

but it also makes it tricky

for me as the photographer

because the smoke really does affect the exposure

that I get from these lights,

now the big advantage

is I'm using the Adorama R2 Pro trigger

which means that I can juggle the

illumination just by pressing the buttons

and quickly moving the dial around

so I'll need to be on my toes with this

but that's exactly how it would be

if we were shooting a real live event,

so let's get some smoke going,

let's get IF-E going,

let's take some pictures.

That went really well

and although the music

is very different

to what I would normally listen

to in my studio,

the end pictures speak for themselves

but of course there is a bit

of Photoshop work to do,

so let's have a little look.

What I want to do is just tidy up

some of the background.

Now on the right hand side

where the smoke was thickest

I can't really see any of the background light stands

or anything back there at all

but on the left-hand side,

I can clearly see this light stand,

so I'm going to remove that

using either the clone stamp tool

or my favorite the healing brush.

Now the healing brush is great

all I need to do is hold the Alt key

and sample a good area

and then I can just sort of paint over the top

of the light stand

and it sort of heals.

It's really rather good.

Now some areas need a little bit more work.

It's always a good idea

to move your sample point around

when you're doing something like this,

so you can resample from different areas

that looks pretty good

and if you got a really straight thing

to do then all you have to do is sample first,

then click once,

hold the shift key

and when you click again

it'll draw a straight line between those two points,

so that can make something like this

much quicker to sort of heal.

There we go really quick.

Now what about the edge here

I can see the background

a little more than I want it to,

well I like the fact that the smoke here

covered it up so the plan is really simple.

I'm going to take one of the

other pictures that's got smoke in,

take the smoke from that

and fill in the gap.

To do that I'm actually going to take the

very next shot

because the smoke changed that quickly

and all I need to do is just get my selection tool,

drag down a rectangular marquee selection

like that and then I can go up to edit

and copy. I'll go back to the other picture

choose edit and paste

and that pastes it in

and I can get the move tool

and move it around

but it doesn't really work

because it's back to front.

The smoke is reversed

so I need to flip this whole image over

or at least the the bit I've just pasted

and to do that I go to edit,

transform, flip horizontal.

Now the positioning of this makes sense

because I've got these lights here

like them to be in the same place

and to make sure that they actually

do make sense, I just drop the opacity down,

I can see I've got one light

and two lights

and if I sort of bullseye them together

something like that,

that looks pretty good

and then I can bring the opacity back up again.

Now there's a fairly obvious join going through here,

so my last job is to remove that.

I can do it really easily

because we've got this on layers.

I can go back to layer.

This time I'm going to choose layer mask

and I'm going to choose a reveal all,

that will put this white rectangle next to my layer,

that's the layer mask

and all I need to do is get a paintbrush

make sure that my foreground color

is the opposite of white which is black

and then just paint down there.

There you go.

Look at that. It hides the join really quickly,

yes I can still see a little bits to the background

but I'm absolutely happy with that

and with a bit more finessing,

there it is there's my final picture completed.

So despite its appearances

this mini music venue

actually turned out really well,

mostly thanks to the smoke machine,

now if you've enjoyed this video

don't forget to leave me a comment below

and if you want to see more videos

for myself and the other amazing presenters

right here on AdoramaTV

you know what you got to do,

you got to click on that subscribe button.

I'm Gavin Hoey thanks for watching.

For more infomation >> Home Studio to Mini Music Venue: Take and Make Great Photography with Gavin Hoey - Duration: 11:18.

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Mini-news - octobre 2018 - Duration: 1:26.

For more infomation >> Mini-news - octobre 2018 - Duration: 1:26.

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TRIATHLON TAREN Trainiac Mini Camp DAY 2: Swim coaching - Duration: 13:55.

- Morning, Trainiacs, it's day two

of the Trainiac Mini Camp, and I'm making 'em work.

We're talking swimming.

There's some good lessons we can learn here.

(upbeat electronic music)

This guy might not know it,

but he is gonna be one hell of a swimmer.

