Monday, May 15, 2017

best container home designs

why not take these vintage tins and turn theminto containers for some of your favorite herbs? if you're into a vintage look in yourhome, why not use some of these vintage tins for planting some of your favorite herbs?for instance, in this one, i have curly leaf parsley. over here, in an old folger's coffeecan, you can see, i got some thyme. they're very happy in these containers. now if youwanna plant an herb in one of these, there are a couple of ways to go about it. whati'd like to do is show you the way i've done it because both work really well. first, youwanna take a tin, and if you don't mind puncturing some holes in it, you'll need to do that anyway.this one is not exactly vintage, but it's made to look vintage. you can see, on thebottom, it looks very modern. if you're gonna

use this to support plant life, you need tomake sure that it's plant-friendly. and right now, without any drain holes in the bottom,it's not plant-friendly. so all you need to do is take a nail and drive a few holes inthe bottom of it like this. for a container this size, all you really need are about threedrain holes. the herbs like well-drained soil. so it's critical you give the plant what itwants. next, you'll wanna add some soil to the container. and you wanna soil that's specificallyblended for container gardening. so i'm just gonna add a little bit of this soil here likethis. i'm gonna take an all-purpose organic fertilizer and add just a little bit of thatinto the soil and mix it up, and then the herb itself. in this case, i'm going to plantthyme. just clip off the plastic wrapper like

this, and pull off the biodegradable peatpot, at least around the upper edge, and then i'm gonna position the herb in the container.and you can see, it just needs a little bit on the sides to fill in. here and here. therewe go. and now all i have to do is water it in. this'll look great in a window sill orsitting on a table. and if you do set it on a table or a surface, that you wanna makesure it doesn't get stained or messed up. just take and place it on a saucer like thatbecause, again, you have the drains holes in there, so it will drip when you if you don't want to drive holes in the bottom of a vintage tin, there's another wayto go about it: you just wanna take some gravel and place it in the bottom of the container.about 3/4 of an inch of gravel is all you

need. then take a plastic freezer bag andplant the herb in it. and then puncture the holes in the bottom of the back and placethe bag in here like this. the plastic serves as a liner. the excess water drips throughthe bag and ends up in the bottom of the container of the tin. and it's elevated with this gravel,so the herb doesn't stay soaking wet. the other thing you need to do is just make sureyou're not over watering these herbs. hey, i hope you found these helpful. if you enjoythese tips, check in with us regularly and make sure you subscribe to ehow home.

Friday, May 12, 2017

best computer table design for home

hey and welcome to my actually first video on this channel i'm glad you watch my video i get often the question daniel, how you built your studiodesk? can i buy the table ready? where to find the components? everything about you learn in this video have fun and enjoy! all parts you need to build are:

2x oval tabletops i used ikea oppeby i really like them, because they have a white high gloss finish 2x ikea alex the table tops are later placed on it next: 3mm acrylic glass you could use smaller glass than 3mm, but not bigger than 3mm higher than 3mm acrylic glass is hard to bend that it fits into the oval table tops the height of the glass is 80mm

then larger power adapters fit into the table for the stand you'll need 2x ikea capita also you'll need for the monitor stand 2x ikea lack boards as an add-on unit i use ikea alex to hide all cables you'll need 3x cable feed-through the led lighting is installed later in the table last but not least i installed a desk usb hub all products are linked in the info box! let's start the assembling

first i built the drawer units thereafter, the planning began because the table is standing in front of a wall, i've cutted 10cm at the back for the cable outlets, you need three holes in right measure of the cable lead-through one hole on the left side and one on the right side ...and one in the middle of the desk for your display as an additional extra i've cutted a hole for the usb-hub the last two holes are for the monitor stands ...thereon the speakers could be placed safe

to place the acrylic glass between the two tabletops syou need to cut two grooves into the tables in this step, a carpenter helped me once this is complete, you can begin to assemble i started with the wood distances on the lower tabletop then i installed the led lighting after that i installed the plexiglass into the wooden grooves this step is not so simple, because the plexiglass is all the time under tension you will need a second person to help now the two tabletops are connected by screws

finally attach the monitor stands on the tabletop and you are ready to install all technical components if all goes well, you have your own studio desk i hope you liked my first video all products are also linked in the info box! if you're interested in seeing what else i'm doing.. follow me on snapchat: danny.chris or instagram @dannychris if you want to see more videos of this style, then i really appreciate it if you give me a thumbs up i am pleased about each subscriber <3 thanks for watching, bye! :-)

