Color Scheme Branding using Marketing Precision

hi my name is Lisa Wozniak and I’m a
marketing strategist with woz marketing are you doing your best to guess at the
color scheme in your marketing watch this video to learn the color scheme
branding that you’ll need to have–you marketing with precision for the best
marketing advice in your private practice subscribe to my channel and
click on that bell you’ll be notified when I post new videos every week if
you’ve been struggling to find the colors to use in your marketing that
match your brand by the end of this video you’ll have a tool you can use
that will ensure you are marketing with precision countless people are using
this tool and now it’s your turn so I’ve got a really great marketing
tool that I know that you’re going to love when you’re putting out your
marketing content and you’re doing the graphics the images for the marketing
that you’re doing whether that be a social media post or maybe it’s a
graphic for a blog that you’ve created or a thumbnail for a video that you’ve
done you really want to make sure that you are putting out a branded type of an
effort for your practice so whether that means that you’re utilizing the colors
from your logo or from your website you want to make sure that that color coding
system that you’re using is consistent in all of your marketing and what
sometimes I find people will do let’s say they’re using red and blue that’s
what’s in their logo so when they’re putting out the graphics that match
their social media or their blog posts or their videos or whatever they’re just
guessing at the red and the blue and trying to get as close as they can to
what’s in their logo so this great tool will help you be really specific and
make sure that you’re matching it exactly
so basically what I’ve done I’m gonna go ahead and share my screen so that you
can see this in action basically all you have to do is go to google and type in
HTML color codes and there’s a number of sites that will do this and I randomly
grabbed one this one is its HTML – color – codes dot info and this is what comes
up so what you can do is if you want to pull directly from your website you can
go here and type in your website and hit go I’m gonna pull up my logo exactly so
that you can see this in action so you click on upload file okay and I’m gonna go ahead and pull in
a copy of my logo okay you can see my logo come up and
let’s go ahead and pull the blue so if I click here on the blue and then look
down here where it says color code it’s giving me the exact color code that I
need and the same is true for the yellow if I go ahead here and I click on the
yellow it’s gonna give me the exact yellow that I need and of course the
same is going to be true if I click on come on now let’s move them a little bit
slow the same is is true if I click on the green it’s going to give me the
exact color for the green and then the same would be true of the red itself so
I want to show you what this looks like in action I’ve pulled up a couple of the
images that I’ve I’ve done fairly recently this one is for a free
masterclass that’s on my website I’ve pulled in the exact read from my logo
and I’ve pulled in the exact yellow from my logo and here’s another example of a
post that I did for a video that I created you can see the blue here is the
exact blue from my logo and so is the yellow as well what I did here is I made
the yellow a little bit more transparent so it faded it just a little bit but
it’s the exact yellow that’s in my logo um so that all of the the branding that
you have that’s going on for your marketing is consistent with the color
scheme that’s in your logo or in your website so that’s a great marketing tool
HTML color codes all you’ve got to do is plug that into your your search engine
and you’ll get a number of sites that will do that for you I will drop in the
comments below a
to the one that I just showed you so I hope that that’s a great marketing tip
that will help you brand all of your marketing efforts moving forward thanks
so much so speaking of this tool I’d love to
know in the comments below when you craft your marketing or your graphics do
you pull colors from your logo your website or do you have a specific brand
and color palette that you work from let me know in the comments below so now you
have a tool you can use to choose your colors with precision but what kind of
tools do you use to enroll more clients I have a free masterclass on just that
very subject and the link is in the description below also if you want to
join a community of practitioners just like you I have a free group for
like-minded professionals who are dedicated to enrolling more clients and
growing together the link is in the description below but before you go if
you like this video please let me know by liking commenting and sharing it with
your fellow practitioners and if you would comment below with the word
helpful this lets me know what content resonates the best with you and what
kind of content we should be focusing on for you in the future this is Lisa
Wozniak with Woz marketing helping you navigate your yellow brick road have a
great day everybody

Oakland Loft is a Sanctuary for Life and Work

(camera snapping) – My name is Nicolo Sertorio I’m a photographer, both
commercially and fine arts. I live in this space with my wife, Seonok. – I am research scientist,
working for a biotech company. – We moved here about three years ago We fell in love with the neighborhood, it’s more of a artist community than a traditional suburban live space. In terms of the space itself, it’s an artist live/work space. Hence, the luminosity and the openness. – The light is amazing in this space. It was something that I fell in love with. – [Nicolo] But when we first
moved in it was very raw From the floors, the walls, to everything. Part of the design was to add some additional interior walls. – Because Nicolo is an artist, he has more specific vision and ideas. And then I had a wishlist that needed to be contained within the design. – We started from a place of
mutual requirements, I think. – I wanted to have a big
kitchen or a beautiful bathtub and a closet where I
could store my clothes. Practically, I wanted to have laundry area next to my office. Where I could just incorporate
it into my daily activities. – It’s important for me to have a studio, or a space to work and create. I need more of a multi-functional space than your traditional empty camera studio. I need a space where I can
shoot and I also need a space where I could prepare for
shows and print my work. And so the draw of the
creation of the wall so behind the wall there
is the full bathroom and the storage space. The space upstairs was
one giant open space, with just the platform of the mezzanine. We have to have a separation between public space and private space. – [Seonok] Mezzanine not
only I use as my office, but also use as a guest bedroom. So we had to somehow create divide, to create intimacy and privacy. – [Nicolo] We started
playing with different ideas of where to put the walls
and how to build the walls. We created the new master bedrooms, new bathroom downstairs. We separated, a little bit, the kitchen. Oh this stirfry’s gonna be amazing. – Kitchen is very inviting. It’s all white. Enough space and plenty of storage. It’s really open, but
also very functional. The way we designed cabinet
that vertically open instead of horizontally open. We put a lot of energy into designing it. – [Nicolo] How would you like this sliced? Tiny or small?
