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[Assistant] Explain to your children that not all boys and girls have gifts to open on the holidays, and ask if they'd like to share some of theirs. Most kids are eager to pick out and wrap old favorites, especially if they're involved in delivering them to the recipients.


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[Assistant] Sharing toys goes for grownups as well. Old computers, golf clubs, CD players, or cell phones are meaningful holiday donations.


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[Assistant] You can't stop holiday commercialism, but you can refuse to partake.


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[Assistant] Kill your television and engage kids and family in more festive activities. Give kids disposable cameras and have an afternoon of photo taking. Make cookies for an assisted living center.


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[Assistant] Head to the local ice rink, museum, or aquarium.


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[Assistant] Drag out the markers and paints and make homemade New Year's cards. Instead of supporting plastics, box stores and rampant consumerism, make gifts more meaningful.


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[Assistant] Buy at small, local stores. Make your own holiday cards and donate the savings to charity.


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[Assistant] As much as you want to connect with your family and friends, it's essential to carve out time for yourself.


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[Assistant] Even if it's just 10 minutes a day.


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[Assistant] Take time for meditation Introspection Yoga A solitary hike Gazing at the evening stars


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[Assistant] When days get busy and stressful, schedule an afternoon siesta during which everyone goes to his or her room for 45 minutes to read, nap, and play quietly.


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[Assistant] Lock yourself in the bathroom with a hot bath, and don't wait until New Year's Day to rethink your personal priorities. List them now and let the magic of the holidays inspire you. I hope you will enjoy your holidays better after today's talk. Thank you very much.


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[Assistant] Now, listen to the following recording and answer questions 20 to 22.


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[Assistant] Question 20. What is this pattern?


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[Assistant] Question 22. When was the expression, grain-eyed monster, first?


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[Assistant] The first magazine was a little periodical called The Review, and it was started in London in 1704. It looked a lot like the newspapers of the time, but in terms of its content, it was much different.


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[Assistant] Newspapers were concerned mainly with news events, but the review focused on important domestic issues of the day, as well as the policies of the government.


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[Assistant] Now, in England at the time, people could still be thrown in jail for publishing articles that were critical of the king. And that's what happened to Daniel Defoe.


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[Assistant] He was the outspoken founder of The Review. Defoe actually wrote the first issue of The Review from prison.


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[Assistant] You see, he had been arrested because of his writings that criticized the politics of the Church of England, which was headed by the King.


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[Assistant] After his release, Defoe continued to produce the review and the magazine started to appear on a more frequent schedule, about three times a week. It didn't take long for other magazines to start popping up.


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[Assistant] In 1709, a magazine called The Tattler began publication.


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[Assistant] This new magazine contained a mixture of news, poetry, political analysis, and philosophical essays.


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[Assistant] Because while I was waiting for you to come back, I opened the door and walked down the corridor. And I heard that crying again.


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[Assistant] A man was driving across the moor selling things.


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[Assistant] He stopped his car at our door and mother bought you a skipping rope with some of my wages.


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[Assistant] You can't skip to a hundred at first, but Mother says nothing will do you more good. You'll soon build up strength in your arms and legs.


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[Assistant] The Secret Garden Chapter 3 Across the Moor


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[Assistant] Mrs. Medlock's story sounded like something in a book, and it did not make Mary feel happy.


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[Assistant] A house with a hundred rooms and nearly all of them shut up with their doors locked?


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[Assistant] A man with a crooked back who shut himself up too.


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[Assistant] Mary pressed her lips together and stared out the train window as it began to rain.


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[Assistant] She had felt sorry for Mr. Craven, but now she felt he deserved all the trouble that had come his way. He certainly sounded unpleasant.


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[Assistant] Mary turned away from Mrs. Medlock and watched the rain streaming down the window of the train. Soon she was asleep. When Mary woke up, it was quite dark.


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[Assistant] The train had stopped and Mrs. Medlock was shaking her.


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[Assistant] Mary stood up and waited while Mrs. Medlock collected their things.


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[Assistant] They stepped down from the train and found a carriage waiting for them. A footman opened the door.


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[Assistant] Mary was not a shy child, and she was not exactly frightened.


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[Assistant] But there was no knowing what might happen in this strange house on the edge of the moor.


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[Assistant] They drove through a tiny village where Mary saw a church, a few shops, and some whitewashed cottages.


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[Assistant] Soon they were on the highway, and she saw hedges and trees.


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[Assistant] After a while the horses began to go more slowly. There were no more hedges or trees.


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[Assistant] Mary could see nothing but a dense darkness beyond the yellow light of the carriage lamps.


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[Assistant] The rough road seemed to cut through bushes and low growing things. The wind began to make a wild rushing sound.


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[Assistant] The rain stopped but the wind whistled and made strange sounds.


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[Assistant] Mary felt as if the drive and the moor would never end.


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[Assistant] She said to herself. She pinched her lips tightly together for a moment.


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[Assistant] The horses climbed a hilly part of the road. Just then Mary caught sight of a light.


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[Assistant] Mrs. Medlock saw it too and gave a sigh of relief.


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[Assistant] But after the carriage passed through the gates of the estate,


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[Assistant] There were still three more kilometers to drive.


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[Assistant] At last they arrived at Mistlethwaite Manor.


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[Assistant] When they stepped down from the carriage, they were standing in a courtyard. A servant opened the front door.


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[Assistant] As Mary walked into the enormous hall, she felt very small. A thin old man stood near the servant.


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[Assistant] She led Mary up a broad staircase and down a long corridor.


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[Assistant] Then they went up a short flight of steps and through two more corridors.


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[Assistant] Finally they came to a room with a fire in the fireplace and supper on a table.


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[Assistant] As I've said before, revision is really important because that's where the elegance comes in in writing.


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[Assistant] Here are some tips for revision. I'm going to go through each one of these in turn.


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[Assistant] One of the big tips I can give you on revision is to read your writing out loud.


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[Assistant] That's because the brain actually processes the spoken word differently than the written word.


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[Assistant] You may have noticed that in this course, as I've been reading some examples to you out loud, you can hear the awkwardness or repetition or wordiness. Your brain picks it up better when you hear it rather than when you see it.


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[Assistant] So always read your work out loud. That can help you pick up where things don't sound good.


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[Assistant] Sometimes it even helps to read your writing out loud into a tape recorder and then play it back. Another great tip for revision is to do a verb check.


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[Assistant] If you're stuck and you're just not quite sure how to improve your work, but it's feeling like it doesn't have enough oomph, like it's boring, here's a really easy thing to do.


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[Assistant] Take a couple of paragraphs and go through and underline the main verb of each sentence.


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[Assistant] After you've underlined them all, think carefully about your verb choices.


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[Assistant] Do you have a lot of to be verbs, is, are, was, were, be, been, am? Do you have a lot of passive verbs? Do you have buried verbs where you've got a really long subject before you get to the main verb?


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[Assistant] Just changing a few verbs to make them more spunky can go a long way to making your writing more lively and accessible. Use a thesaurus to find good verbs.


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[Assistant] As I've also already stressed in this course, you need to learn to cut ruthlessly.


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[Assistant] It's hard to cut your own work, but hopefully the editing practice that you've been doing in this course is making you more aware of the clutter in your own writing. Just a quick review of what we talked about in week one.


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[Assistant] Watch for deadweight words and phrases. Things like, it should be emphasized that, in my opinion.


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[Assistant] Watch out for empty words and phrases like basic tenants of, important, methodologic.


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[Assistant] Watch out for long words or phrases that could be short, like muscular and cardiorespiratory performance rather than fitness.


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[Assistant] Also, unnecessary jargon and acronyms as I've mentioned before. Try to catch yourself if you're using a lot of acronyms and go back and replace those with the actual words.


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[Assistant] For jargon, ask yourself, do I really need the jargony word or can I say this in a simpler way?


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[Assistant] Watch out for repetition and also for adverbs. These are all of the things that we've been practicing in this course already.


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[Assistant] During revision, you should also do a higher level review, what I call an organizational review.


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[Assistant] The way that I do an organizational review, especially when I'm editing students work, is I tag each paragraph in the margins with a phrase or sentence that sums up the main point.