Thursday, May 11, 2017

best cad software for home design

welcome to learning archicad 18 with medona i am an engineer in building andconstruction, also an educator specialized in designing software i've already tell too many people on howto use archicad i've already done many projects with theold version of archicad then inhance architectural design and models withphotoshop this learning archicad video course is foranyone who wants to draw an architectural design in this tutorial will try to make thismodel from

a to z in short i start at thesquare one and do not assume you have any experienceusing computer edit design in the course of this journey you'll get up to speed in all complexities needed to get yousuccessfully and protectively with this amazing software so here is the interface so far kit kat and let me bring you on a tour guide here we have the menus in here we havethe tool box and here we have the and navigator

and in the toolbox we've got the select the select barton's such as aeromar keen and in that thesign we have the wall the doors the windows the colonne for beam the sled exeter up any document we have thirddimension arm level dimension told text labile he'll line exeter a and in more we've got the creed elementswall and

corner window lamb exeter a so the first thing to do when you're using our key kid is arm the specified you're working units as you do with other drawing software we go to option projectpreference working units and amor use centimeter then okay then i we alsospecified done the dimension units

ago to options still at project perfriend said go to dimensions and i may use any meter and without decimals okie then what am i gonna do now is i will disable the screed display ago to view and click on create display then on myfeet in window in then um what we will do

is wield wrote this model as 8 seed earlier to do so but the first thing we going to do is i we gonna said our collins with a great system we go to design grid system a check collins and dimensions and we gonna set thecollins a go to settings and among make i'm gonna use our a collar no twentycentimeter square

in and amor change the model i will use cool stucco white raff heat okay been here i will put ninety 50 this is thedistance between the dimensions and and next thing to do is i will said the creed elements and i go tomarker a said these 26 that's all to make the circor smaller

ajito k and that distance a real to one aged 50 in great position i'm not gonna use the ende soma delayedthem you press on the minas if you wannadelayed if you wanna edgy press on the loss okay a delete this one and i hear i we'll food 430 and 290 in the other side

this is the crossing so here i will boots 200 470 end here 315 sorry 15 in here farm 200 85 then a heat okay here we are i'll put it here this way there you go now we've got ourcollins in the great system and there are somecollins in these the designing that i will not choose soi'm a delayed

them lake dez these n this one here delete and now we can preview 18 3d window i right click and go to a 3d window or f3 next time i'll just brisk f/3.5 cf3 means 3d windows okay a click it here we are

but leader problem not really a problem but i am here westill have the greed in the three-team in the 3d window so i am i'm going to disable it so i select the create when you select in our key kid you needto bridge shifts so as to use the magnets because thereis a them a kind of a magnet system to snap the objects you on the select

appreciate and i click one because they are all grouped if i selectone all of them will be selected and i e go to the settings and in 3d view i a and check display in 3d view okay there we go so now we don't have the grid system then what we gonna do now is we gonna give a specific hate

a specific height for i for each colin so i'm just gonna work in the 3d window i select the scholar in here this one and ago to the settings do some and choose a not linked and as a hate as the hyatt i am do 400 okay and the swine in these these

vs they will have the height love 82 890 okay their ego and next is dez these will have their hate of i am okay in the drop down menu i'llchoose not linked 670 a heat okay and i'll choose these three we've this one

then they will have to hate the i am 700 10 bucky there we go um this will be the hi-eight are fourbuildings and some these are the call and thereare used in the model

Wednesday, May 10, 2017

best architecture design for home

translator: joseph genireviewer: krystian aparta today i'm going to speak to you about the last 30 yearsof architectural history. that's a lot to pack into 18 minutes. it's a complex topic, so we're just going to dive right inat a complex place: new jersey. because 30 years ago, i'm from jersey, and i was six, and i lived therein my parents' house

in a town called livingston, and this was my childhood bedroom. around the corner from my bedroom was the bathroomthat i used to share with my sister. and in between my bedroom and the bathroom was a balcony that overlookedthe family room. and that's where everyonewould hang out and watch tv, so that every time that i walkedfrom my bedroom to the bathroom, everyone would see me,

and every time i took a showerand would come back in a towel, everyone would see me. and i looked like this. i was awkward, insecure, and i hated it. i hated that walk, i hated that balcony, i hated that room, and i hated that house. and that's architecture. (laughter)

done. that feeling, those emotions that i felt, that's the power of architecture, because architecture is not about mathand it's not about zoning, it's about those visceral,emotional connections that we feel to the places that we occupy. and it's no surprisethat we feel that way, because according to the epa, americans spend 90 percentof their time indoors.