Look at this alignment.

He's bang on.

Back of your head, butt cheeks are out of the water,

heels are just out of the water.

Your arms are perfect down there.

Your kick is a little bit wide.

But here's something that I want you to look at.

Look at that.

That's straight, and you keep that pretty well.

So we'll go there.

A little bit curved.

- Yeah.

- I think you're just worried about, I gotta get air.

I gotta get to the air, I gotta get to the air.

And you know what, when you put a snorkel on,

that goes away completely, 100%, it goes away.

It's all about, you're worried about getting to the air.

The really good stuff, your head position in the water.

Really good, right there.

Just cutting through, like, that looks pro.

That looks really professional.

Look how far back you got that hand going.

- Yeah.

- You got that, this long, outstretch.

You got a really nice extension, you're way out there.

So you start it really well.

- Yeah.

- But I think you start sinking,

because people wanna push down, to get their head up.

- And head out.

- So you're trying to get your head up to get to the air.

I really think everything, like, look at that.

Holy smokes, man.

- Yeah, that is good.

- That's so good.

Everything comes from you wanting to get air.

Not being comfortable in the water.

And we look at how long you had to take at the end,

because you were out of breath.

20 seconds here.

- Is that me catching my breath?

- Yeah, you're catching your breath.

So it means that your breathing really hard,

you're hyperventilating.

We're at 30 seconds, when it was only about five,

when you had the snorkel and the fins.

That's perfect, you got really nice reach.

- Kinda winged that.

- Yeah, it's like you're firing your arm into the water.

It looks really good.

You would benefit from snorkel and band work.

But here, you see, you start off coming off the wall,

basically horizontal.

Your butt's nice, close to the surface of the water.

Take a few strokes, you start freaking out.

And watch how much lower your feet get.

They just slowly go lower, and lower, and lower,

- There they go.

and lower, to the point that they are.

And a lot of that is from people tensing up their body.

Oh, oh, oh, I don't like where this is going,

I don't like where this is going.

And I can see, when you're kicking on your back,

that that's what happens.

You get one splash in the face,

and you go a little bit lower.

And then you get another splash in your face,

and then you go a little bit lower,

instead of just trusting it and relaxing.

And the more you relax, the more you're just gonna float up.

Not a ton of bubbles.

Most of the bubbles are coming from

your head just going into the water.

And then there, boom, you see, not a lot of bubbles,

not a lot of bubbles, oh, I'm gonna take a breath.

(exhales sharply)

So you're holding your breath,

until you go and take a breath.

So you're never gonna be able to get rid of all that oxygen.

- Yeah.

- Yeah, so you're trying to go.

(exhales and inhales sharply)

Instead of.

(exhales and inhales slowly)

That's why that sink down drill is.

- Yeah, I actually feel like that's how you should breathe.

(upbeat electronic music)

Your body position here, Dave, is really, really good.

That head position is good.

Water line is halfway through your head.

You want head, butt cheeks, heels coming outta the water.

When you kick, the fin goes vertical.

So you're creating drag way, way better.

That little kick is about all you need, Dave.

I wanna start with the overhead.

Because that's the biggest issue for you.

Tower 26, Jerry Rodriguez,

taughtness, alignment, propulsion.

Taughtness and alignment, together, are you straight,

and staying within that channel, with your body?

Or are you wiggling around?

Are you wiggling out of it?

Is your body going in a banana shape that way?

Or a banana shape that way?

You wanna be a log, a kaiak in the water, not a pool noodle.

You can see, there, that, already, you got that.

And as we go, and you see certain areas here,

like right there, it's gonna create drag.

Because that, right there, is your frontal area.

That's your frontal area and it's going outside of that.

So it's creating drag, and you're not stiff.

You wanna be dead straight, all the way across.

The fix for that is simple.

I wouldn't even really do drills.

All I would do is follow the workouts,

and never miss a set that says snorkel band pull.