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[Assistant] So if a paragraph is all about the biological pathway that underlies a disease, I might write biological pathway in the margin. I'll go through each paragraph in the paper and I'll give it a tag.


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[Assistant] What I inevitably find is that there are multiple paragraphs with the same tag in different places in the paper.


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[Assistant] So then I just move those paragraphs around to bring like ideas together.


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[Assistant] Then I may even combine those paragraphs to reduce repetition.


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[Assistant] This trick of tagging each paragraph can also help you assess the logical flow because you can quickly check whether the paragraphs are organized in a logical manner.


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[Assistant] Hopefully if you did a good job in your pre-writing, what comes out in your first draft is already well organized, but sometimes you need to move things around.


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[Assistant] When revising, it's always helpful to get outside feedback. It's hard to edit your own work, so getting an outside opinion can help.


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[Assistant] Ask someone outside of your department, preferably outside of your own little niche in science, to read your manuscript. It doesn't have to be somebody who has any training in your scientific area.


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[Assistant] Just somebody who's intelligent and has enough knowledge of science to be able to read a scientific manuscript. Make sure that they can tell you back.


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[Assistant] The main findings, the take home messages and the significance of your work.


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[Assistant] Even without any technical background in your particular area, they ought to be able to get these three things from your paper without any problem.


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[Assistant] If they're struggling with the paper, ask them to point out particularly hard to read sentences and paragraphs in your paper.


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[Assistant] These are places where you can focus, uh, your revision efforts. Try to make the writing more clear, succinct and engaging.


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[Assistant] Finally, find a good editor to edit your work. Preferably somebody who knows how to do some sentence level editing.


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[Assistant] Sometimes a spouse, a significant other, a friend, if they're willing to, can make a good editor.


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[Assistant] Maybe you'll meet somebody in this course who's a good peer editor who you could team up with later to reciprocally edit each other's work.


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[Assistant] And hopefully during your career, you'll find advisors or mentors or editors who you work well with and who can polish your work at the end of the day.


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[Assistant] I know. I had an uncle who lost his hop once. It's a terrible disease. They called it Uncle Nigel's Hoppity Stop Hop. What happened? He had to walk on his hands for the rest of his life. Hashtag devastating.


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[Assistant] Oh yeaah, yeaah, yeaah. I've seen this all before. This is exactly what happened with Uncle Nigel and his hoppity stop-hop. They shot him too. It was so tragic. Hashtag put her out of her misery.


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[Assistant] You mark my words, Muriel, we'll all be hopeless by tomorrow. You've gotta get yourself checked!


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[Assistant] We took things for granted. We expected coffee in the morning. We expected free wifi. When those were taken from us, we survived.


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[Assistant] Remind us that we are one people. They are our shield and our light. But if that light goes out...


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[Assistant] No! If this enclosure went completely spotless, we will be kicked out! We'd be homeless!


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[Assistant] Scavenging for our food! W-we'll be gone! Over! Kaput! Finitos!


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[Assistant] This place is a tip. There's rubbish everywhere. The house is full of trees and hank.


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[Assistant] Anyway, if we want to definitely pass the inspection, we need to get cleanin'. Yes!


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[Assistant] Normally yes. But have you seen how dirty the giraffe house is? And Jim's over there on his own.


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[Assistant] Yeah, well done everyone. This place is like totally spotless. And not a firecracker in sight, Hank.


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[Assistant] What can a bird do that I can't do? You mean apart from fly? No one was asking you, Jeffrey. And lay eggs? Jeffrey? Yes boss? Shut up.


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[Assistant] Hey guys, has anyone seen a big squirrel and a rabbit round here? I borrowed them from the petting zoo. Oh.


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[Assistant] Well, uh, like pets, I guess.


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[Assistant] No one has been allowed to go inside for ten years.


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[Assistant] You see, if no one knows but us, and if we could find the hidden door, we could slip through it together.


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[Assistant] I've never had a secret before. Perhaps I could find the door. Then we could find some boy to take you out in your wheelchair.


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[Assistant] Oh, hey Louis. Hi Eric. Fine, thanks, yeaah. Uhm, can you tell me about enrichment?


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[Assistant] Keeping the animals occupied keeps the keepers busy too. It's so cool. I love it.


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[Assistant] They seem to enjoy it just as much as the animals. It's awesome!


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[Assistant] Back on Baboon Rock, it's time for one last ditch attempt to settle the rowdy residents. Having tried wind chimes, brushes, and cardboard, Kate has one last trick up her sleeve. And this is it.


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[Assistant] A bubble machine. What's wrong with that? That'd work for the penguins.


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[Assistant] Of course we recognize her. But that doesn't mean it's really her.


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[Assistant] Spike the Brave and Glorious, you faced evil changelings before? What can you tell us?


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[Assistant] You hear that? These monsters can look like any of us. So be on guard, guards. Even more than normal.


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[Assistant] Defeating two changelings? Defeating all the changelings?


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[Assistant] I want to forget those things. Mary makes me forget, and that's why I want her here.


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[Assistant] Humans adore us as much as we adore humans. Sauteed with shallots and a dash of ketchup.


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[Assistant] Look at those two hairy idiots. They hate each other.


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[Assistant] Not like us, huh, boys? Don't they realize that the key to harmony is listening? When Jurgen speaks, people listen. Isn't that right, guys?


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[Assistant] Sorry, did you say something? I said when Jörgen speaks, people...


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[Assistant] Don't be ridiculous. You need me here. A-anyways, there's no room for me anywhere else. S-so you're all stuck with me? Yeah, and don't we like, know it?


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[Assistant] I'm, I'm leaving. Oh. Right then. Let's see how long you last without me.


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[Assistant] Yes? It's the romance capital of the world!


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[Assistant] Nonsense! Right chaps, when I call your name, hop forward.


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[Assistant] Oh wait, yeaah, right, yeaah, yeaah, it's the frog alarm, yeaah, definitely.


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[Assistant] Don't look so frightened. You may do what you like. Do you want toys? Books? Dolls?


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[Assistant] You remind me of someone else who loved the earth and things that grow. When you see a bit of dirt you want,


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[Assistant] Take it, child. And make it come alive. Now you must go.


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[Assistant] I keep hoping that someday they'll develop a crabbiness vaccine.


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[Assistant] So, did you get a pretty egg? If a birthday beagle ever comes around, tell him to forget it.


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[Assistant] Is there anything I haven't thought of? Yes, there's one thing you haven't thought of.


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[Assistant] Uh, hello? Look at these bad boys.


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[Assistant] He's got to eat the plums! Plums aren't a vegetable. Oh, shut up! I couldn't think of a vegetable to rhyme with pecans.


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[Assistant] In this next module, I'm going to give you an overview of the submission process.


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[Assistant] In the three modules that follow, I will interview long time journal editors who will give you more information about the publication process. So I'll just set it up for you here and then you can listen to them for more advice and tips.


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[Assistant] The first thing you should do, even before you start writing your manuscript, you should identify the journal where you're going to be submitting to. And that is a whole art in itself.


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[Assistant] You need to spend some time thinking about what's the appropriate journal.


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[Assistant] You have to figure out who is the audience that's going to care about my data.


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[Assistant] And it may not be the most prestigious journal, it may be more of a niche journal.


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[Assistant] If you're junior, talk to some more senior people about what journal is really appropriate for your submission. You want to aim high, but be realistic about where your paper belongs.


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[Assistant] The second step is to go online and look at the online instructions for authors of the journal you are targeting.


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[Assistant] Journals give you detailed tips for how to write and format the manuscript.


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[Assistant] How many references are allowed? How should those references be formatted? How should tables and figures be formatted?


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[Assistant] Then, once you've written your paper and all of your co-authors have signed off on it, if you are the corresponding author, then you're going to be the one submitting the manuscript online.


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[Assistant] Online submission is wonderful. Way back when, when I was a graduate student, we still had to photocopy the papers and put them in an envelope and mail them to the journal in snail mail. Months later, you'd get a letter back in snail mail.


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[Assistant] It was a much less efficient process. Nowadays, the online submission process has streamlined everything.


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[Assistant] It does usually take a couple of hours to enter all the information online, so just be aware that it still takes some time and thought to submit the manuscript.