that's 90 percent of our timesurrounded by architecture. that's huge. that means that architecture is shaping usin ways that we didn't even realize. that makes us a little bit gullibleand very, very predictable. it means that when i show youa building like this, i know what you think: you think "power"and "stability" and "democracy." and i know you think thatbecause it's based on a building that was build 2,500 years agoby the greeks.

this is a trick. this is a trigger that architects use to get you to createan emotional connection to the forms that we buildour buildings out of. it's a predictable emotional connection, and we've been using this trickfor a long, long time. we used it [200] years ago to build banks. we used it in the 19th centuryto build art museums. and in the 20th century in america,

we used it to build houses. and look at these solid,stable little soldiers facing the oceanand keeping away the elements. this is really, really useful, because building things is terrifying. it's expensive, it takes a long time,and it's very complicated. and the people that build things -- developers and governments -- they're naturally afraid of innovation,

and they'd rather just use those formsthat they know you'll respond to. that's how we end upwith buildings like this. this is a nice building. this is the livingston public library that was completed in 2004 in my hometown, and, you know, it's got a dome and it's got this round thingand columns, red brick, and you can kind of guess what livingstonis trying to say with this building: children, property values and history.

but it doesn't have much to dowith what a library actually does today. that same year, in 2004,on the other side of the country, another library was completed, and it looks like this. it's in seattle. this library is about howwe consume media in a digital age. it's about a new kindof public amenity for the city, a place to gather and read and share. so how is it possible

that in the same year,in the same country, two buildings, both called libraries, look so completely different? and the answer is that architecture workson the principle of a pendulum. on the one side is innovation, and architects are constantly pushing,pushing for new technologies, new typologies, new solutionsfor the way that we live today. and we push and we push and we push until we completely alienate all of you.

we wear all black, we get very depressed, you think we're adorable, we're dead inside becausewe've got no choice. we have to go to the other side and reengage those symbolsthat we know you love. so we do that, and you're happy, we feel like sellouts, so we start experimenting again and we push the pendulum backand back and forth and back and forth

we've gone for the last 300 years, and certainly for the last 30 years. okay, 30 years agowe were coming out of the '70s. architects had been busy experimentingwith something called brutalism. it's about concrete. you can guess this. small windows, dehumanizing scale. this is really tough stuff. so as we get closer to the '80s,

we start to reengage those symbols. we push the pendulumback into the other direction. we take these forms that we know you love and we update them. we add neon and we add pastels and we use new materials. and you love it. and we can't give you enough of it.

we take chippendale armoires and we turned those into skyscrapers, and skyscrapers can bemedieval castles made out of glass. forms got big, forms got bold and colorful. dwarves became columns. swans grew to the size of buildings. it was crazy. but it's the '80s, it's cool.

we're all hanging out in malls and we're all moving to the suburbs, and out there, out in the suburbs, we can create our ownarchitectural fantasies. and those fantasies, they can be mediterranean or french or italian. possibly with endless breadsticks.

this is the thing about postmodernism. this is the thing about symbols. they're easy, they're cheap, because instead of making places, we're making memories of places. because i know,and i know all of you know, this isn't tuscany. this is ohio. so architects get frustrated,

and we start pushing the pendulumback into the other direction. in the late '80s and early '90s, we start experimenting with somethingcalled deconstructivism. we throw out historical symbols, we rely on new, computer-aideddesign techniques, and we come up with new compositions, forms crashing into forms. this is academic and heady stuff, it's super unpopular,

we totally alienate you. ordinarily, the pendulum would justswing back into the other direction. and then, something amazing happened. in 1997, this building opened. this is the guggenheim bilbao,by frank gehry. and this building fundamentally changesthe world's relationship to architecture. paul goldberger said that bilbaowas one of those rare moments when critics, academics,and the general public

were completely united around a building. the new york timescalled this building a miracle. tourism in bilbao increased 2,500 percent after this building was completed. so all of a sudden, everybodywants one of these buildings: l.a., seattle, chicago, new york,

cleveland, springfield. everybody wants one,and gehry is everywhere. he is our very first starchitect. now, how is it possiblethat these forms -- they're wild and radical -- how is it possible that they becomeso ubiquitous throughout the world? and it happened because mediaso successfully galvanized around them that they quickly taught usthat these forms mean culture and tourism.