– Tiny, yes. The bedroom is one of my favorite
place to be in the house. It is just the right size, and enough space for my clothes. High ceiling and skylight allows light to float in the morning. I believe that bedroom is
not a place to go to sleep and become unconscious, but also where we dream
and come back rejuvenated. That’s how I feel in my bedroom. Living surrounded by beauty
is very important for me. I think that brings sense
of health and healing and I think this space
brings that opportunity to create beauty and surround
ourselves in that environment. And obviously Nicolo is an artist so it’s like a blank canvas
on which we can create. – Me and my wife very
much converge and agree on modern, clean, pure lines. Basically white on white aesthetic. Throughout the space
the only color coming in is the color of the floors that brings a certain warmth. – [Seonok] Bringing
the warmth and Zen-ness into a very minimalistic,
elegant line is something that very intentional,
and something we love. – The minimalist and modern can sometimes go a little too far. Bringing in some older elements
makes the space feel warmer. – My desk used to be antique Chinese door that has been converted into table by artists in San Francisco. They were moving away from the city so Nicolo was able to obtain it. It’s such a beautiful
table that I really love, I feel privileged to use it as my desk. We choose things based on
connection to an object. it is not just something we buy
from a fancy high end store. They all have their own story, how it came about into our lives. – The dining table is
an interesting story. It’s from the old San
Francisco Public Library from there it had gone
to the Oakland Museum, at some point it became
too big for the museum, and one of my neighbors got
it from the Oakland Museum. She eventually came offered me the table, at that time, I didn’t have the space, so it ended up going to a woodworker. And he decided to store it away. At that point, I got it
and I started sanding to see what the surface
looked like underneath. And the details started to come out and beautiful red color of the wood. – [Seonok] Not only the light
in the daytime is beautiful but also the nightlight. Every light fixture we purchased
has intention around it. Ambience or mood. – From using dimmers to light
bulbs that change color, every room has at least three
different lighting set ups, the ability to change
the light in a space, change the space itself, and to me it’s a big part of the design. – I cannot imagine my life
without having art in my space. – [Nicolo] It was very inviting to start putting some of my own work up. Over the years I’ve come in contact with a lot of other artists
so we have exchanged work. Artwork that I inherited from my family. – The idea of building a
bookshelf we both loved. – We always had this dream
of having a big bookshelf, but even in this giant
space we were starting to run out of storage space. Well, we had one giant wall. Maybe we put everything
into the one space? We ended up building it ourselves. – It was such a labor of love. It took a lot of work, during which I was going
through health issues. Hello darling. I gained a lot of respect
for Nicolo not giving up. – [Nicolo] As we were piling the elements of the bookshelf up we realized
that nothing was straight. And that required a
lot of additional work. And eventually basically
digging into the drywall. – [Seonok] Watching him
being so patient, persistent, perseverant gave me a courage. And a sense of love and home. I know.
(laughing) We love to feel the warmth and uplifting element of the house. It’s not just the refurbished,
reinvented warehouse, where we just live. This is actually, we build our lives. (peaceful instrumental music)

How Top Thrill Dragster Works

This video is brought to you by Skillshare.
Use the link in the description to receive a free 1-month trial and learn something new
today with access to more than 25,000 online classes. Top Thrill Dragster is one of the few roller coasters in the theme park world that requires no introduction. Although this thrill machine was constructed
more than 15 years ago, it has managed to stand the test of time, and it remains as
one of the top-ranked roller coasters in the world today.
When Dragster opened to the public in May of 2003, it offered an experience that was
unmatched by any other coaster, launching guests from 0 to 193 km/hr in just 3.8 seconds,
and catapulting them 128 m into the air at a 90-degree angle over the massive top hat
element. At the time of opening, it was not only the
tallest and fastest roller coaster on Earth, but it was also the world’s very first strata-coaster;
An exclusive title reserved only for closed-circuit roller coasters exceeding 122 m in height.
Even today, Top Thrill Dragster is one of only two strata-coasters in existence.
The second one being Kingda Ka at Six Flags Great Adventure, which opened in May of 2005.
Top Thrill Dragster and Kinga Ka were both built by Intamin Amusement Rides in collaboration
with Werner Stengel, and they are both variations of Intamin’s hydraulically-launched roller
coaster model known as the accelerator coaster. The first accelerator coaster was aptly named
Xcelerator, and it opened at Knott’s Berry Farm in June of 2002, setting the groundwork
for the taller and faster coasters that would come later.
Although this video will focus on the engineering behind Top Thrill Dragster specifically, most
of the information will also apply to the other Intamin accelerator coasters like Kingda
Ka and Xcelerator, however the exact figures may vary from ride to ride depending on their
size. So now that the introduction is out of the
way, let’s jump right into the mechanics of Dragster.