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[Assistant] You also need to collect conflict of interest and copyright forms with signatures from all your authors and this can take some time so just factor that in as well.


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[Assistant] Once you've submitted your manuscript, you may hear from the editor rather quickly if the editor decides to reject the paper outright.


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[Assistant] Maybe you shot too high or it's just not a topic of interest to the journal, so the paper is not even sent for review.


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[Assistant] Barring that, assuming your manuscript goes out for review, then it usually takes at least a few weeks before you hear back. And your paper is going to be put in one of four categories.


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[Assistant] You might get the paper accepted outright with no changes. That hardly ever happens, almost never. You could also get the paper accepted pending some minor revisions. This is an extremely positive outcome that does occasionally occur, but it's also rare.


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[Assistant] Most papers that are eventually published in journals go through the third category, rejected, but resubmission possible, also called revise and resubmit.


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[Assistant] The first time you get a revise and resubmit letter, it sounds terrible.


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[Assistant] The letter basically says that your paper has been rejected, so it sounds like a rejection. But you have to read the fine print.


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[Assistant] Because if they are inviting you to revise and resubmit, that's actually a positive outcome.


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[Assistant] That means that the editor believes your paper will likely be publishable if you can address the concerns of the reviewers.


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[Assistant] Journal editors actually want you to have to go through a round of revision to make sure that the paper has been thoroughly vetted and that the paper is as good as it can be.


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[Assistant] So that's really what you're aiming for when you submit an original research manuscript. You're aiming for that reject but resubmit category.


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[Assistant] And then finally, you may get an outright rejection. This means that you will have to try submitting elsewhere.


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[Assistant] Now, you're going to be tempted to just send it elsewhere as is without addressing the reviewers comments, but don't do that. Make sure that you read through those reviewers comments, even though you don't have to respond to them.


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[Assistant] Read through them and figure out the problems in your paper and revise it before you send it somewhere else.


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[Assistant] Because if you send it somewhere else, the same problems are just going to pop up again.


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[Assistant] Use the feedback to make the paper better and increase your chances of getting it published elsewhere.


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[Assistant] If you get in that revise and resubmit category, you're going to have to submit a cover letter that addresses the reviewers' critiques point by point. I'll go over this in just a minute.


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[Assistant] And then hopefully your paper will get accepted. Congratulations. Once it's accepted, the last step is that you will have to review the final proofs from the journal.


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[Assistant] They will format the paper in journal style and then send you the proofs.


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[Assistant] Make sure you look at those carefully because it is almost always the case that small errors get introduced in that formatting and layout process and you want to catch those.


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[Assistant] I've also caught just silly mistakes in the proofs and managed to catch them before they went to publication. So make sure you review those proofs carefully.


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[Assistant] Again, the revise and resubmit category sounds pretty bad when you first read the letter from the editor. It sounds very negative.


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[Assistant] The first paper I ever submitted as a graduate student, I got this letter back in snail mail. It said the paper was rejected. And I was like, oh, I guess my paper was rejected.


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[Assistant] But I showed the letter to somebody more senior and they said, no, no, no, no, no. This is actually a good outcome because if you read further in the letter, it says that they are allowing you to revise and re-submit.


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[Assistant] This is the outcome you're actually shooting for with that initial submission.


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[Assistant] But it feels negative. It will say something like, your manuscript is not acceptable for publication. But if you keep reading,


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[Assistant] It'll say, uh, something like, if you feel that you can suitably address the reviewer's comments, then I invite you to revise and resubmit your manuscript. That's positive. That means they're interested in the paper. So don't be discouraged by the negative tone these letters usually have. This is actually a positive outcome.


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[Assistant] If you are asked to revise and resubmit, you are going to prepare detailed point-by-point responses to the reviewers.


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[Assistant] You'll want to be polite and appreciative as I'm showing you in the example here.


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[Assistant] So you would say, Dear editor, we appreciate your helpful comments.


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[Assistant] And those are the reviewers. We feel that the manuscript is now greatly improved. You want to be polite.


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[Assistant] Because the review process is meant to make your paper better, and ultimately I believe it does make your paper better.


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[Assistant] When you get that first set of criticisms from the reviewers, it won't be your first instinct to be polite and courteous and to thank the reviewers. Most of us respond to criticisms defensively.


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[Assistant] It's everybody's natural instinct when you get a bunch of criticisms about your paper to get defensive.


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[Assistant] But you need to get over that defensiveness as fast as you can and use the reviewers feedback to improve your paper.


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[Assistant] The funny thing is, reviewers don't always hit the problem on the head.


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[Assistant] Sometimes they are off the mark. That is, they don't quite identify the flaw in your paper correctly. They get it wrong.


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[Assistant] But what's really interesting is even when they get it wrong, they usually identify some other flaw. For example, a reviewer might think you did your analysis wrong.


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[Assistant] But it's not that you did your analysis wrong, it's just that you explained it poorly. You weren't clear in your writing.


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[Assistant] Even when the reviewers don't pinpoint the problem quite right, they usually get somewhere in the vicinity.


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[Assistant] By them raising an issue, it leads you to find something that was wrong in the paper that needs to be fixed.


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[Assistant] I had a situation with one paper where we screwed up on the numbering of some references.


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[Assistant] And the way that was found is one of the reviewers was talking about the background literature and they had the literature mixed up.


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[Assistant] And my first instinct was to say, well, this reviewer just doesn't know the literature. They're ignorant. They don't know what they're talking about. But then, when I looked more carefully,


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[Assistant] What I realized is that they were quoting the literature wrong because we had numbered our references wrong.


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[Assistant] The reason they were misquoting a particular paper is because we had attributed a fact to the wrong paper through our misnumbering.


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[Assistant] So even though they didn't identify the actual mistake we had, it led me to finding that mistake and thankfully fixing it before it went to publication.


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[Assistant] It's human nature to react to criticism defensively, but the faster you can see the reviewers critiques as an opportunity to learn and to improve your paper, the easier your life is going to be.


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[Assistant] In fact, I think this is one of the life skills that if you can master, it is absolutely essential to success.


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[Assistant] For any type of criticism you receive, the faster you can separate yourself from the criticisms, not take them personally, not take them as a critique of you as a person, but change your perspective and view it as an opportunity to improve and learn the better off you're going to be.


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[Assistant] By the time you respond to the reviewers in a formal cover letter, hopefully you will see how they have helped your paper. So be polite and acknowledge that help.


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[Assistant] You need to then address each comment point by point with numbers. For example, reviewer one said there's little discussion of X. Respond very specifically.


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[Assistant] We agree with reviewers 1 and maybe reviewer 2 that the section on x was too abbreviated. Therefore, we have added a paragraph that highlights this. And then you point out the exact location of that specific paragraph.


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[Assistant] You don't need to make every change the reviewers ask for. But if it's something small and inconsequential, just make the change.


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[Assistant] If it's a change that you disagree with and you think the reviewers got it wrong, which certainly happens, then just explain to the reviewer why you're not making that change, but give a thoughtful and respectful response to each specific comment.


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[Assistant] Most journals also want you to include a copy of the paper with the changes tracked.


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[Assistant] This is helpful for editors and reviewers so they can go back and see exactly where you made those changes. When I'm reviewing a paper, I like to verify that the authors actually did make the changes I requested, so track changes is helpful and it's required by many journals.


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[Assistant] Finally, as I was preparing these lectures, I was looking at this book, Guidebook to Better Medical Writing, and he said something interesting in it.


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[Assistant] He didn't have a citation for this, so I'm not sure where this statistic came from, but it resonates with me.


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[Assistant] To get published, good writing and good data presentation are key.


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[Assistant] Again, I don't know where he got those numbers from, but I would say that it's true for me that more than half of the time when I'm reviewing papers, more than half of my comments have to do with writing and presentation rather than with methodologic problems in the science.


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[Assistant] You and your friends have made us very happy. It was nothing at all said Wukong with a laugh.


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[Assistant] Really awesome. And it has nothing to do with this lesson, so let's just leave it there and have a look at what's on my screen. I've created two circles and one of them I've animated the position from to the left to the right.


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[Assistant] By the way, this is gonna be a very technical lesson, because I wanna talk about creating custom presets and more specific some options that we get when creating a preset.