we created an emotionalreaction to these forms. so did every mayor in the world. so every mayor knewthat if they had these forms, they had culture and tourism. this phenomenonat the turn of the new millennium happened to a few other starchitects. it happened to zaha and it happened to libeskind, and what happenedto these elite few architects

at the turn of the new millennium could actually start to happento the entire field of architecture, as digital media startsto increase the speed with which we consume information. because think abouthow you consume architecture. a thousand years ago, you would have had to have walked tothe village next door to see a building. transportation speeds up: you can take a boat, you can take a plane,you can be a tourist.

technology speeds up:you can see it in a newspaper, on tv, until finally, we are allarchitectural photographers, and the building has becomedisembodied from the site. architecture is everywhere now, and that means thatthe speed of communication has finally caught upto the speed of architecture. because architectureactually moves quite quickly. it doesn't take longto think about a building. it takes a long time to build a building,

three or four years, and in the interim, an architectwill design two or eight or a hundred other buildings before they know if that buildingthat they designed four years ago was a success or not. that's because there's never beena good feedback loop in architecture. brutalism wasn't a two-year movement, it was a 20-year movement. for 20 years, we were producingbuildings like this

because we had no ideahow much you hated it. it's never going to happen again, i think, because we are living on the vergeof the greatest revolution in architecture since the invention of concrete, of steel, or of the elevator, and it's a media revolution. so my theory is that whenyou apply media to this pendulum, it starts swinging faster and faster,

until it's at both extremesnearly simultaneously, and that effectively blurs the differencebetween innovation and symbol, between us, the architects,and you, the public. now we can make nearly instantaneous,emotionally charged symbols out of something that's brand new. let me show you how this plays out in a project that my firmrecently completed. we were hired to replace this building,which burned down. this is the center of a towncalled the pines

in fire island in new york state. it's a vacation community. we proposed a building that was audacious, that was different than any of the formsthat the community was used to, and we were scaredand our client was scared and the community was scared, so we created a seriesof photorealistic renderings that we put onto facebook and we put onto instagram,

and we let people startto do what they do: share it, comment, like it, hate it. but that meant that two yearsbefore the building was complete, it was already a part of the community, so that when the renderingslooked exactly like the finished product, there were no surprises. this building was already a partof this community, and then that first summer, when people started arrivingand sharing the building on social media,

the building ceased to be just an edificeand it became media, because these, these are notjust pictures of a building, they're your pictures of a building. and as you use them to tell your story, they become partof your personal narrative, and what you're doingis you're short-circuiting all of our collective memory, and you're making these charged symbolsfor us to understand. that means we don't needthe greeks anymore

to tell us what to thinkabout architecture. we can tell each otherwhat we think about architecture, because digital media hasn't just changedthe relationship between all of us, it's changed the relationshipbetween us and buildings. think for a second aboutthose librarians back in livingston. if that building was goingto be built today, the first thing they would do is go onlineand search "new libraries." they would be bombarded by examplesof experimentation, of innovation, of pushing at the envelopeof what a library can be.

that's ammunition. that's ammunitionthat they can take with them to the mayor of livingston,to the people of livingston, and say, there's no one answerto what a library is today. let's be a part of this. this abundance of experimentation gives them the freedomto run their own experiment. everything is different now. architects are no longerthese mysterious creatures

that use big wordsand complicated drawings, and you aren't the hapless public, the consumer that won't acceptanything that they haven't seen anymore. architects can hear you, and you're not intimidatedby architecture. that means that that pendulumswinging back and forth from style to style,from movement to movement, is irrelevant. we can actually move forward

and find relevant solutionsto the problems that our society faces. this is the end of architectural history, and it means thatthe buildings of tomorrow are going to look a lot differentthan the buildings of today. it means that a public spacein the ancient city of seville can be unique and tailoredto the way that a modern city works. it means that a stadium in brooklyncan be a stadium in brooklyn, not some red-brick historical pastiche of what we think a stadium ought to be.

