USA news on Youtube Sep 29 2017

Savannah Chrisley: The Most Gorgeous Photos of USA's Brightest Young Star!

Dont focus on the ring. Have you ever watched Chrisley Knows Best on USA? It follows multimillionaire real estate developer and entrepreneur Todd Chrisley, who is quite the character - no one can argue with that.

Underneath Todds over-the-top lifestyle lies a healthy portion of all-too-relatable family drama, a tried-and-true reality TV combination. Case in point? Savannah Chrisley, Todds 20-year-old daughter, who clearly loves her lifestyle.

and Instagram clearly loves her for it. Her social media popularity isnt a mystery, as the Southern beauty has a fondness for selfies and a positive message to boot.

Savannah talks a lot about how important it is to love yourself, something that more 20-year-old girls need to hear on the reg. We give her major respect for that.

and lets be real, Savannah really knows how to take a photo. She can rock some supervillain cleavage Savannah doesnt always rock her cleavage out in the open but when she does, she wears it well.

No, shes not topless Savannah wants to assure everyone that shes in a strapless swimsuit and hasnt suddenly become an exhibitionist at what is clearly a large pool visible to many people. Noted.

Her hair can change from day to day Better call Savannah Chrisley with the big hair? Okay, its not THAT big. Twins? Savannah and her father dont really look like twins, but you can see the resemblance.

What a gorgeous view. of the water!      .

For more infomation >> Celebrity New : Savannah Chrisley: The Most Gorgeous Photos of USA's Brightest Young Star! - Duration: 2:42.

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BREAKING NEWS TRUMP 9/29/17 - NBA and NFL Vs. Trump , Rookie Slams Trump Over Anthem Protest - Duration: 18:38.

For more infomation >> BREAKING NEWS TRUMP 9/29/17 - NBA and NFL Vs. Trump , Rookie Slams Trump Over Anthem Protest - Duration: 18:38.

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Securing Surface Transportation - Curb to Platform - Duration: 2:11.

We need a way to safely detect explosive threats on people

and in their bags and we have to do this without physically searching them or

impacting thir flow through the transit system. Currently their are no solutions to solve

this challenging problem and this is why the Department of Homeland Security Science

and Technology Directorate has a program to mitigate the explosive threat to surface transportation.

Through innovative technologies that are designed to work together

and provide a layered approach to security throughout the transportation system.

Basically we are taking a curb to platform approach to security.

Curb to platform sensing, is the idea that we are going to distribute sensors

at various points from the parameter of the facility to the platform. So from the time

you step out of the cab, to the time you get on the train or a bus

there's sensors that are keeping track of subjects in the system.

This does a few things for us. First it allows us to get

multiple looks of a subject for better detection.

Second, it makes it more difficult for a subject to evade a sensing system.

If a subject knew that all of our sensors were say, only at the front door of a facility

he knows he only needs to beat the sensors in that spot.

Finally, it recognizes that there are many security environments that we must

protect in a mass transit system.

So the layered sensor archetecture would be a system that's constantly updating the risk level that it observes.

So from the moment someone steps into a facility and it starts collecting observations, it's going to have

some assessment of what it thinks the risk level is and as that person proceeds

through the subway system and additional observations are collected

the system is going to update that risk level.

This operational environment is by far the most challenging from an explosive threat protection standpoint.

And a focused long-term investment as well as a coordinated program working with

TSA and our surface transportation stakeholders will allow

us to continue to make the breakthroughs we need in achieving our goal of better protecting

the nations surface transportation systems and the traveling public.

[Music]

For more infomation >> Securing Surface Transportation - Curb to Platform - Duration: 2:11.

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Securing Surface Transportation - Video Forensics - Duration: 2:23.

[Don Roberts] Here at S&T we're developing a number of tools among them a video

algorithm capable of automatically detecting bags left behind

and tagging individuals who left those bags. We're also developing a

suite of video forensic tools that allow video surveillance systems to work more effectively

and efficiently.

[Robert Sealock] Today we are at New Carollton Metro station. We are testing some of camera

algorithms by placing bags in a variety of locations.

If you have a fairly well performing commercial algorithm that alerts

maybe only 60 times an hour, once a minute, when you multiple that by the

50,000 or so video camera in a mass transit system.

The number of false alerts is quite overwhelming. Its inconceivable

that even a fully staffed operations center is going to be able to field that many events over the course

a day. We are looking at a false alert rate that is appreciably lower

then what's commercially available and basically baked into the infrastructure.

and the video analytics and the video management systems that presently exist.