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[Assistant] So what we can do is right click on the Motion property and say Save Presets. We can give that a name, for example,


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[Assistant] Animation, right? And then down here we have a couple of options and this is what I want to talk about in this lesson.


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[Assistant] How do my keyframes need to be stored within the presets?


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[Assistant] The first one is scale. So, this is about one third of the clip where my last keyframe is set at. And the preset will also look at it that way. Where the first keyframe is set at 0%, the last one is set at 30%. So, saving this as a preset, hit OK. And I'm gonna go to my effects library right now.


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[Assistant] Into the presets folder we can find that in there, the animation rights. So let's apply that to the graphic here on top. But before I'm gonna do that I'm going to trim this clip


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[Assistant] A little bit shorter. And now let's drag that animation preset to...


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[Assistant] And what you'll see now is that the animation will not go as fast as the preset was saved as, as you can see here. And that is because it has been scaled over the clip. We're in the first example, the last keyframe set at around one third of the clip, applying that to a shorter clip,


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[Assistant] We'll also place that last keyframe on one third of that clip. So that is what scaling does. And if you don't want that, let me just remove...


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[Assistant] The keyframes from here. And I'm also going to delete my preset. There we go.


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[Assistant] Because we're gonna create a new one, right click on the motion property, say save preset. Again, moving to the right or whatever you wanna call it. And this time we're gonna say anchor to endpoints. And that means it's going to retain the same distance in frames rather than in percentages.


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[Assistant] So press okay and whenever I'm going to apply this preset now to the one or the graphic on top,


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[Assistant] You'll notice that the last keyframe here sits at the same position as the one that we've created our preset from. So these two circles now move at the exact same time. Alright, I'm gonna delete that preset again. So right click again, save preset. This time choose Anchor to Outpoint, give that a name. Motion Right.


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[Assistant] And what it's gonna do now is actually look at the distance between the end of the clip and the last keyframe in here, so this part right here. And it's going to retain that distance because we're looking at the out point instead of the in point. And this is mostly useful when creating an outgoing transition or something, which we'll dive into in just a moment.


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[Assistant] So let's just press okay and I'm going to apply my motion right to the graphic here on top and you'll notice that the distance right here


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[Assistant] Between the last keyframe is the exact same as right here. So the animation will be applied a little bit later in time.


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[Assistant] And what I've created is this beautiful animation as the B-roll starts, but also we've got a beautiful animation as the B-roll ends. So I'd like to save this as a preset because I'm gonna use this more often throughout my edits. Just click on that and right here the motion property.


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[Assistant] Right click, say save preset and let's just call this wipe up.


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[Assistant] Now, we're not gonna pick scale because I want to retain that speed. If I'm going to add a new clip into my timeline that is a lot longer,


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[Assistant] That wipe-up animation will also take a lot longer. I'm also not going to take anchor to out points because this is a starting animation and I want to make sure that these two keyframes here sit at the beginning of my clip.


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[Assistant] So that's why we're gonna pick anchor to endpoints. Press okay.


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[Assistant] Right click on my motion property, say save preset, and call this wipe down or something.


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[Assistant] And this time do pick anchor to out points. Because I do not want these keyframes to appear somewhere in the middle or in the beginning, they always have to be on the end. So to stick that last keyframe right here on the end of every new clip that I will be applying this to, I'm going to have to select anchor to out points.


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[Assistant] Hit okay. And they can be found back right here now in my presets folder, wipe down and wipe up. And just to test it out let me just delete these two clips and we're going to apply them again to the timeline. So here's clip number six, let's take a different in and out point.


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[Assistant] Let's take this part and for clip number 14 let's do the exact same thing, maybe a small part here in the beginning, that's it. So, back to the effects library.


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[Assistant] Up is gonna go to the first one and wipe down is gonna go to the last one. If everything is correct, the wipe down sits at the end, which has the exact same length that I have created in the first place and for the first clip those keyframes sit at the beginning and so everything here should look right. Wipe up and here wipe down.


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[Assistant] Now, one last thing that I do like to mention and that is maybe you want to share one of these presets with your friends. Well, we can simply do that by right clicking on any of your presets here and then say export presets. But because we've got two of them, what I'm actually gonna do first is create a new presets bin and call this wipes.


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[Assistant] I have these two presets within that wipes folder and then I can now go ahead, right click on that entire folder and say export presets. Give that a name, for example wipes.


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[Assistant] Safe, and I can actually go ahead now and delete these.


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[Assistant] To show you guys better what's going on, they are on my desktop. It's a simple file that I can share through email to my different computers or to a friend or a colleague. And they can go ahead, right click, say import presets, select that file and hit open. That entire folder will now be


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[Assistant] Import it and in here we've got to wipe down and wipe up, which I can directly use now back in my edit. And that is the wonderful world of presets and how to save them inside Adobe Premiere Pro. And now I'm going to put this very old but very expensive camera back safely in the rack. Thanks for watching.


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[Assistant] It's a luxury development where all the residents are in their golden years.


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[Assistant] Of course you can. You encouraged that cult to try new things. And because you all believed in him, he succeeded.


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[Assistant] I left you plenty of healthy food for the weekend. And I left you cookies.


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[Assistant] The cakes will stay with you tonight. Then ready, and rainbow dash after that. Remember, we're just a few stops from Ponyville if you need us. She knows holiday. See you next week, slugger!


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[Assistant] Just rich, please. And on behalf of Rich's Barnyard Bargains, thanks for another season shipment of Zapp Apple Jam.


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[Assistant] Applejack, applejack, applejack. Ideas are all well and good, but you can't plow a field with them. I don't know how many times I've told you that.


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[Assistant] Don't mind spoiled milk, she's just proud of me. But she's right, I'm in charge of the store now and I'm just bursting with ideas I want to try.


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[Assistant] It's definitely not a new idea. Granny Smith told us your grandpa, stinking rich, used to ask her every year if he could sell our cider in your store and


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[Assistant] I'm guessin' it'll be the one with the best ideas.


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[Assistant] Well, I've always thought that the most important thing a pony can do is say exactly what's on his mind to any pony who listens, so everypony everywhere always knows everything you're thinking, and-


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[Assistant] Well, if it ain't my new business partner.


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[Assistant] Now, now, the thing is, Rich, it ain't really up to us. You see, Granny's-


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[Assistant] Wait, Granny's sick? I had no idea. Yeah, no pony did.


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[Assistant] My, of course, of course, I am so sorry. Please, let me know if there's anything I can do.


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[Assistant] You were supposed to tell Rich the simple truth, but instead you made things worse with a GIANT LIE!


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[Assistant] Sorry to drop by unannounced. We just wanted to come by to wish Granny a speedy recovery. Look sis, our good friend Mr. Rich and his fiancé.


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[Assistant] Or here. Oh, and they brought flowers. For Granny. On account of she's sick. Like you said. Ain't that sweet.


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[Assistant] So from that moment on, I took to referin' to myself as big or large or... Ah, Applejack! Your brother was just explainin' why he always wears his yoke.


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[Assistant] And others say that's how the trees got to growin' so tall. But to me, it's just how I got my cutie mark.


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[Assistant] You're right. We're gonna have to hurry if we want to get there before visiting hours are over.


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[Assistant] Why, the hospital, of course. I'm sure we'll see you there.


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[Assistant] Well, I'm glad we found you, because I can't seem to find Granny's room. Or any nurses who've even heard about a pony with apple blight.


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[Assistant] This is spinning way out of control, Applejack. I know you thought selling cider in Filthy Store was a good idea, but it ain't worth lying to him about Granny being sick and needing to go to the hospital, or fibbing to Granny about them wanting her to come here to talk about the plight, or-


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[Assistant] There you are! We've been going in circles looking for Granny's room!


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[Assistant] That's not entirely true. Maybe if I paid more attention to what you had to say instead of talking all the time, none of this would have happened in the first place.


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[Assistant] The secret garden, chapter 20, no time to lose.


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[Assistant] The next morning when Mary arrived in Colin's room, she saw that he looked pale and worn out from his temper tantrum.


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[Assistant] Mary left him and went outside. Dickon was already at work in the secret garden. His animal friends were busy watching him.


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[Assistant] Besides the fox and crow, he'd brought along two squirrels named Nut and Shell.