it means that robots are goingto build our buildings, because we're finally ready for the formsthat they're going to produce. and it means that buildingswill twist to the whims of nature instead of the other way around. it means that a parking garagein miami beach, florida, can also be a place for sports and for yoga and you can evenget married there late at night. it means that three architectscan dream about swimming

in the east river of new york, and then raise nearlyhalf a million dollars from a communitythat gathered around their cause, no one client anymore. it means that no buildingis too small for innovation, like this little reindeer pavilion that's as muscly and sinewyas the animals it's designed to observe. and it means that a buildingdoesn't have to be beautiful to be lovable,

like this ugly little building in spain, where the architects dug a hole, packed it with hay, and then poured concrete around it, and when the concrete dried, they invited someone to comeand clean that hay out so that all that's left when it's done is this hideous little room that's filled with the imprintsand scratches of how that place was made,

and that becomes the most sublime placeto watch a spanish sunset. because it doesn't matterif a cow builds our buildings or a robot builds our buildings. it doesn't matter how we build,it matters what we build. architects already know howto make buildings that are greener and smarter and friendlier. we've just been waitingfor all of you to want them. and finally, we're noton opposite sides anymore. find an architect, hire an architect,

work with us to design better buildings,better cities, and a better world, because the stakes are high. buildings don't just reflect our society,they shape our society down to the smallest spaces: the local libraries, the homes where we raise our children, and the walk that they takefrom the bedroom to the bathroom. thank you. (applause)

Tuesday, May 9, 2017

best 3d home design

hey guys! mr. clark here. today, let’s design the perfect room! what does your perfect room look like? we can draw a floor plan also known as a blueprint.architects design blueprints to map out features of the building and also to see what each room is used for. today, i’m going to design a floor planfor my perfect room. what will you design for your perfect room? a bathroom? an arcade? you can design your perfect room to have whateveryou’d like in it. have fun and be creative! remember, when we design this floor plan; we are looking at the room from above – like there is no roof.

it’s a bird’s eye view. let’s begin by drawing four walls. i want the walls to be nice and straight - soi’ll use my ruler to draw a rectangular room. i’ll leave a space here for the door. thinkabout where you’d like your doors and windows. he can draw them right into the walls. and, you know what… i’m gonna have a closet door here. now, lets add some windows in our walls tolet some sunlight it. first, i’ll find the middle of my wall uphere, and then draw one window on either side with a little space between.

these lines just represent the window frame. i’ll do the same on this wall. good. now, let’s start drawing some itemsinside our room. like maybe a bed! you gotta sleep right? ok, so i’ll draw a rectangle bed here onthis wall. you can just draw the basic outline of the bed so you know it’s there – or you can add lots of cool details. take your time and be creative! cool, now i’ll draw a nightstand next tothe bed. of course, when viewing our room from above,we won’t be able to see these drawers, but

i’ll still draw them just for fun! i’ll even draw a lamp here on the top. that’llgive me a light source. cool! now on the other side of the room inbetween the windows, i’ll draw a big computer desk where i can make art videos and shareit with you all! on that desk, i’ll draw my laptop. i usea macbook pro. and i gotta have big speakers so i can listento music - all night long. i’ll even draw the cords going to an outlet. the floor plan symbol for an electrical outletis a circle with two lines attaching it to the wall. you can add outlets wherever youneed power!

good! now, i’ll draw my computer chair - abig comfy chair – that swivels. yeah… ok, what next? ooh! i know! how about a basketball hoop! yeah i want a basketball hoop in my room soi can take 3pt shots with my friends. i’ll draw it here in the corner: the backboard,the rim and the net. and of course a basketball to shoot. next, i’ll draw a toy chest up here on theother wall between the two windows. this is where you can keep games, legos andmaybe some art supplies to share with friends. on the other side of my computer desk, i’lladd a bookshelf. here is where i keep all

my favorite books. books from school, comicsand other cool books that i enjoy reading! again; normally we wouldn’t be able to see the books from above, but i’ll still draw them so we can see what it is. now, let’s see... in this corner, i’lldraw an art table. yeah… this is where we can draw, color anddo neat art crafts like painting and origami! two chairs - one for me and one for a friend. this is a pretty cool room! what else shouldwe add? now, i’m choosing to make this little rooma closet, but why don’t you try to make it something else? like a bathroom! or makeit bigger to add a home gym!

you know what to do – have fun and be creative! these are my shirts hanging up, here are mypants and i’ll put my shoes here on the floor. and lastly, i’ll add a rug here in the middleof my room - a big area rug with cool designs on it. nice! i designed my perfect room! and send me your floor plans for your perfect room! i can’t wait to see your designs! now, let’s illustrate it! i’ll show you how. join me in the next video to illustrate andanimate our perfect room! subscribe to creative cricket for more coolart videos, free printables and monthly giveaways.

i hope you all had fun and i’ll see younext time. thanks for watching!