That stuff is going to be immense for you.

- Okay.

- The good news, like I say, is this is something

that's super, super common, with just about every triathlete

that starts swimming as an adult.

Because, all of a sudden, you get in the water,

where 92% of your body weight is displaced.

And you don't know how to be firm.

You don't have gravity working against you, to stay firm.

So, because you got no weight keeping you tight,

you've got nothing keeping you nice and solid, like that.

So this is totally normal.

This, here, phenomenal.

Going down, underneath the surface of the water,

about a foot and a half, having that nice line right there,

this is gonna be really, really hard for you to do.

It's hard for everyone.

But, in a perfect world, drawing a straight line,

from your shoulders to your fingertips,

we wanna have your elbow a little more like that.

- Yeah.

- That's tough, really tough.

I wouldn't worry about it too terribly much.

You're pretty close.

As long as that elbow isn't coming back here, and up,

you're pretty close, so, there's nothing there

that I would be really worried about.

That's good, your butt cheeks, here, the back of your head,

touching the surface of the water, good.

Your legs do sink a little bit.

Again, that's pretty normal.

So you can see that the butt cheeks are there.

And the legs are going down.

Again, snorkel band pull, focusing on having those heels

nice up close to the surface of the water.

But there's nothing really in that catch,

and that arm pull that I would be worried about.

You're finishing way back here, that's good.

That's something that I struggle with.

I finish up here, at my hip bone.

You're getting a nice big pull.

If anything, if you wanna fuss about it,

yeah, you can put that hand a little bit further down.

And how you work on that is by doing a drill

at the start of the swim, 25 drill, 25 swim.

And tuck that elbow in, and just go like this.

So you feel that tricep. - Tricep.

Cool.

- Yeah, and you're not even taking a stroke.

You're just pushing and feeling that tricep pop.

- Okay, awesome.

- The reason we're doing a max heart rate test,

and not an FTP test, is because yesterday

was a bit of a big day.

When you travel, you might not yet have the legs in you

to do an FTP test.

But you can always get your heart rate up.

You're at four and a half, right now.

And then we're gonna bring your heart rate up a little bit.

Just kinda open it up.

Then we're gonna let you settle in.

(upbeat electronic music)

Alright, pick it up for ten.

Three, two, one.

Settle in.

I wanna max effort here.

Good grief, Winnipeg, you did not want to agree

with the weather, this weekend.

Not ideal for a training camp.

Winnipeg is not showing its best foot, no, no, no.

How about that little pain session that we put together.

Who's jealous of Ben and Dave?

So what we did there today was,

they traveled, both, Thursday, it's Saturday right now.

Yesterday was a bit of a bear of a day to start with.

We went for that easy 70K ride,

that there was still some effort into it.

We went out on the track,

which tends to beat people up a little bit.

So we started off this morning with a recovery swim.

Going just for an hour but, like, long, smooth swimming.

Throw the fins on, which facilitates a fair bit of recovery.

It just kinda works out all those kinks.

And Dave and Ben were saying that, after the swim,

they felt good.

Whereas, in the morning, when they woke up,

they were like, oh, my god, I hate Taren, not a cool dude.

Did not enjoy that.

But, at the end of the swim, they were all good.

Then we came in here, took all that footage,

that we put together while we were swimming,

and we analyzed it.

Ben is gonna be one hell of a swimmer.

Dave is a typical triathlete, not aware of his body,

he's gotta develop that body awareness.

And he's gonna, because, just in the last six weeks,

he had a swim smooth lesson, six weeks ago,

that they worked on his breathing pattern.

I didn't see anything at all, but his breathing pattern.

The guy's a good athlete, he's gonna get good.

And then, just now, we put him through this suffer fest,

doing a max heart rate test.

Because I could go and punish everyone.

Every single workout, and just pound them into oblivion,

do the workouts with them, and make them keep up with me.

And send them home walking funny.

But that's not really gonna make you a better athlete,

for the next three months, the next three years.