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[Assistant] I rode over on Jump, my morepony, he told Mary. Would you like to see him?


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[Assistant] Dickon led Mary into the woods where the shaggy pony was eating grass. The boy and his pony seemed to have a conversation. Then Dickon made Jump give Mary a kiss on her cheek. She liked that.


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[Assistant] Back in the garden, the two children sat under a tree. Mary began to tell Dickon about Colin's tantrum. Dickon shook his head sadly.


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[Assistant] And that poor boy has been lying shut up in the house, thinking thoughts that made him scream.


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[Assistant] We must get him out here, soaking up air and sunshine. We have no time to lose.


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[Assistant] When she sat down next to Colin's bed, he sniffed the air nearby.


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[Assistant] Colin took another big breath. There was so much to talk about.


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[Assistant] He wanted to hear all about Dickens wild animal friends.


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[Assistant] He seemed to be staring at the wall, but Mary knew he was thinking.


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[Assistant] Mary was so anxious that she hopped up from her stool and caught hold of both his hands.


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[Assistant] If he had been a strong healthy boy, Colin probably would have jumped up and shouted, hooray! Instead, his eyes grew bigger and he gasped for breath.


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[Assistant] She seemed so certain about this that he soon began to laugh at himself.


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[Assistant] He asked her to tell him again about the garden and how it might look.


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[Assistant] He listened to every detail and soon forgot his aches and tiredness.


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[Assistant] Mary hesitated for a minute and then blurted out the truth.


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[Assistant] Increased security on a crowded holiday with Twilight and her friends bumbling around? This is impossible.


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[Assistant] Hi, my name is Crystal Botham and I'm the Director of the Stanford Biosciences Grant Writing Academy. And I'm going to discuss 10 tips for getting started writing grants.


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[Assistant] Okay, so why submit a research proposal? There's a number of reasons why. So, one is that writing rigorously clarifies and deepens your thinking.


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[Assistant] Also, articulating research priorities will increase your productivity and impact.


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[Assistant] Plus, securing funding is an accomplishment and has positive career benefits.


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[Assistant] So during the next couple of slides, I'm going to give you tips for how to get started writing your grant now that you know that it's important that you do it at all career stages.


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[Assistant] Okay, so first start early and gather critical information.


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[Assistant] You want to compile a comprehensive list of all the funding opportunities that you can apply for.


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[Assistant] Ask what your colleagues and peers are applying to. Ask your mentors, uhm, for ideas as well.


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[Assistant] Some institutions also compile lists of grants, including fellowships and career development awards, so find out if yours does.


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[Assistant] Once you have a comprehensive list of funding opportunities you can apply for,


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[Assistant] Gather critical information about those funding opportunities.


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[Assistant] This includes the instructions as well as funded and unfunded examples.


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[Assistant] Let's just look at an example of the NIH NRSA fellowship as an example of what type of information you might want to gather.


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[Assistant] So first you want to read the funding announcement in its entirety. Here's the, uh, just a screenshot of the funding announcement for the NIH NRSA. And this is just the first page of the funding announcement. It's several pages long. And you want to read the entire document and understand what it's telling you.


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[Assistant] And sometimes you have to follow website attachments or find other documents. So,


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[Assistant] Then identify what are the review criteria for the funding agency that you're applying to and the application you're applying to.


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[Assistant] So for the NIH NRSA, there are five main, uh, review criteria. Those include you, the applicant,


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[Assistant] Uhm, and their reviewers are looking at your record of research productivity, the candidate's potential for independent research in the future.


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[Assistant] The mentor, co-mentor, and collaborators, the reviewers are asking is there a strong track record of mentorship and they're evaluating if there's an adequate mentoring plan.


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[Assistant] The research training plan. Is the research significant, appropriate, and feasible? These are the types of questions your reviewers are looking at when they're considering the research training plan.


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[Assistant] Then the training potential. Is their training plan appropriate? Will the plan contribute to the applicant's success?


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[Assistant] So, you want to identify the review criteria so that when you're writing your application, you can make sure that you're making the points that the reviewers are looking for in terms of the review criteria.


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[Assistant] Okay, you also want to understand the review process. NIH has a really nice video about the NIH peer review process and it's called NIH peer review revealed. You can find it on YouTube and it provides a front row seat to the NIH peer review meeting.


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[Assistant] A lot of other funding agencies base their peer review process on, on the NIHs. So it's a nice, uh, video to understand what a peer review process will look like.


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[Assistant] You also want to learn about the internal policies and processes that your specific institution may have.


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[Assistant] Sometimes applications need to be submitted internally before the sponsor's deadline and there's extra paperwork involved. So make sure you find out about this, these policies and processes early. Okay, number two, create a game plan and write regularly.


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[Assistant] Writing a compelling grant takes time, a lot of time, which is challenging to balance with a hectic laboratory schedule and other responsibilities.


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[Assistant] To reduce stress, divide the grant requirement into smaller tasks by creating a detailed timeline with goals or milestones.


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[Assistant] Having a game plan with daily or weekly goals will also help you avoid procrastination. Make sure you're writing regularly, daily or every other day.


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[Assistant] To establish an effective writing practice.


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[Assistant] This will increase your productivity and reduce your anxiety because writing will become a habit.


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[Assistant] It's also important to make your writing time non-negotiable so other obligations or distractions don't impede your progress.


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[Assistant] Okay, tip number three is to find your research niche.


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[Assistant] So you need to have a deep awareness of your field. And you really want this, uhm, ability to understand your field and to be able to identify critical knowledge gaps or needs.


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[Assistant] These ideas are bottlenecks in the field that if you were able to fill in or address the need, then you could significantly move your field forward.


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[Assistant] Compelling projects also often combine two unseemingly unrelated threads of work to challenge or shift the current field or clinical practice paradigm.


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[Assistant] So it's important to have a broad familiarity with the wider scientific community as well.


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[Assistant] You want to complement how the concepts and approaches in the wider scientific community could be extended to address the critical knowledge gap in your field.


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[Assistant] So keep a list of questions or problems inherent to your field and update this list after reading peer-reviewed, uh, papers, review articles, or attending seminars and conferences. Narrow down and focus your list through discussions with your colleagues, mentors, and key researchers in your field.


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[Assistant] Of course, since you're applying to a grant, a fellowship, or a career development award, make sure that your research that is being proposed is relevant and appropriate for the mission of the funding opportunity announcement.


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[Assistant] Tip number four is to use your specific aims document as your roadmap.


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[Assistant] And we have another video that you can learn more about how to write a compelling specific aims page in another video. But briefly, your specific aims page must concisely answer the following questions. Is the research question important?


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[Assistant] So compelling projects often tackle a particular gap in the knowledge base that when addressed significantly advance the field.


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[Assistant] What is the overall goal? The overall goal must define the purpose of the proposal and must be obtainable regardless of how the hypothesis tests. What specifically will be done?


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[Assistant] Attract the reviewer's interest using attention-getting headlines, describe your working hypothesis and your approach to objectively test the hypothesis.


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[Assistant] What are the expected outcomes and impact? Describe what the reviewers can expect after the proposal is completed in terms of advancement to the field.


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[Assistant] So just like Gears, that I'm showing here, the specific aims, uh, page and the answers to these questions must be specifically aligned.


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[Assistant] It's not a very effective specific aims page. So again, you can learn more tech, techniques for developing a one page executive summary of your research in the next video, uhm, about specific aims. Okay. Tip number five is build a first rate team.


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[Assistant] Team science is a collaborative effort to address a scientific challenge that leverages the strengths and expertise of personnel trained in different fields.


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[Assistant] The team approach is ideal for many scientific endeavors, uhm, and, uhm, coordinated teams and investigators with diverse skills and knowledge may be especially helpful for studies of complex problems.


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[Assistant] Because the cross-disciplinary, uh, approach to, uh, team, uh, science can accelerate scientific innovation and translation.


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[Assistant] Building a first-rate team is especially important for fellowships and career development awards, and this team, uhm, would include your mentor, your co-mentor, and the members of your advisory team as well.


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[Assistant] Tip number six is develop a complete research plan. So see the video on communicating your research strategy for more information.