Monday, May 8, 2017

best 3d home design software free download

do you want the competitive edge in winning bids for lucrative home improvement projects with 3d house design brought to you by 3d solutions animation services you can communicate complex and creative 3d designs to inspire your client and close the deal what we really wanted to do was incorporate our house the inside of our house and extend it to the backyard and

so we really wanted to focus on this outdoor room and incorporate that extended living space and we interviewed with eddie and we interviewed with a couple of other companies but for me the 3d imaging is huge because i'm not a visual person that can see it in the future i can conceptually see space but not this

i can't see how this looks with my house and so that was huge and i think when you are looking at a company especially from a contractor standpoint i really think about follow up and fall through communication and that's what i think one of their biggest drinks was for me as communications constantly getting back to me anything i sent

constant response 3d solutions is a premier company offering 3d modeling visualization and rendering we cater directly to residential commercial outdoor living design and contracting industries we bring your designs to life in today's high-tech world it is imperative that you reflect the image of a seasoned

professional your competitors are using this technology and you should too if seeing is believing 3d solutions will help give your customers full confidence in your design our cutting-edge 3d designs not only increase sales but can save you time and money by avoiding expensive construction mistakes written quotes and simple 2d

drawings don't adequately communicate the full design if a picture is worth a thousand words a 3d solutions animation could be worth thousands and sales in addition your customer will be showing off your animated design to friends family and work colleagues with your company name prominently displayed it's like built-in marketing

3d solutions has a quick turnaround excellent customer support unbeatable pricing and a one hundred percent satisfaction guaranteed all we need is your autocad file with respect and a few pictures of the site no house plan is required imagine using this with your next customer 3d solutions has over 28 years of

experience in the field of design and construction our animations are the ultimate and construction design presentation why because your customers will see your talent in 3d visualize themselves in your design and be won over by your professionalism please call 3d solutions today to

discuss how we can help you better communicate with your customers and reach your sales goals 3d solutions where your outdoor living space comes to life via 3d home design

Friday, May 5, 2017

best 3d home design software for mac

when i saw the surface studio for the first time, the jaw drops a little bit. the surface dial, with the studio, there’s just this magic that takes place. it’s definitely redefining the concept of desktop. the sketchable was principally designed for pen and touch input. the surface studio fits it to a t. with the surface studio, what i saw, immediately, was the size of the screen.

whatever you’re doing, if you’re trying to be productive, real estate matters. the really special thing about the surface dial is when we can change the color while you’re painting, without even picking up the tip. that’s not just as good as real life, it’s better. at bluebeam software, we make solutions for the architecture, engineering, and construction industries. with the surface studio you really have a new collaborative way of interacting with documents. it is essentially the same angle as a drafting table. you’re more immersed in the technology once you’re down in studio mode.

with the dial, there’s an off screen and on screen presence and so i can work however makes sense to me. mental canvas combines free hand drawing with 3d capabilities. you could draw on a canvas, but then you could also project your strokes into space. with surface studio, you just get this really fluid experience of creation that’s just not possible anywhere else. the experience so far has been seamless. it’s going to change the way that people do work at their desk. once you start to use it, you don’t feel like you’re working with a computer anymore. you feel like the computer is serving you, rather than the other way around.

Thursday, May 4, 2017

benchmark designer homes

hello ladies and gentlemen, captainshack here and welcome to my on going coverage of star citizen. it's hands down the biggest space sim title that's ever been dreamed off with a huge number of impressive game features but the one single feature that has me, personally, more excited than most

is the modding support. for the uninitiated mods or modding is all about changing your game customizing it in some way. examples can range from changing the sound of a single weapon or maybe improving a single texture or ui element, up to and including total conversion which

can literally take an old game and remake it completely inside the original engine making it pretty much a new game. one rsi's initial designs was to have hosting of a version of a persistence universe that could possible on a private server allowing for players to mod whatever they wished

inside their own server outside of the main server. ship modeling and basic design tools were also planned. something that has some mod authors kind of concerned and the reason why a lot of the well known mod teams are kind of on the wait and see fence or attitude

is the fact that there hasn't been much of a mention of modding tools for some time now so we don't know exactly what's going on for modding support. hopefully we'll find out soon. but star citizen, with its incredible level of detail has inspired many talented individuals to start working on custom assets already

designing new ships for the title. with such an amazing group of artists volunteering rsi decided to hold a competition a while back called "the next great star ship" that brought a bunch of teams together to see whose ship would make it to the final game's release. it was really compelling to watch and if you're interested

the videos are still up on rsi's youtube channel so i recommend you check it out. you can actually see the ships be designed from the ground up. anyways, getting back to the modding community there are a lot of current projects being developed. if you're a fan of science fiction and love the idea of a universe populated

with lots of different ships then you'll see why this has me so excited. keep in mind, most of these ships are still in development. alexander advanced weapon class destroyer. it's equipped with gauss cannons and an under slunk captain's yacht that is definitely one of my favorites. this was made by lexxen over on the forums.