Once a train is loaded with passengers and it is ready to be launched, it is propelled
forward to the beginning of the launch track by rubber drive tires that are powered by
electric motors. The catch car is then positioned underneath
the train by a steel cable system that we will discuss in more detail shortly.
The catch car is a long piece of steel that rides in a trough down the middle of the launch
track, and it connects to the underside of the third car of the train.
There is a V-shaped groove in the top of the catch car, which connects with a metal pin
known as a launch dog that is dropped down from the bottom of the car.
The launch dog is normally held in place by two permanent magnets, however when the train
is positioned in the launch area, an electrical contact is made between the train and the
track which allows current to flow through wire coils that are wrapped around the magnets.
This generates a temporary magnetic field that opposes the permanent magnetic field
from the magnets, thus allowing the launch dog to drop down onto the catch car.
After the launch dog is dropped, the rubber drive tires are retracted, and since the launch
track is sloped upwards at a slight angle, the train then rolls backwards and the launch
dog slides into the groove in the catch car. When the train is launched, the force between
the train and the catch car holds the launch dog in place, and when the catch car reaches
the end of the launch track, the train simply overruns the catch car, and the V-shaped groove
pushes the launch dog back into place where it is once again held by the permanent magnets.
It is extremely important that the launch dog retracts, because there’s always a possibility
that the train will not clear the top hat element, and it could fall back towards the
launch track at nearly 200 km/hr in what’s known as a roll-back.
If the train were to reconnect with the catch car at that speed, the result would likely
be quite destructive. After the train overruns the catch car and
heads up the tower, the catch car is slowed down using eddy current brakes, and it is
returned to the beginning of the launch track by the steel cable system for the next train.
The steel cable system consists of three separate cables, which connect the catch car to a large
rotating drum that is powered by the hydraulic launch system.
Two launch cables are connected to the front of the catch car, and they run in grooves
down the length of the launch track. At the end of the launch track, two sets of
pulleys guide the cables into the hydraulics building where each cable wraps around one
end of the drum. A retractor cable is connected to the back
of the catch car, and it wraps around a pulley at the beginning of the launch track before
running along the bottom of the track to the hydraulics building.
The retractor cable wraps around the center of the drum, and it is wound in the opposite
direction to the launch cables. When the drum spins clockwise in the orientation
shown, the launch cables are wound onto the drum which pulls the catch car to the right,
while the retractor cable is unwound from the bottom of the drum.
Conversely, when the drum spins counterclockwise, the retractor cable is wound back onto the
drum which pulls the catch car back to the left, while the launch cables are unwound
from the top of the drum. Every time a train is launched, the two launch
cables are put under a great amount of tension, which causes the cables to stretch under the
load. In order to keep the cable system taut, the
pulley at the beginning of the launch track is equipped with a tension regulator to pick
up the added slack in the retractor cable. The pulley is housed inside the launch track
and it is positioned on a horizontal track of its own, which allows it to move back and
forth as the cables change length. The tension regulator connects the pulley
to the launch track, and I’m fairly certain that it simply uses a pre-loaded spring to
apply force onto the pulley in order to maintain a minimum tension in the retractor cable.
The force on the pulley does not need to be that high since the retractor cable is not
directly loaded during a launch, but the cable does need to remain taut so that it does not
slip off of the pulley. On the other hand, the amount of force that
is needed to launch one of Dragster’s trains is huge, and we can estimate this force using
Newton’s second law by multiplying the average mass of a train with its acceleration.
According to the park, an empty Top Thrill Dragster train has a mass of about 15 tons,
or 13,600 kg. Each train can carry 18 passengers, and the
average mass of an American adult is 82 kg, so we can approximate the total mass of the
passengers as 1,500 kg. This gives an average total mass of about
15,100 kg for a fully loaded train. The ride accelerates the trains from 0 to
53.6 m/s in 3.8 seconds, which corresponds to an acceleration of 14.1 m/s2 or about 1.4
g’s. Using these figures, the average force required
to launch a train can be calculated as approximately 213 kN, or 48,000 lbs.
Since there are two launch cables pulling the train, the force in each cable would be
half of this value. In reality, the actual force would also be
slightly higher because the hydraulic launch system needs to overcome friction and drag.
In addition to force, we can also estimate the average amount of power that the hydraulic
system needs to provide in order to launch a train.
At top speed, the kinetic energy possessed by a train can be calculated as ½ of its
mass multiplied with its velocity squared. Using the velocity and average mass of a fully
loaded train from before, this gives about 21.7 MJ of energy.
I also did some back-of-the-envelope calculations to estimate that an additional 3.1 MJ of energy
needs to be provided to overcome friction and drag during a launch.
This means that on average, the hydraulic system needs to provide about 24.8 MJ of energy
in just 3.8 seconds. These figures correspond to a power output
of about 6.7 MW, or just under 9,000 HP, which is actually comparable to the power output
of a real top fuel Dragster. The technicians who work on the ride estimate
that the hydraulic system is capable of generating between 10,000 and 15,000 HP at its peak output,
however I was not able to confirm an exact value.
The exact amount of power provided by the hydraulic system varies between each launch,
and it depends on the mass of the passengers, as well environmental conditions such as humidity,
atmospheric pressure, and temperature, which affect friction and drag.
Before launching a train, the ride computer uses data from the previous 3 launches to
estimate how much power it needs to provide. Sensors along the track are used to measure
the speed of each train, and if the trains are running slower than expected, then the
hydraulic system will provide additional power for the next launch.