[Shawn Doody] The FOVEA program allows us to

be able to identify a package that's been left behind and then

to figure out who left it it behind and then start

to track that person and determine weather or not this is a

threatful situation and deploy proper resources to keep the people safe.

[Marianne Deangelus] So we're helping make existing video surveillance

systems more efficient, more effective, by giving users tools that help them get through the video faster.

One of the tools within FOVEA is a tool that we call jump-back and it lets a user

highlight an abandoned object, simply draw a box around it and jump back

to when that object first appeared. And from there the user can investigate what are the

circumstances around it. So for instance it's jumped back to when the

person left the bag. We can actually begin to bookmark the person in the video

and follow as they move throughout the station.

So here we're actually piecing together information from different video cameras.

Now once a user actually followers a person throughout the station

and understands where they have come from and where they have gone to

they could then reconstruct that video and stitch all of those pieces together

into once final video.

[Music]

For more infomation >> Securing Surface Transportation - Video Forensics - Duration: 2:23.

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Securing Surface Transportation - Our Task is Clear - Duration: 1:42.

We are gonna start seeing more attacks or attempted attacks on

mass transit rail systems. It's too attractive a target

for terrorist, because it's an opportunity to inflict a lot of casualties

in spaces where people tend to gather in dense crowds

and its also an opportunity to inflict damage on critical infrastructure.

And if you look at the security posture that we have in place now, it's not sufficient.

Because we are not performing the sort of detailed screening that takes place

in the aviation environments. Mass transit security is a global problem.

We are no less vulnerable here than they are overseas.

This highlights the importance of developing

tools that can assist the security staff on site

to ensure that our systems stay as secure as possible.

Our task is clear, we need a way to safely

detect explosive threats on people and in their bags and we have to do this without physically searching them

or impacting their flow through the transit system.

This is why the Department of Homeland

Security, Science and Technology Directorate has a program to mitigate the explosive threat

to surface transportation. Here at S&T were developing

a number of tools, among them a video algorithm capable of automatically detecting bags left

behind and tagging individuals who left those bags.

We're also developing a suite of video forensic tools that allow video surveillance systems to work more effectively

and efficiently. We are also investing in stand-off

threat detection systems using complimentary parts of the electromagnetic spectrum.

These systems will serve as a key component of the layered screening concept.

[Music]

For more infomation >> Securing Surface Transportation - Our Task is Clear - Duration: 1:42.

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Securing Surface Transportation - Electromagnetic Wave Sensors - Duration: 2:56.

Our task is clear we need a way to safely detect explosive

threats on people and in their bags and we have to this without physically

searching them or impacting their flow through the transit system.

The Surface Transportation Explosive Threat Detection Program is working in

collaboration with the surface transportation system end users and our stateholders

as well as our partners at Johns Hopkins applied physics laboratory and MIT

Lincoln lab to close the surface transportation security gap through innovative

technologies designed to work together and provide a layed approach to security

throughout the transportation system. We're also investing in standoff threat dedection

systems using complementary parts of the electromagnetic system.

These systems will serve as a key component of the layered screening concept.

This is the Centimeter Wave Array that we're developing here at

APL as apart of our layered threat detection approach. These

would be incorporated into the walls you would be going down a hallway,

people can just walk in front of this, this images them but at

such a blurry level that most people would not consider this to be particularity invasive.

Its only the very large things, that you know, hey that looks like a rife, that looks like

an explosive. So that an operator will see the people walking by the array

and the large false colored red blob that says he's concealing something.

The power and the frequencies we're emitting are the same as put out by your

wifi. This will not harm you in any way.

These are lower then exposures that you will get from your own cellphone.

Our concept is use a low-cost system like a centimeter wave system

as the initial layer of defence identifying potential items of interest.

Then we can use a millimeter wave system as our next layer providing a more detailed

view of potential threat items. Both layers working in a safe way that

maintains the traveling publics privacy.

This system is a prototype standoff microwave imager. Its a panel that's placed on a wall.

or a corridor or perhaps on the ceiling, the idea here

is that if you come into proximity of the unit with a concealed bomb or rifle

its going to be able to see it. Microwave sensing can complement FOVEA

by providing information that FOVEA doesnt have. So you can immagine

a scenario where FOVEA alerts us to the fact that somebody has

dropped a bag and walked away. Now if that's all we know, we don't kknow

if the bags empty, or weather we need to call in a bomb tech to check things out.

Microwave sensing can tell us if the bag is empty or its full of metal.

Or perhaps if it has some other suspicious item inside. That will allow us to

tailor our response to save resources, save time and keep everybody safe.