the x-2 manta advanced starfighter by chmee, i think i said that right. it's a xian/human hybrid representing the pinnacle of cutting edge star ship design. the x-2 manta is a formidable opponent for the most demanding of combat situations. the osiris, by korathan. this little baby is a deep space

exploration scout and cargo vessel. a real multi-role ship. i love the odd ball design on this one. this one is definitely one of the strangest: the hopper mk003, by marius jonas. it's built for long expeditions in the extreme conditions of uncharted space and harsh planets. the legs are built to allow

landing on just about any surface. lots of thrusters and big fuel tanks keep the grass hopper an agile long distance ship. the switchblade fighter. if a capital ship had a pocket knife to protect itself, this would be it. perfect for a ship that has storage space problems.

the x-38 sundagger, another design from chmee. chamme? shmee? the x-38 sundagger is another design from chmee, i hope i said that right. talk about retro, it even has a batman paint option. i love these paint jobs. the fact that it even has the standard docking ring

from star citizen integrated into the retro design just makes me laugh, i love it. and this is without even having full on tools released, there's even halo mod on the works by a small team. but what are you guys most excited for, and what kind of mod would you like to see made? let me know in the comments below. as always, thanks for watching

and i'll see you guys next time.

Wednesday, May 3, 2017

bedroom home design

hi, my name is anita cordell and i am a licensedreal estate agent in the greater kansas city area. yoday i am going to talk to you aboutbungalow style homes for the term bungalow comes from india and itmeans "small home with a veranda". ãša veranda is a roofed porch. ãšit's got an open frontand it has a roofed porch covering it. ãšmost bungalows are small homes, typically betweenone and one and a half stories high. it usually has just one to four bedrooms, depending onif it's expanded or not.ãš bungalows are very convenient, especiallyfor those people with impaired mobility, because they are smaller and most of the living spaceis confined to the main floor. pros to having a bungalow are that they aremore cost efficient, they are smaller so your

heating and utilities are generally goingto be a little cheaper and more economic.ãš one unique fact about bungalows is that bungalowneighborhoods tend to be more private. ãšthe reason why is because due to their size thetrees and the shrubs around the property tend to cover the windows, making them more private.ãšusually they are found in older, and more historic neighborhoods. ãš if it is in a historicalarea then your re-sale will be good. especially in the pockets of the united states wherepeople want to keep the historical integrity of a interesting fact about bungalows is the airplane style. the reason why is there wasnot air conditioning in these days. ãšso they would add on a little bit of room in the veryback and pop open some windows so that the

family could go up into this little area takenaps in the afternoon and cool down. so you will see every once in a while bungalows withthis little add on in the back. that's what that is called, it's called an airplane stylevariation of the bungalow. thank you for watching. for more informationcheck us out on the web at

Tuesday, May 2, 2017

beaver home designs

welcome back to another video my name is adamfrom where i make videos for nontechies like me and i'm going to show you how to do somethingreally really cool in this video and that is how to add a pop up box that can have anythingyou want in it on your beaver builder website and you have to have the beaver builder themefor this you just need to have the beaver builder plug-in and an add-on package thati'm gonna show you that adds this really awesome functionality you can do some really amazingthings with pop-ups and i had a client recently where they asked if i would put a video ona page i designed for them and i know when i looked at it it just really wouldn't fitand i thought this should really be maybe a button where they click on it and a videopops up and so i was looking at my favorite

add-on package now part of the reason is myfavorite add-on package is because it's the only one i own about it with my own moneyi'm not some rich guy buying all these add-on packages also i'm very conservative when iend up buying something i want to buy stuff that i'm good use and i'm usually not to buysomething else that does the same thing to stick with what i have unless the other thingthat does a better job at it so i went to the ultimate add-ons website for beaver builderand i saw when i clicked on modules they have this module right here mode dial pop up idon't know why they called the mode dial i know it's probably a technical term but mostpeople don't know what the heck that is so just pop up and it's coming soon so i contactedthem and asked them if i can have an advanced