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[Assistant] So in short, the research plan is a narrative that describes a set of goals and how you will reach them.


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[Assistant] So the first question that needs to be answered is, is there a need? This is getting at the significance and background information of your project.


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[Assistant] Second, how will the specific aims be accomplished? This includes the methods and analyses that will be used. What are the expected outcomes? What might go wrong and how will it be managed? And what are the alternative approaches?


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[Assistant] How long will the project take? Is it really feasible in the project time for this proposal?


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[Assistant] Then what's next? What are the future directions for this project? How is it going to advance your field? Tip number seven is stop and get feedback.


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[Assistant] Feedback is critical to developing a first-class proposal.


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[Assistant] You need a wide audience providing feedback because your reviewers will likely come from diverse backgrounds as well.


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[Assistant] Be proactive in asking for feedback from your colleagues and mentors.


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[Assistant] Even non-scientists can provide critical advice about the clarity of your writing.


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[Assistant] When eliciting feedback inform your reviewers of your specific needs. So for example,


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[Assistant] Do you desire broader feedback on overall concepts or feasibility? Or do you want advice on grammar and spelling?


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[Assistant] Tip number eight, tell a consistent and cohesive story.


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[Assistant] Applications are also often composed of numerous documents or sections. Therefore, it's important that all your documents tell a consistent and cohesive story. Let's look at the NIH NRSA as an example again.


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[Assistant] So here is a list of the main documents of this application.


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[Assistant] And so you might state your long-term goal in the specific aims document and the personal statement of your biosketch and then elaborate more on the long-term goal in the career development documents.


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[Assistant] So each of these documents must tell a consistent story.


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[Assistant] It's important to allow at least one to two weeks of time after composing the entire application to review and scrutinize the story you tell to ensure it's consistent and cohesive.


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[Assistant] Tip number nine is to follow specific requirements in proofread for error and readability.


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[Assistant] Grants have specific formats and page requirements that must be strictly followed.


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[Assistant] Keep these instructions and the review criteria close at hand when writing and revising.


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[Assistant] Conform to the required formatting or other requirements may be administratively rejected before the review process.


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[Assistant] So meticulously follow all the requirements and guidelines.


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[Assistant] Proofread your almost final documents for errors in readability.


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[Assistant] Errors can be confusing to reviewers. Also, if the documents have many misspellings or grammar errors, your reviewers will question the ability of you to complete the proposed experiments with precision and accuracy.


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[Assistant] Funding opportunity announcements for various applications frequently have similar requirements, so it's fairly easy to recycle your application or resubmit it to several different funding opportunities.


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[Assistant] It can significantly increase your odds for success, especially if you're able to improve your application with each submission by tackling reviewers' comments from a prior submission.


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[Assistant] However, some sponsors limit concurrent applications to different funding opportunities, so read the instructions carefully.


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[Assistant] You almost always want to resubmit. Submitting a proposal is like rolling the dice.


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[Assistant] Some you lose and some you win, but at 30% odds, it's not so bad to keep trying. Okay, so here are the 10 tips


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[Assistant] For writing proposals. And these tips that we discussed today are broadly based on the ten tips from this paper. Ten simple rules for writing a postdoctoral fellowship. But tip number five and six were slightly changed in this talk today.


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[Assistant] Yes, nobody has ever dared to do anything you don't like. Always having your way has made you rude and difficult.


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[Assistant] If you gave Rich the Zap Apple Jam, then what's this here? Uhm, extra?


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[Assistant] Don't worry. We know exactly whose fault it was.


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[Assistant] Much appreciated, but right now we only ask for your understanding during this difficult time.


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[Assistant] Where are you two going? Big Mac can't come. He, uh, might be contagious.


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[Assistant] And whether it's me running Sweet Apple Acres or you, I know it'll be in good hooves.


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[Assistant] Gee, thanks. But yeaah, hanging out with other creatures is actually, uh, not bad!


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[Assistant] The secret garden. Chapter 26. Another secret.


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[Assistant] The secret garden was not the only one that Dickon worked in.


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[Assistant] At his family's cottage on the moor was a garden surrounded by a low wall. Dickon grew all sorts of vegetables and flowers there.


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[Assistant] When he worked in the garden after supper his mother liked to sit on the wall and talk to him.


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[Assistant] The children had agreed that Dickens' mother could know about the secret garden. So Dickens told her everything.


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[Assistant] From how Mary had found the key to what Ben had said when he discovered them in the garden.


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[Assistant] They don't know what to think. And that was true.


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[Assistant] The nurse was the first to notice that Colin was eating more.


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[Assistant] The nurse gave him a strange look and Colin realized he shouldn't appear too well just yet.


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[Assistant] Dr. Craven studied Colin with a puzzled look, and then he went on his way.


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[Assistant] Mary and Colin were quite alarmed after the doctor's visit.


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[Assistant] So starting that day, Colin made sure to complain when the footman carried him downstairs to his wheelchair.


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[Assistant] They didn't dare ask for more food because the servants would realize Colin was getting better.


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[Assistant] One evening, Dickon told his mother about this problem and she had an idea.


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[Assistant] The next day, Dickens surprised Mary and Colin with the milk and buns.


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[Assistant] After a while, Mary and Colin remembered that Mrs. Sowerby had a large family to feed, so they began to pay her for their food.


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[Assistant] Then Dickon made a discovery in the woods outside the garden.


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[Assistant] There was a deep hole where he could build a tiny oven out of stones for roasting potatoes and eggs. Now they could really have a feast.


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[Assistant] Of course, when they went inside for lunch, they weren't hungry.


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[Assistant] Look, said Mrs. Medlock to the nurse as she carried away their dishes.


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[Assistant] The nurse saved the tray of uneaten food to show Dr. Craven. He was very puzzled when he came to examine Colin.


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[Assistant] Mary started to laugh, but quickly turned her giggle into a cough.


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[Assistant] You're supposed to be helping the Tang monk reach the western paradise.


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[Assistant] Don't touch anything. Just tell me why you're here.


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[Assistant] How dare you tell me to give you one thousand pills, he said. Get out of here right now!


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[Assistant] I've missed you. It's time for you to return to your palace.


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[Assistant] He is going to the western paradise to get scriptures from Buddha. These three are his companions.


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[Assistant] Journey to the West, Chapter 43, A Visit from Lausa.


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[Assistant] He closed the gourd and ran into the cave. Several demons were inside.


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[Assistant] After a quick search of the cave, Wukong found his companions.


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[Assistant] Said the Tang monk. I was freed a couple of hours ago. Said Wukong. He untied the monk.


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[Assistant] The travelers hurried west along the road. They hadn't gone far when an old man approached them.


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[Assistant] Said the old man. Wukong stepped forward.


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[Assistant] I don't know what you're talking about.


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[Assistant] Then Lausa the Sage stood before the travelers. He looked angry.


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[Assistant] A man stood in the doorway dripping wet. He looked at the monk and held out his hands.


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[Assistant] Today, I'd like to focus on some recent studies from my lab on the acquisition of past tense irregular verb forms in children between the ages of 18 months and two and a half years.


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[Assistant] I've been in the land of darkness ever since. Tonight, a spirit brought me to see you. He said you can help me. How can I help you?


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[Assistant] This is the one royal treasure I still have. When my son sees it, he'll know you're telling the truth.


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[Assistant] I know you can't believe it. I can scarcely believe it myself.


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[Assistant] Wukong, Wu Jing, and Ba Jie pulled out their weapons. A large shell rose from the water.


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[Assistant] Said Bajie. The turtle bowed its head toward Wukong.


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[Assistant] Called the monk. Soon the turtle was far from shore. Bajie fell asleep. The turtle glanced back at the Tang monk.


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[Assistant] A few hours later the turtle reached the other side of the river. The traveler stepped onto dry land.


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[Assistant] Wujing shivered. Look! Said the Tang monk, pointing.


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[Assistant] Wukong looked at the monastery. A dark mist hung over it.


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[Assistant] No, said Wukong sharply. Stay here.


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[Assistant] At Christmas this year, please, let it snow.


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[Assistant] And the idea here is that if there is reciprocity, if there is an exchange, then


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[Assistant] A receipt of benefits, there can be an obligation even without an act of consent. One great example of this


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[Assistant] Involves the 18th century philosopher,


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[Assistant] There's a lot of water in this vase. Enough for an ocean.