Conversely, if the trains are running faster than expected, then the hydraulic system will
provide less power. This is the reason why a sudden change in
the weather can cause a train to stall on the top hat element and roll back down the
tower. The massive hydraulic launch system itself
is housed inside a masonry building that is located at the end of the launch track.
The large rotating drum that we saw earlier is located at the center, and 16 red hydraulic
gear motors are positioned around the circumference on each side, for a total of 32 motors.
On each side, the 16 motors connect to a massive steel gearbox, which transfers power from
the individual motors to a single output shaft. I have seen a few sources claiming that this
as a planetary gearbox, however I was able to reach out to the company that manufactured
it, and they confirmed that this is not actually the case.
Inside the gearbox, each hydraulic motor connects to one of 16 helical pinion gears that are
arranged in a circular fashion around a central bull gear.
These pinions work together to spin the bull gear, which is connected to a large hollow
output shaft. Although this arrangement looks similar to
a planetary gearset, it is fundamentally different because there is no ring gear around the outside.
The output shaft from each of the two gearboxes is connected to the 2 m diameter cable drum,
and at top speed, this drum spins at approximately 540 RPM.
That’s equivalent to 9 full rotations per second.
To accomplish this, each of the red hydraulic gear motor uses two internal gears to convert
the flow of high-pressure hydraulic fluid to rotational motion.
As fluid passes through one of the motors, it is forced to flow around the outside of
the two gears, which causes them to rotate. One of the gears drives the output shaft of
the motor, which is connected to one of Dragster’s two gearboxes.
The hydraulic system that supplies the high-pressure hydraulic fluid to power the motors is comprised
of 4 identical subsystems, each powering 8 of the 32 motors.
To make things a little easier to follow here, let’s isolate one of the subsystems to see
how it works on its own. At the core of the system is a hydraulic piston
accumulator, which is used to store hydraulic fluid under high pressure.
The accumulator is divided into two chambers that are separated by a floating piston, and
one of the chambers is filled with nitrogen gas.
This nitrogen chamber is connected to additional back-up bottles that allow the system to use
a greater volume of gas. Hydraulic fluid is pumped into the second
chamber by a 500 HP hydraulic pump, which compresses the piston and pressurizes the
gas. The hydraulic fluid is practically incompressible,
and the pressure inside the accumulator is dependent on the volume of gas displaced by
fluid. Prior to a launch, the accumulator is pressurized
to about 32 MPa, or 4,600 psi, and this process takes about 45 seconds.
When the ride operator hits the launch button, the cartridge valves at the end of the accumulator
are opened, and the pressurized hydraulic fluid is delivered to the motors which spin
the drum, reeling in about 100 m of cable in just 3.8 seconds.
As the hydraulic fluid passes through the motors, it is collected in a large reservoir
to be used again for the next launch, and the whole process starts again.
The exact same process also takes place in the other 3 hydraulic subsystems simultaneously,
and they have to work together in perfect unison to power the ride.
While the accumulators are recharging in between launches, an auxiliary motor is used to spin
the drum in the opposite direction, which unwinds the launch cables and returns the
catch car to the beginning of the launch track. In total, the entire system contains approximately
15,000 L, or 4,000 gal, of hydraulic fluid, and it is designed to launch a train about
every 60 seconds. Now ofcourse if a train is going to be launched
128 m into the air at 193 km/hr, then there also needs to be a way to slow the train down,
and this is accomplished with eddy current brakes.
The brake run at the end of the ride has fixed metal fins that protrude up from the track,
and these align with permanent magnets that are mounted on the bottom of the trains.
The fins are conductive but non-magnetic, and as a train passes over them, the magnetic
field from the permeant magnets induces circular electric currents, called eddy currents.
These electric currents create a magnetic field of their own, which opposes the magnetic
field from the permanent magnets. This generates a drag force that acts on the
moving train opposite to its direction of travel, and the magnitude of this force is
proportional to the train’s velocity. Once the train is slowed down, rubber drive
tires are used to bring it to a stop before moving it into the station.
In order to handle roll-backs when a train does not clear the tower, Dragster’s launch
track is equipped with a braking system of its own that functions in the same way as
the final brake run. However, the metal fins on the launch track
can be moved up and down using spring-loaded pneumatic cylinders so that they do not generate
a braking force while a train is being launched. The springs inside the cylinders hold the
brake fins above the track, and just before a train is launched, the cylinders are pressurized,
which compresses the springs and lowers the fins.
As the train speeds down the track, proximity sensors are triggered, which tell the pneumatic
cylinders to depressurize so that the fins are raised back to their default position.
The spring-loaded mechanism inside the cylinders ensures that the braking system is fail-safe
because the brake fins will rise automatically in the event of a power failure.
The ride also uses more brake fins than are necessary to stop the trains, and the computer
will not allow a train to be launched if any of the sensors are not working properly.
In total, there are about 400 moving brake fins along the launch track, and the ride
uses more than 800 sensors. The experience on Top Thrill Dragster may
only last 17 seconds, but it takes many complex systems all working together to make it happen
safely and reliably. From the towering steel structure all the
way to the powerful launch system, you really have to admire just how much engineering went
into this ride. Of course, whether you choose to do that from the ground, or from 128 m above it, is entirely up to you. Hey everyone, today I am very excited to bring you a special promotion from Skillshare.