What is gonna make you a better athlete,

is being able to go home and have things

that you can apply, that you learned here.

And you can only do that, this well,

when we're in person for four days straight.

I can punish you from a distance.

But here, going through this testing protocol,

and then we worked out the zones, their training zones,

and I explained how much training should be in zone one.

How much should be in zone two,

how much should be in zone four, and zone five,

how little should be in zone three, and then why.

I showed them all the workouts that we've done,

and why all of those workouts are designed the way they are.

And when it says zone one, zone two,

why it says zone one and zone two, why it says zone five.

Because all those workouts, it's all done for you.

Once you do the heart rate test, like they did,

now they know why they're doing what they're doing.

So there you go, Trainiacs, that is day two

of the Trainiac, Kickstarter, backer, little mini camp

that we've put together here.

Thank you to Dave, thank you to Ben for giving it their all

in that heart rate test.

If you aren't already subscribed,

hit the Subscribe button below.

If you're already subscribed, and you like the sounds

of this Team Trainiac Training platform,

go to TriathlonTaren.com/TeamWaitList.

Just sign up so you know when it's public.

That was sadist, woo, ha!

Later, Trainiacs.

For more infomation >> TRIATHLON TAREN Trainiac Mini Camp DAY 2: Swim coaching - Duration: 13:55.

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GITZO MINI TRAVELER - Strong, small, carbon fibre tripod... BUT HOW MUCH? - Duration: 3:54.

I'm here with Francesca from Gitzo who is going to tell us about this

really cool neat little Gitzo tripod. So Francesca tell me a little bit more

about this then. Ok, you know Gitzo has always been a pioneer in it's field

and this time has created a very great product - the Mini Traveler.

It weighs only 265g so it is meant to be used with CSC cameras or compact cameras and it's

able to hold 3 kilograms of payload. It is fully CNC machined so

it is really reliable and the aluminum structure is the best achievable.

The legs are made from carbon fibre - the same carbon tubes that we use for our

full-size tripods and they are really stiff, robust and lightweight.

We have it available in two colour versions - the classic look of Gittzo or the

full black - very modern and perfect for the new mirrorless on the market.

And it also features dual innovations. The first one is that the pull and fix leg angle

selector and you only need to pull and release the leg to achieve the

best angle possible that can fit perfectly your surfaces. Of course for a

better fit to most surfaces the rubber feet are

well shaped for the best performance. The second innovation is

they've had the brake so you can see that there are no knobs on the overall

tripod in fact the brake it's in between of the head and the spider

casting so you just have to unscrew and move the the sphere and you can lock

very easily also during shooting. So it is available starting from October

and the price point is at 199 Euros. - So it holds three kilos? - Three Kilos payload

- and can you take the head off? - In the packaging is included an allen [hex] key

and you can detach the head. It is very easy to do be detached and you can

also use a standalone legs. The legs are able to hold 25 kilos so a

great result, but also you can match these legs with your prefered

head, so we suggest to use it with smallest centre ball head by Gitzo

on the travel series. - That's great it looks it looks really neat like

Francesca said it's the same kind of quality carbon fibre that you know we've

come to expect from Gitzo tripods and this head is really nicely engineered it goes

from being sort of very loose and in just that a turn all of a sudden it

locks and it's very sturdy on there and it holds 25 kilos if you're just using the

legs and you're just using kind of 1/4inch thread underneath. That's really

impressive I really I want one of these! Francesca

thank you very much.

For more infomation >> GITZO MINI TRAVELER - Strong, small, carbon fibre tripod... BUT HOW MUCH? - Duration: 3:54.

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Removed mini blackhead - Điều trị mụn tại Hà Quyên Spa phần 40 - Duration: 10:44.

Hi everybody.

Welcome back to my channel.

I am Skincare Ha Quyen

If you like my channel and videos about acne treatment.

Please like, share and subscribe to my channel.

Thank you

Thank you for watching my video.

See you in the next video

Goodbye