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[Assistant] I'm going to pour magic water around Red Boy's mountain, said Guan Yin.


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[Assistant] Wukong, go down there and get the demon to come out, said Guanyin. Fight him, but don't defeat him.


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[Assistant] He's cruel, master. You should recite the tight headband spell.


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[Assistant] This basket has magical powers, said Guan Yin. I will catch the demon with it. Let's go.


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[Assistant] This is my goldfish, said Guanyin. It usually lives in my lotus pond.


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[Assistant] The pond is near my garden, where I teach my students.


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[Assistant] It escaped to Earth a few days ago. I had been wondering where it was.


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[Assistant] Correct. Said Guan Yin. The Tang Monk is safe now.


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[Assistant] You may go free him and continue your journey to the western paradise.


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[Assistant] I'm not sure. Wukong believed it though.


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[Assistant] It looks warm too. Maybe the monks there will take us in.


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[Assistant] Who cares what that monkey thinks? What does he know?


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[Assistant] You must return those vests right away. We can return the vests before we leave.


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[Assistant] We can do that. You two are terrible.


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[Assistant] For the final unit of this course, we're going to talk about how to reach broader audiences, either by talking with the media or by writing about science for the general public.


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[Assistant] After you have published some papers, you may be contacted by journalists who are interested in your work.


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[Assistant] I encourage you to share your work with the media so that it can reach a larger audience. In this module, I'll give you some tips for talking with the media.


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[Assistant] I'm a science journalist, so I interview a lot of scientists. I'm going to give you some tips from the interviewer's perspective. First of all, what are journalists looking for?


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[Assistant] When I'm interviewing a scientist, I obviously want to understand the science.


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[Assistant] So if there's anything I need clarified about the science, I'm going to ask that.


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[Assistant] But most times, I already have a good concept of the science. What I'm after in the interview are things that help put the story in context, give it a human dimension, and make it relatable to non-scientists.


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[Assistant] I'm hoping that the scientists can tell me what they think is the big picture significance of the work, the take home message. I also want to know how the research affects people.


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[Assistant] Journalists have to write about new things. They have to have a news hook.


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[Assistant] There's some reason why the story is being written about now.


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[Assistant] If you can tell a journalist what's different or new about your results, what distinguishes it from previous studies, that's very helpful.


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[Assistant] Journalists are looking for descriptive, engaging language. So if you give me colourful prose, metaphors, descriptions, something controversial or lively, or something that has some bite to it, I'm likely going to quote you on that.


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[Assistant] Make sure that if you are going to say something controversial or biting, you don't mind being quoted on it.


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[Assistant] Interesting stories or anecdotes like how you came up with the idea for the study are often great.


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[Assistant] Anything that's surprising or paradoxical or ironical. Journalists love that because that makes the story compelling.


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[Assistant] If you were trying to make a weight loss drug and it turned out that it worked better as a cancer drug, that's an interesting story that you might want to share with the journalist.


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[Assistant] For longer feature stories, I may ask you things like, what motivates you? And what keeps you up at night? Because I want to bring a human dimension into the story. Researchers are people too, and readers want to read about people.


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[Assistant] It's nice to give some historical facts or something about the development of the idea. Journalists also need a first quote for their story.


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[Assistant] If it's a story focused on a single study, a sweeping comment about the significance of the work makes a great first quote.


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[Assistant] So try to have a statement prepared that clearly and concisely says why the work is important.


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[Assistant] Finally you may be interviewed as a commentator on a peer's research.


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[Assistant] If they have space, journalists try to include an outside perspective on the work.


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[Assistant] If you point out the controversies or you give very bold criticisms or laudatory praise, that's likely to make it into the article. So just be careful about that.


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[Assistant] Remember, journalists are looking to be able to quote you directly.


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[Assistant] This means you need to speak clearly and concisely and in layperson terms. If your language is too complicated or full of jargon or boring, they will have nothing to quote you on.


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[Assistant] So be prepared. It may help to craft a few take home messages ahead of time and write these down. Make sure they're clear and easy to understand in the active voice without too much clutter or jargon.


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[Assistant] You can read these to the journalist and that's what you may end up being quoted on.


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[Assistant] It helps to pretend that you are talking to an intelligent relative or friend who isn't a scientist.


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[Assistant] You may want to picture your uncle or your grandmother or your grandfather, somebody that you might be explaining your science to over the dinner table, who's not a scientist themselves.


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[Assistant] Make sure you give the journalist clear take-home messages. Don't be wishy-washy about what the findings mean. State clearly what you think the journalist should focus on in their piece.


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[Assistant] Try to anticipate any confusions or misinterpretations that the journalist or the lay public might make about your work, especially if it's something controversial. You can say to the journalist


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[Assistant] Here's something that people might misunderstand about my work, and let me tell you why that's wrong. Also,


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[Assistant] Make sure to give a clear statement of the key limitations of your work.


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[Assistant] The journalist might not ask for that, but it helps the journalist to put your research in context.


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[Assistant] It keeps them from overblowing or overstating the findings.


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[Assistant] Finally, think carefully about how you present numbers to the journalist or any general audience.


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[Assistant] Not everybody is comfortable with numbers, so it's important for you to think about the most transparent way to present numbers.


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[Assistant] And most people don't have a good sense of what, say, a nanometer is.


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[Assistant] So if you use the term nanometer, you need to say how small that is.


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[Assistant] If possible, compare it to something people are familiar with. So you might say, a nanometer is one billionth of a meter.


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[Assistant] And the width of a single human hair is about 80,000 nanometers. Or the thickness of a sheet of paper is about 100,000 nanometers. It gives people something concrete to understand.


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[Assistant] Because I think this is so important, I'm gonna go into more detail on explaining risk to journalists in the lay public.


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[Assistant] If you're talking about risks, make sure you present those risks in the most transparent, easy to understand way that you can. People are bad at understanding risk.


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[Assistant] Whereas we are not adequately frightened about things that occur more commonly. So we fret about terrorist attacks, which occur with an extremely low probability.


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[Assistant] But we ignore the risk of heart attacks, which are way more likely to kill you even if you're young and healthy.


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[Assistant] Presenting risks in a way that's easy to understand is a great public service. A couple of principles to keep in mind.


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[Assistant] Wherever possible, prefer whole numbers to fractions or percents. Say 10 in 100 rather than 10%.


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[Assistant] Also, wherever possible, opt to present absolute risks rather than relative risks. Relative risks can be misleading.


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[Assistant] For example, if an exposure increases your risk of cancer from one in 10,000 to two in 10,000, you can call this a doubling of risk.


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[Assistant] But you better also give the absolute values as well, so that the reader understands that the absolute increase in risk is just 1 in 10,000.


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[Assistant] This is a case where the researchers of this study and the people who put out the press release did an excellent job of describing the risks. I was working as a journalist at the time.


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[Assistant] And when the press release came across my desk, I was so impressed that they had thought carefully about the way to present the numbers. They used absolute risks and whole numbers.


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[Assistant] The study was the Women's Health Initiative. This was a large, randomized, double blind study.


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[Assistant] Where they were treating post-menopausal women either with post-menopausal hormones or with a placebo pill.


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[Assistant] At the time the study was started in 1990s, it was taken for


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[Assistant] Ranted that postmenopausal hormones reduce heart disease in women. That was the dogma of the time. But it had never been proven in a randomized trial.


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[Assistant] In 2002, the researchers of the trial did an interim data analysis where it became clear that in fact the dogma was wrong.


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[Assistant] In this study, the women who had been put on hormones had a significantly increased risk of both breast cancer and heart disease.


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[Assistant] It became clear partway through the study that the risks of hormones were outweighing the benefits, so they stopped the trial early.


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[Assistant] At the time they stopped the trial, 14 million postmenopausal women in the US were taking hormones. The results were a bombshell.


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[Assistant] So the researchers had to be very careful about not scaring 14 million women.


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[Assistant] The researchers published the results in JAMA at the same time that they halted the trial and it was widely covered by the media.


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[Assistant] Is that women who take hormones have a 26% increased risk of breast cancer compared with women who take placebo and a 29% increased risk of heart disease.