Skillshare is an online learning community with more 25,000 classes, and as an Art of
Engineering viewer, you get your first month completely free with unlimited access to the
entire library. Millions of people are already using Skillshare
to learn cutting-edge skills, network with peers, and discover new opportunities, and
I highly encourage you to give it a try. With classes taught by the world’s best
teachers spanning categories like design, business, technology, and more, there is something
for absolutely everyone to learn and enjoy. If you have an interest in engineering, then
you should definitely check out the series of classes by SaVRee 3D, with topics ranging
from electrical transformers to diesel engines to cooling towers.
Begin your free 1-month trial today using the link in the description, and start learning
with Skillshare. As always, thanks for watching, and I’ll
see you in the next one.

Abigail Disney: CEO Salaries Are “Insane” And They’re Killing America | Fast Company

– [Moderator] Abigail, I’d like to, since we’ve talked about employee raises, you’ve been outspoken in the past about executive compensation. A recent study by Equilar found that the median pay ratio
for a CEO to employee at the largest 100 companies
was 254 to one in 2018. For Bob Eiger that was 1,424 to one, for Howard Buffet it was seven to one– – Seven? – [Moderator] Warren Buffet. – Oh, for Warren Buffet. I was like I have no employees so I’m pretty sure it’s one
to one, but that’s okay. – [Moderator] I’m just
curious what you think the role of changing
executive compensation is in changing the way a corporation works. I mean it’s not just obviously a PR effort to change the executive compensation, this is real money for employees, you went to Disney employees
and talked about this. – Yeah, so this all of a piece, you know with 40 years of a philosophy about how we should do capitalism that has kinda grown and become
sort of a received wisdom that companies only work
to satisfy shareholders and the people at the top of the company are the most valuable people regardless of what the people below them do. And the more you make,
the more valuable you are. The more valuable you
are, the more you make. So it has been a sort of corrosive, had a corrosive effect on society. And yes, I went out to Anaheim
and I sat with the union and I listened to the workers who were getting paid minimum wage, most of them couldn’t afford to live less than an hour and a half from Anaheim where they worked. They had had benefits
steadily stripped from them, there used to be free food and then they had to pay for the food, and then there was no food at all but nowhere to get food in the area, ’cause if you’ve been there you see it’s an enormous distance
to get out into Anaheim and that things are expensive there. So people were choosing
between insulin and housing. I mean this is horrifying,
this is horrifying. I knew my grandfather and I worshiped the ground he walked on and I know that was never the
company he wanted to start. And one of the reasons Disneyland, and all of what Disney did, worked so well was because of the sense that everybody who worked there was happy
and proud to be there. And if you talk to folks there, they’re wonderful people,
they believe they’re doing a good thing in the world by giving joy to families when they come there. So when they’re being treated that badly you have to ask why and the
especially mystifying thing is this insane ratio
that… I like Bob Eiger. Let me be clear, I think he’s a good man, but I think he’s allowing himself to go down a road that is the
road everyone’s going down. This is the road that Wall
Street is pushing us down, business schools are pushing us down it, and he’s just going down
it with everybody else. When he got his bonus
last year, not this year, I did the math and I figured out that he could have given
personally, out of pocket, a 15% raise to everyone
who worked at Disneyland, and still have walked away
with 10 million dollars. So there is a point in
which there’s just too much, you know, going out of
the top of the system into this class of people who,
I’m sorry if this is radical, have too much money,
there is such a thing. And it’s very damaging personally
to have too much money. If you have a billion dollars and you want to send your kids to school, congratulations you can send
them to school for 20,000 years So, you remember in
Saint-Exupéry, The Little Prince, when the boa constrictor
swallows the elephant? Well, that’s what we’ve got now right? And there’s all this sort of
stuff compacted in one point and it’s not making its way to the bottom. When Disney got the tax
benefit, they gave bonuses but mostly they did share buybacks as everyone predicted that
every company would do. So the vast majority of that money benefited the already wealthy
people who owned stocks. And if it’s a permanent tax cut and you can afford to give a bonus, my dear, you can afford
to give a pay raise. And if your company has
never been more valuable, never been more profitable, and if your CEO has never made more money and people at the bottom
have to ration their insulin something is terribly,
terribly, terribly wrong, and it needs correcting. (clapping)

Getting paid on time – Lesson One: Payment Schedules

– As a freelancer, you deserve
to be paid for your work, and you deserve to be paid on time. If you’re new around here, I’m
Charli, and I’m a designer. I know firsthand that getting paid on time can be a real headache for freelancers. I hear stories of clients paying
invoices three months late or worse, just not even
paying them at all. But the good news is that
there are things we can do to avoid this and to increase our chances of getting paid on time. And that’s why I’m here
with this new series. In this three video series,
you’ll learn best practices for setting up a good
payment schedule, invoicing, receiving money, and
communicating with your clients. This series has kind of been
sponsored by TransferWise, which is the service that I personally use to get paid by clients. They make it really easy
to send and receive money internationally with a
much better exchange rate and lower fees than a bank would charge. We’ll talk more about
them in the next video about receiving payments, but for now, in this video, to kick
things off with the start of the process, let’s
talk about setting up a payment schedule. A payment schedule defines when a client needs to pay an invoice. Now, traditionally people have treated working with freelancers
kind of like paying a bill. Where they’ll receive an invoice
after the service is done, and then they’ll pay it
maybe within 30 days, if you’re lucky, because invoices