[Music]

For more infomation >> Securing Surface Transportation - Electromagnetic Wave Sensors - Duration: 2:56.

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MINH LE HEMMER - INLINE SKATING WITH 125MM TRISKATES IN THE STREETS OF BARCELONA - Duration: 2:52.

INTRODUCING MINH LE HEMMER

For more infomation >> MINH LE HEMMER - INLINE SKATING WITH 125MM TRISKATES IN THE STREETS OF BARCELONA - Duration: 2:52.

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URBAN LANDSCAPE photography - Duration: 13:14.

good morning everyone back in Dallas again this morning I am here to do an

exterior shot Museum is back over there and we're going into a building up here

if this weather will hold out it's awfully cloudy

I have to say the parking

situation downtown could be much improved

and less expensive

that ended up going really well it is overcast out here but it's not

completely overcast and I actually think this ended up working pretty well I was

convinced we were gonna have to come back out a second time and reshoot but

we got it of course that's up to the client

so I'm obsessed with the idea of lunch here so got a kill a little time first

but since we have a minute to kill I'll show you where we are this is actually a park

that is built over a freeway when I was a kid growing up for years we referred to

this as the canyon because it all just went underground well they built a park

up at the top and it's surrounded by the Arts District on one side on the other

side you have hipster expensive apartments there's like two restaurants

in here that are excellent lots of mirrors here's the museum I worked in

for seven years is it just me or do these two sculptures look like bird sh…

whole slew of food trucks and some more food trucks that's the opera hall and

behind that is where I went to high school you can sort of see the Symphony

Center back there this new building whatever that is is now in the way

sculpture center Asian Art Museum

Oh tough choice here or there

we're going to the Phoenix

enchiladas check

time to head back to the fort you know

in the last vlog a lot

of you complained about the highway footage and yeah it's a long drive

between Dallas and Ft Worth but just for you guys we're gonna cut to the chase I

won't do highway footage today mainly because I forgot the dashcam I need to

work on that - I need to like pimp this car out so like when it gets a little cooler

we'll find a cooler set up for this but anyway let's go ahead and head back to

Fort Worth right now

no… wait

oh, not yet

there we go so let's go in and see what we got

oh these guys

I'm a construction magnate

like seriously it follows me everywhere

okay so essentially this is an urban landscape so my plan here was to end up

with a composite image that had the maximum depth resolution that I could

possibly crank out of this and so what I did was a series of images that are

stitched together in Lightroom at the end and I'll show you how to do that in

a second the lens I chose for this is the Zeiss Loxia this is the f/2 35mm

it is a Sony mount it is incredible and so essentially what I do

is go through and just do a series of three or six images that are just side

by side that are going to be stitched together in the end now the key to this

is making sure that your exposure is identical on every one of these images

so what you want to do if you want to do this is go through and find the

brightest spot in your image and sometimes with landscapes you've got the

Sun in there you've got to find that and you've got to expose for that and then

that's the exposure you're going to use throughout and I'll explain how we get

into this in Lightroom next thing you're gonna want to do I'm going to show you

how to do this in Lightroom is you're gonna want to actually apply any lens

correction profiles that Lightroom offers if that's a possibility there are

some cameras like Panasonic and Fuji for instance that do it internally in-camera

and that's fine you can just use them straight off the camera but if you're

using something else like Canon Nikon Sony what you want to do is go in and

manually select those lens profiles and what that will do is it'll help you with

them in the vignetting and any distortions that you have and it'll make it easier for

the algorithm to stitch those together okay so we're in Lightroom now and I

want to make a couple points about this image first of all as I said before this

is not the client image and the reason I'm telling you that actually there are

two reasons that it will get to but first of all this is shot the opposite

direction from the landscape that I was actually shooting for the client they

asked me what my preference of time of the day was and it was kind of a favor

that was called into a business that has two floors in this high-rise on the

other side and I said well we want to shoot it in the morning knowing where

the sunrises and knowing where the building is and they said fine and so before I left