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[Assistant] But is that the best way to present the numbers for the lay public?


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[Assistant] Those numbers sound very dramatic. They sound frightening. That sounds like a big increase in risk.


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[Assistant] Had focused on those numbers, I'm sure that the media would have focused on those numbers as well.


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[Assistant] But the paper also looked at the numbers in a different way.


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[Assistant] They presented the numbers in terms of absolute risks.


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[Assistant] The rate of invasive breast cancer was .3% in the placebo group.


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[Assistant] And similarly for heart disease, the risk increase was 0.7% per year.


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[Assistant] I'll just note for those of you who are paying attention to the math here that if you divide 0.38% by 0.3% that gives you roughly the relative risk but it's not exactly 1.26 because


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[Assistant] Slightly different models were used to generate the relative risks than the absolute risks. So if you notice that they don't exactly line up, that's why.


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[Assistant] When you hear the numbers presented this way, it's clear that the risk to any one individual woman is actually quite small.


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[Assistant] Translates to lots of cases of heart disease and breast cancer.


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[Assistant] But for any individual woman within that 14 million, her personal risk is not increased by very much.


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[Assistant] As I mentioned, most people are not adept at thinking in percents and fractions, so we can do even better by translating those percents into whole numbers.


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[Assistant] In the press release from the Women's Health Initiative, they stated that the risk of breast cancer was increased from 30 cases per 100,000 per year to 38 per, or sorry, 38 per 10,000. That was a 8 case per 10,000 increase. Those are numbers that most people can understand.


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[Assistant] Similarly for heart disease, there was a seven.


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[Assistant] A person, seven case increase per 10,000 women years.


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[Assistant] That's the way the numbers were presented in the press release, and that's the way the numbers were presented in the media coverage of this study.


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[Assistant] So which is the best way to present, uh, the numbers for the public? I'd argue that the absolute risks and whole numbers are much more transparent.


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[Assistant] The relative risks obscure the fact that the baseline risk here is quite small.


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[Assistant] The relative risks are needlessly scary and shocking.


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[Assistant] I was impressed that whoever drafted the press release from the Women's Health Initiative was thinking very carefully about numbers.


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[Assistant] Again, they presented this the second way here, the eight more and seven more cases per 10,000.


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[Assistant] And guess what? All the major media outlets that covered the story presented those numbers. Most did not even report the relative risks.


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[Assistant] This case study goes to show you that as a researcher you have a lot of control over the numbers that the press focuses on.


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[Assistant] If you give journalists the right numbers, the most transparent numbers, those are the numbers that will likely appear in their stories.


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[Assistant] If you don't help them with the numbers, they're likely to just report the most dramatic numbers from your paper. So think carefully about the presentation of risk


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[Assistant] And try to put things in absolute risks and whole numbers when talking to journalists.


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[Assistant] One of the biggest frustrations a video editor can have is slow playback.


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[Assistant] It's not always the best idea. So there are a few workarounds to that and Premier, he's even thought about something and that is called...


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[Assistant] So basically what I have here in my project folder are five clips from the b-roll and these are pretty heavy. These are 5k resolution files. So I have trouble playing that back on my computer. What I can do is actually now just right click on that entire folder


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[Assistant] Go over to proxy and from there choose create proxies. A window appears and we're gonna have to choose a format again.


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[Assistant] So basically what Premiere is gonna do is create copies of your source clips, but then in a much smaller, lower resolution file size. And there are two formats that we can choose from, the H.264 or the QuickTime.


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[Assistant] Now although H.264, which is a very common codec, is great for sharing on web, such as on YouTube, or to send out to a client or something, it is not an ideal codec to edit with.


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[Assistant] You'll end up with a small file size, that for sure, but Premiere has trouble to decode that and manage it inside Premiere. So what I would suggest is to go for QuickTime and then choose the low resolution ProRes Proxy preset. You'll end up with a bigger file size, but Premiere is able to handle those files much easier. So, select that one.


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[Assistant] And then we're gonna have to choose where we'd like to save those copies. And what I usually tend to pick is to save that next to the original media in a proxy folder.


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[Assistant] So with that selected, just press okay. Media Encoder, the program that ships together with the installation of Premiere, will boot up.


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[Assistant] And automatically it's going to import those clips and start with the export of those proxies. There's really nothing on your end that has to be done. It's all happening automatically and you just have to wait it out until it's done.


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[Assistant] Media Encoder is done with its processing, so we can just go ahead and close that program and you'll see in the project folder that nothing much changed. And that is the great thing about these proxies. We can now go ahead and just start adding clips to your timeline.


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[Assistant] Like so, you can add a few in here, like this. Now I'm still working on the original files and I can tell because the playback is not gonna be that smooth probably, or it is.


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[Assistant] Alright, nice, I got a good computer, that's for sure. Anyways, let's see how we can switch to the proxies now.


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[Assistant] You'll find a button in there called toggle proxies and it should look like this. Just drag that into your layout as well, hit okay, and whenever we're going to enable that now by clicking on that button, Premiere will now actually point all of your clips in a timeline to those proxies or to the copies of your original source files. And your playback


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[Assistant] And look at the original ones. You can see now that playback goes a lot more stiffer.


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[Assistant] It's not going that smooth anymore because I'm working on the original files here. So there you go, a way to speed up your workflow. And by the way, if we go back to our Explorer now in the b-roll folder, you'll see that that proxies folder has been created in here with those proxies in there. Thank you so much for watching and I'll see you again in the next lesson. Look how fast this goes.


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[Assistant] The sound is a really big part, I think, of the experience of using a pencil and it has this really audible scratchiness.


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[Assistant] The pencil is a very simple object. It's made of wood with some layers of paint, an eraser, and a core, which is made out of graphite clay and water.


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[Assistant] Yet it took hundreds of people over centuries to come to this design and it's that long history of collaboration that to me makes it a very perfect object.


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[Assistant] The story of the pencil starts with graphite. People started finding really useful applications for this new substance. They cut it into small sticks and wrapped it in string or sheep scanner paper and sold it on the streets of London to be used for writing or for drawing or a lot of times by farmers and shepherds who would use it to mark their animals.


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[Assistant] Meanwhile, over in America, in Concord, Massachusetts, it was Henry David Thoreau who came up with a grading scale for different hardnesses of pencil. And it was graded 1 through 4, number 2 being the ideal hardness for general use.


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[Assistant] Cut wood slats, cut grooves into the wood, apply glue to them, and they figured out that it was easier and less wasteful to do a hexagonal pencil. And so that became the standard.


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[Assistant] Since the early days of pencils, people have loved that they can be erased.


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[Assistant] Originally it was breadcrumbs that were used to scratch away pencil marks and later rubber and pumice.


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[Assistant] Blackwing 602 is famous for being used by a lot of writers, especially John Steinbeck and Vladimir Nabokov.


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[Assistant] And then you have Dixon Pencil Company. They're responsible for the Dixon Ticonderogo. It's an icon. It's what people think of when they think of a pencil and what they think of when they think of school and the pencil is really a thing that I think the average user has never thought twice about.


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[Assistant] How it's made or why it's made the way it is because it's just always been that way.


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[Assistant] In this video, we will teach you some of the most common English words and how they are used in a sentence. The word is said first, followed by an example sentence showing you how the word is pronounced and used in the correct context.


[User] Please transcribe this text

[Assistant] Listen to this as you go to sleep and leave on whilst you sleep for greatest effects. We use three different binaural beats in this video. The first one enhances your learning ability. The second initiates sleep learning and the third improves memory.


[User] Please transcribe this text

[Assistant] all Shall we all meet again? all


[User] Please transcribe this text

[Assistant] I like fish and chips. and


[User] Please transcribe this text

[Assistant] Will you be here tomorrow? be


[User] Please transcribe this text

[Assistant] I don't like England because the weather is bad. because


[User] Please transcribe this text

[Assistant] I don't like England because the weather is bad.


[User] Please transcribe this text

[Assistant] But I want to go out, but it's raining.


[User] Please transcribe this text

[Assistant] Bye. I will meet you by the post box. Bye. I will meet you by the post box.


[User] Please transcribe this text

[Assistant] Can I use your phone? Can