are notoriously paid late. This way of working really
sucks for the freelancer. Not only are you waiting a month or more to get paid for work you’ve already done, but it’s really exhausting
to be chasing clients and asking them to pay you, which is something they
should just be doing in the first place. But clients are often
just not very motivated to pay you very quickly because they’ve already
received the work for you. But one of the most important
things I ever learned about freelancing is that
just because that’s the way most people have worked in the past, it doesn’t have to be the way you work. You can set up your own
payment schedule and terms in a way that will help you get paid in a much more timely manner. And let me tell you more about that. My payment schedule is generally a 50% initial payment upfront and then the remaining 50%
at the end of the project before I send over the final files. And sometimes if the job
is a fairly small one, I will just charge the
whole amount upfront. And yes, you are allowed to do this. If a client wants to work with you, they will follow these terms because it’s actually
better for everybody. Getting them to pay a 50% sum upfront means they’re committed to the project and it means you can
safely block out the time in your calendar knowing that
the client is serious about it and you’re going to get paid. And if the client pays
the initial payment late, then the project starts late. So, if they’ve got a deadline to meet, they’re gonna pay you on time. So, that initial payment
is really important for starting the project
out on a professional note and setting the right tone. But it’s the timing of that final payment that is the major key
to being paid on time. You should definitely
set your payment schedule so that that last invoice must be paid before you can deliver the
final files to the client. Now, of course you’re going
to show them proofs beforehand and this is only gonna
happen once they’re happy with the work and it’s all approved. But any final assets that
they’re gonna end up using should be delivered after payment. The thing is, if you hand over the files before they’ve paid you, the client will have
no incentive whatsoever to make that payment in a timely manner. Whereas if they need to pay the invoice in order to get the files that they need, they’ll do it. Especially if there’s a deadline to meet. So, I know this sounds kind of hostile as I’m explaining it,
but I promise it’s not. It’s just professional. So, how do you go about
setting up a payment schedule? Well, the first thing you have to do is decide which percentage
split you’re gonna do. The 50/50 like I said
works really well for me, so it might be a good place to start. And then you can adjust from there if your job’s bigger or smaller and you find yourself
having different needs. Make sure you lay that
payment schedule out in your contract and talk
your client through it so that they know when
they’re expected to pay. If you help them understand the process, once they sign that contract, that’s just how things are
going to work for the project and you can know that
you’re both on board. This way there won’t be any surprises when at the end of the project you’re sending them an invoice before you send them the final files. And I always say it in a
really friendly manner, too. I’ll send the invoice along
when we’re nearing the end of the project so that
they’ve got time to pay it before the deadline, and just say, here’s the final invoice,
remember I can’t release the files to you until you’ve paid it, so I thought I’d send it
along now so you’ve got time to sort it out. So to sum up, set your
terms so that you get paid a portion at the start of the project and then the rest at the end
before you send the files and be upfront and clear
about this with your client. If these are your terms, then
you have to stick with them. And don’t be tempted to start a project before that first payment comes through just because there’s a
tight deadline to meet. If the client wants to meet that deadline, they’re going to have
to pay you immediately. And that’s just the way it goes. Remember, the client is
hiring you as a professional, so they need to follow your process. You don’t get to decide
when you pay the dentist, or that you’re going to pay for your meal two weeks after you’ve eaten it. So, there’s no reason why
a client can’t pay you on your terms for a design project. We’re gonna talk more about
how to handle objections in this process in the last video, but coming up next, I want to talk to you about invoicing and receiving money. So, click here to watch that,
and thanks for watching.

latest designer stone work saree for wedding and bridal party 253


Hi-tech office interiors for Envision in Shanghai – designed by M Moser Associates

Today’s office environments place more and
more emphasis on collaboration as their guiding principle — doing away with the idea of splitting
up teams into their own compartmentalized areas and encouraging a cross fertilization
of ideas instead. When setting the brief for its new premises
in Shanghai, Envision asked for a specific control room within the office for its engineers
dealing with problems in the field. It’s a global technology company, specializing
in wind turbine technology, and so the office also needed to operate around the clock. But interior design firm M Moser Associates
came up with a scheme that brought the engineers out into the open, so giving them better access
to their support teams. The design expanded so the entire space became
the control centre, with a large display wall at one end. Everyone can see this — so the whole office
can help resolve a problem that is projected onto the wall. The concept of collaboration also influenced
the way the office is organized. Picking up on the physics of airstreams, M
Moser has designed a space that allows freedom of movement through it and encourages the
75 staff members to work both individually and in team environments. The hi-tech nature of the business is reflected
in the sleek design of the workstations that have some of the characteristics of wind turbines. But for me, what really stands out in this
workspace is the huge, central conference table sitting on the key axis of the office. It’s directly in front of the giant wall screens,
ideally placed for company video conferences. And in keeping with the nature of the business,
it has a strongly aerodynamic form which also extends to the bulkheads above and surrounding
it. Overall M Moser has created an interior design
for Envision that’s fully in tune with the company’s business, while at the same time
encouraging a much more inclusive and collaborative way for staff to interact.