I did a couple shots so I could use the same technique to illustrate to you guys

in this video but it is shot in the opposite direction I was in a hurry and

it was overexposed and you can tell because if you look in the sky here

you're seeing some blown highlights so I didn't have time to bracket this at this

point because the priority unfortunately was not doing this video it was doing

the job for the client but I want to show you at least the process but the

point I want to make though is that even though this was overexposed

a lot of it was recoverable because of the settings that I chose to use so you

can see what I used over here this is actually the final stitched panorama it

makes a dmg file and this was one sixtieth of a second at f/8 at ISO 100

and the Sun is right here over the Chase building so but you could still see even

though that it was somewhat backlit I was still able to recover a lot in this

image and that is a key because there are two things that you have control

over when you're shooting basically an urban landscape or any kind of landscape

for that matter the first one is ISO and ISO as most of you guys probably know is

a metaphor in the digital world for what we dealt with in film sensitivity and so

typically if you're gonna get the most detail the most information out of the

image that you possibly can you want to shoot at the cameras base ISO now that

may be very conservative by today's standards because cameras are really

good with higher gain settings or higher ISO settings but anyway I shoot at the

base ISO and the other thing is I definitely wanted the lens at f/8 that

it's just it looks really good at f/8 everything's sharp you could shoot at

f/16 this lens doesn't have the aberration problems that some lenses do

but anyway f/8 was my choice so the shutter speed is all I'm left to deal

with and we're shooting into the Sun and if this were the shot that I were trying

to get this is not the time of the day that I would have tried to get it which

was in the morning so anyway with that being said though this is the final

stitched image and you can see that there's a lot of detail even if i zoom

in you can tell it retains a lot of detail and I wouldn't have chosen this

time of day like I said to shoot this particular image this is the opposite

way the way I was shooting but anyway just to tell you how I did this so this

is basically a stitched panorama based on six images that I took and so if you

go look at the original images here they are so real exciting here but you can

definitely tell that I'm slightly overexposed with that sky blowing out

but when you do these you want to create enough of an overlap so that Lightroom

or Photoshop or however you're stitching these the algorithm can tell what's

trying to be stitched together and so it needs information that is similar in

each image so if that makes sense so they need to overlap slightly is my

point if they definitely don't overlap it can't invent it the image that's not

there so you're gonna have a problem so what you basically do to do this is you

select all six images and you do control+m

and it's going to bring up a panorama

merge preview now there are three choices you have here in algorithms and

they are spherical cylindrical and perspective and these are based on how

the image is mapped out and so it could be very different if you're using a

drone to go in a spherical pattern anyway so you want to choose the correct

one the correct one in this case because I'm simply just like hand holding this

and just moving the camera over is going to be perspective of course if you click

on any one of these you can see a preview so you can always experiment

with it from there and then what you want to do is just click merge and I've

already done - I'll say cancel and it will give you a DNG composite of those merged

six images so what you end up with is very much a higher resolution image than

your camera and of course I'm using the sony a7s on this and so that's kind of

part of my thinking on this if I had a higher megapixel camera the original a7s

is only 12 megapixels you know feel free to go wild but in my case I have

a lower megapixel count and I want a really high megapixel image in the end

and so I could have gotten even higher than this there are different ways you

could go about it but I really love this whole concept of working with composited images

so that is essentially my approach to landscape photography I am a

big fan of stitching in this instance because what I want to do is be able to

retain the maximum amount of detail that I possibly can out of a single image

even though it's six all stitched together but it is a cool technique and

if you want to try it yourself remember it is really important to get things

right in the camera before you do the stitching in post and when you're kind

of going around you want to find the brightest area of the image and make

sure that you retain those highlights and I know this was kind of a weird

example because I was doing something for a client and so that's where my

attention was and then I wanted to have something to share with you guys so I

kind of flipped around the opposite direction which was not ideal and I

didn't get the time to bracket it appropriately but you get my point the

main things that you want to remember to have your camera at the base ISO that

is really important because any gain that you start to introduce will start

to degrade the image quality somewhat of course in the modern age this is a

little different than it was 10 years ago the other thing you want to remember

is to have your aperture set at f/8 this will avoid any

kind of aberration distortion and it's also not too shallow so you won't have

any depth of field issues okay so one other thing that I want to mention is I

am NOT Joe Landscape and don't claim to be and I want to recommend you two

channels on YouTube that definitely are although I wouldn't call them Joe

Landscape the first I want to mention is somebody that I've known online for

years his name is Ben Horne he has an amazing channel he does

behind-the-scenes and vlogs he shoots film shoots eight-by-ten if you've never

seen an eight-by-ten negative or positive you are missing out I've only

kept to Ben's channel in the show description make sure you check that out

another gentleman I would highly recommend is Thomas Heaton and if you

haven't seen Thomas he does a lot of vlogging a lot of behind the scenes on

how he's getting the shot and he goes to some really amazing locations both those

gentlemen are awesome check them out I will see you guys on Monday we have

photo assignments and this week is going to be really good so until then I'll

catch you Monday later