Belgian Model 1915/27 Improved Chauchat

Hi guys, thanks for tuning in to another
video on I’m Ian McCollum, and I am here today at the Musée d’Armes in Liège, Belgium. Part of … they have a central museum complex in Liège that includes an arms museum. And the Arms Museum has a Belgian Model of 1927 Chauchat. And when I saw that they had this, I knew that I had to do some video on it because this is the most perfected version of the Chauchat light machine gun. The best version of the worst gun you might say. Now during World War One the Belgians … were the
second country to adopt the Chauchat after the French. Of course Belgium managed to manage to maintain
control of just a little tiny corner of the country. While most of Belgium remained under
German occupation throughout World War One, including all the big industrial areas that
would be capable of doing arms production. So the Belgians became a bit
dependent on the French for small arms. So in the spring of 1916, in April of 1916, they started working with the Chauchat light
machine gun, or automatic rifle, from the French. Experimenting with it, testing it, making
sure that they were satisfied with it. December of 1916 they formally adopted it. And in the spring of 1917
Belgian engineers started working with the engineers at Gladiator to convert this gun, to adapt it to the Belgian
7.65mm Mauser cartridge, which is a straight wall, … bottle necked but not a heavily
tapered cartridge, and a rimless cartridge. Which allowed them to make a much better
magazine for the Belgian version of the gun. So … between the spring of 1917 and the end of the war the
Belgians converted almost all of their Chauchats to 7.65. Of course this made for a better gun, frankly, and it also
meant that logistics were much easier with Belgian units. Their rifles and their automatic rifles, or light
machine guns, would use the same ammunition. At the end of the war they had
apparently 3,250 of these in service, plus at least a few additional ones in reserve. And that by the way, that’s not
this version, this is the 1927 pattern. What the Belgians used at the end of the
war was a standard French Chauchat simply refitted to use these magazines in 7.65 calibre. What they would do in the 1920s is start
working on some improvements to the gun. So this would remain the standard Belgian automatic
rifle, or light machine gun, during the interwar period. And they recognised that the Chauchat had some significant
flaws, it had obviously been developed very quickly during the war. And the French didn’t have
time to perfect it. They just needed a gun, now. Well, once the war is over the
Belgians are able to spend the time making the Chauchat a little more like what
it ideally would have been from the beginning. So they add about a zillion dust covers
and a couple other cool features. Let’s take a look at those. So the first thing that the Belgians did, and they did this
before they adopted the rest of the changes to this gun, is they re-chambered it for 7.65 Mauser,
which means they needed a new magazine. And they made a properly good magazine. The original French 8mm magazines
are made of very thin sheet metal. Aside from the viewing holes in them, which were
a problem, they were just very fragile magazines. And the American .30-06 guns
are really not much different. They’re corrugated to give them a little more
strength, but they’re still very thin and very flimsy. The Belgian magazine here is much better. I would say this is
on par with kind of any sort of normal traditional rifle magazine. You can see we’ve got a nice thick
overlaps. This was made in two parts put together and then folded. You can see the seam
there where this is folded over, it’s a good strong seam. They have actually reinforced the feed
area with a second layer here, riveted on. They have a good heavy-duty set of front magazine catches
and a nice lug in the back. This is a strong magazine. Now the resources I’ve found say that this holds 20. I don’t have ammunition available on hand to actually
load it up and test it out, but I suspect this is actually 15. I don’t think this is long enough to hold 20 rounds. The three viewing holes also to me
suggest 15 rounds, three stripper clips worth. Now the guns that the Belgians used
were initially purchased from the French, and then for the 1927 pattern they were
modified from French production guns. So the Belgians never manufactured a brand-new gun. One of the results of that is that they still have the
carry handle back here where the French one was. Because of course the French gun had a
magazine that came all the way through here, so you couldn’t put a handle in the front. The American guns were redesigned and built from the factory
in .30-06, and so they moved the handle up to the front. The Belgians couldn’t do that. They do, however, have a nice nose in, rock back
magazine locking system. It’s nice and stable, excellent. As part of this calibre conversion they
were also able to simplify the feed system, and they no longer have to have the track here
connected to a bar on the front of the charging handle. So the French Chauchats have a bar out here
that has a couple of cams in it to help operate the feed ramp in the gun. With the
Belgian cartridge that wasn’t necessary. They were able to make those
pieces just simple spring-loaded parts. Which … for one thing makes disassembly a lot easier. And it
also means you don’t have this extra part on the outside of the gun. The Belgians would then go and add dust covers to virtually
every open orifice. In fact, literally every open orifice on the gun. So we have one here on the bottom which has this rolled-up spring to hold it in place. And this
comes back and it locks in using the magazine catch. So that locks in right there. That’s going to seal up the
magazine opening on the bottom of the gun. We then have the ventilation holes in the
barrel shroud which run all the way around. So they added a rotating dust cover there to seal
those up, so that fixes that potential problem. They have a sliding dust cover
right here that comes back to cover the ejection port. Unfortunately, this one is stuck on something, and I’m not
sure exactly what’s catching it there. But I don’t want to break it. And this one is in
fantastic condition and I don’t want to mess that up. So you get the idea. This is just a sliding sheet metal
cover that’s going to come back and close up that opening. That leaves just the opening for the charging
handle, and so they put a sliding block on that. So now (if we had that moving), you now
have literally every hole in the gun covered up. There are no more witness holes, no
more major witness holes in the magazine. So this pretty well protects the Chauchat from its biggest two
vulnerabilities, weak magazines and mud getting into the gun. But the Belgians didn’t stop there. One of the potential issues with the Chauchat in the
original French design is that these takedown levers at the back and the front were just
held in place with kind of spring detents. The body of the lever itself acted is a little bit
of a sheet spring and there was a little dimple, and if you wanted to disassemble the
gun you just rotated the lever around. Well, those could potentially get bumped
while you were carrying the gun around, move into the disassembly position and cause
problems. So the Belgians added an extra set of detents, where this now … you have to pull the
button out and then you can rotate it. So once it snaps into position, like so,
you can’t just push it out of alignment. That makes the takedown more secure. They did the same thing to the front takedown pin, you
have to pull this out and then you can rotate it around. In another very important step
they replaced the bipod completely. The original Chauchat just had two very simple,
… not necessarily flimsy but very floppy, bipod legs. It was also a very tall bipod and it
had only very narrow diameter feet, so it was very easy for the
bipod to sink into the ground. What they’ve replaced this with here is a bipod
that’s very similar to what the French would have on the Châtellerault light machine guns, and what
the Belgians would use on their version of the BAR. So this locks in position here. It’s shorter, it
has much larger feet to stay up on the ground. And to stow it you pull this together. Once the bipod is pulled together it
can then rotate rearward, and originally there was a leather strap under this plaque, and
you would use the leather strap to tie the bipod up. Unfortunately the leather has come off of this one. While we are looking at this, I do want to point
out this is the Belgian serial number, 2340. “MAE” is Manufacture d’Armes de L’État … or State Arms Factory, which is the Belgian,
well, state arms factory that did this conversion work. The guns themselves retain French serial
numbers, so this is in the 105,000 – 106,000 range. Which is way higher than any actual Belgian production. Got a serial number back there
on the upper assembly as well. And the Belgians went through and added
serial numbers to a whole bunch of other parts. They put the last three digits on the rear sight, which of course has been recalibrated for 7.65 calibre.
Goes out to 1,200 yards [metres]. … They would just replace this rear sight leaf. We have a serial number added to
the dust cover up on the barrel jacket. You can only see the front half of it, but
they put a serial number on the bipod stud. Now there’s one more feature to point out, and
this is really exciting to me in a extremely nerdy way. There is this latch on the side of the gun. And it’s kind of a mystery latch
because it doesn’t do anything specific. The book that I have says that this was
done to make takedown quicker and simpler. But the takedown is actually exactly
the same as the standard French gun. You’ve got your two pins in front
to separate the upper and the lower. (By the way, if you’re interested
in the mechanics of the Chauchat, check out my other video on the standard French
pattern, because this is mechanically identical.) What this does is this tensions the connection
between the upper tube and the lower box. And one of the things that we discovered over the
course of Project Lightening with C&Rsenal is that the sear is in the lower assembly here, and the
sear catch on the bolt is in the upper assembly. And the two pins that hold them
together, especially this one at the back, these pins are going through sheet metal that
wasn’t hardened, because it didn’t need to be. And so over time, and given the heavy recoil impulse of
this gun, these holes could get ovalled out just a little bit, and that would allow the upper and the
lower to start coming apart just slightly. And if … the upper and lower didn’t
have a very nice tight precise fit the trigger would stop properly interacting
with the bolt, and the gun would stop firing. So if you watched Project Lightening you
saw that at one point we actually zip-tied the upper and lower of one of the guns, one of the
Chauchats, together which allowed it to keep running. The Belgians recognised that
problem and that is what this latch is for. This locks the upper onto the lower and guarantees that even if
the disassembly holes get worn the guns will continue to be held tightly together at the … point where the sear is interacting with
the … bolt and the guns will continue to run properly. So that is a really cool feature I think. And by the way, that is an example of something that is very
difficult to recognise, to understand the purpose of that, if you don’t actually have the opportunity
to get out and shoot some of these guns. As it was ultimately adopted in 1927
as the Fusil Mitrailleur Modèle 1915/27, this would be the standard Belgian light machine gun,
and it would remain in service until the mid-1930s when it was officially replaced by the first Belgian
versions of the FN BAR, the Browning Automatic Rifle. And the Belgians had a really good version of the BAR, however, it didn’t fully replace the Chauchats
by the time World War Two had started. It became the new official standard weapon,
but reserve units still had some of these guys when World War Two broke out in [1939]. And it wouldn’t be until after World War Two
that they were completely taken out of service. So what we have here really is a much
improved version of a wartime expedient firearm. I think it’s really cool what the Belgians went through
and did. They did in fact successfully address most of the real problems, all the ones that could be
addressed without fundamentally changing the gun. So a big thank you to the Arms Museum in Liège for giving
me the opportunity to bring this one out and show it to you guys. At the time of this filming they are
building their military display hall, by the time you see this hopefully
it will be up and open to the public. The Arms Museum here is really quite
fantastic, they have a lot of guns on display. … Everything from swords and arms and armour
through an entire hall of sporting and civilian arms, which include an awful lot of very unusual cool, weird
stuff. And then a tremendous hall of military firearms. So if you’re ever in the city don’t hesitate to stop and
check out the museum. It is part of the Grand Curtius museum complex (so kind of like the Cody
Arms Museum). There are other museums here on architecture and art and various other
things that are associated with Liège, for the folks who you might be travelling with
who might not be interested in the gun museum. Anyway, a fun destination, great museum to
check out. Hopefully you guys enjoyed the video. Thanks for watching.