copy of the the plug-in that has this add-onalready in it so that i can use it for this client and they were very generous and i askedif i can make this video and they said yes as well so go over this new module that they'readding and other creative uses for it and us all to try to cover some of them as bestas i can in this video but they do have some demos up and they have these eight demos ofit so here is a demo where when you click on it just some content comes out and everythingis customize woman to show you all the options in it here's one for a photo you notice ican change the color of the background there and you can also choose if you want a borderthere you don't have to here's a video embeds when you click on it just pops up a videoand if if you noticed that others different

animation options okay so here's where youcan have a saved row so you can creator rowan beaver builder and you can select that tobe the contents of your pop-up that is some powerful stuff right there here's for savethe modules and also saved page templates and i was actually thinking this would bereally good for anyone that wants to have a portfolio but not have it be that take upso much space on their website so if your client to design some pages and beaver builderwhen you can actually export those pages import them on your site and add them to these pop-upsto really showcase some of the work that you do so anyways this is your full saved pagetemplate youtube video you might see someone familiar and you can even get rid of thisborder by the way also if you don't want the

border you can get rid of it you can changethe background color here the color the opacity everything is controllable including thisis controllable to you can have it be whatever you wants and here's a video video so theseare the eight demos let's jump into the backend of word press and take a look at the settingson my site so here i am i'm logged in now i'm going to give you a little bit of a teasehere so if i go to settings and then page builder and is where you simply find yourbeaver builder settings you can see right here something pretty interesting but i amnot to click on that that something for different video i just asked if i could get an advancecopy for the pop up and if i can make a video of it all go into what this is in a differentvideo so you want to click on modules if this

is your first time installing it in when youscroll down this is where you can actually enable or disable modules when you scrolldown here so the ultimate add on modules right here and i have them all checked are rightnow but you can choose which ones you want this photo gallery is also a new one thisribbon is new they have a couple new ones in here but i just don't talk about thesepop-ups because they're so cool going to pages and skinny jump into my home page and clickon page builder so i can get into the beaver builder interface and here it is so i'm justa search for its pop that's enough there it is motile pop-up so the way it works is youcan drag-and-drop this wherever you wanted to say i wanted a pop-up button underneathhere i will drag-and-drop that there and up

pops my settings panel right here so may tryto go over all of these you know some of these pop-ups you don't even need to trigger withhave a button you can actually have a trigger was some action may be time on the page orthat whole exit and testing were when summonses scrolling off the page or maybe right whensomeone gets the websites there's lots of different triggers for these pop-ups whichis actually pretty darn cool and the reason why i think the way that ultimate add-onsis implementing it is so awesome as they actually also have pre-built a lot of this technologythey have a plug-in called convert plug that is a plug-in that allows you to capture optins and things of that nature on your website so anyways now you can do anything with theseproblems you can use them for lead generation

for relaying information for notices thereso many cool things you can do with it it's pretty pretty powerful so right here you canhave a real basic pop-up where you just have text you can have a title and some text righthere right here is the option we can actually choose different types of contents when iexpend this right here i can choose a photo my video embed code which is pretty awesomeso if you are using video that's not on video not on youtube you can embed it here as wellor maybe even an audio embed code here's reviewed choose your saved rows modules templates youtubeor video so i have some saved page templates i can click on that and i've got a couplehere maybe i can just chooses adams template right there you can see the width is definedin the pop-up options right here cc which

is maximum with that's why looks funny becauseit's taken this page in and scrunching it all in but i'm sure if i expanded this outto maybe like 900 or something like that it would go ahead and kind of look normal soyeah there it is it's looking better already and i can get rid of this content paddingright here i think i probably wouldn't really use the padding i would like to just set itas zero and there it is so here is a full page, and implement this on my website forshowing full-page designs especially for templates that might be for sale anyways when you scrolldown here you have the effect when it appears you could do something real basic there'salways really nice effects that you can choose to like hokey dorky type of effects i meanthere were the really cool facts that can

get your attention also if you're using whereyou're showing some of the v padding on the side you can write here choose the backgroundcolor for that and here's where we could choose the overlay color so right now i have as thisdark color so let's see if i make it like an annoying green or something like that andthen i can choose my opacity right here so i wanted it to you know have very little opacityi can do that is you have those options there since look at this tab word says appear onand this is where were you have all these options we can create a button it could justbe text it could be an image of someone clicks on an icon we can also tie this into a customclass which is pretty cool and automatic that's were working to choose some parameters whereit's not someone clicking something in order

for it to pop up show those real quick clickon automatic right here is before user leaves and this is like an accident and after a fewseconds and you can specify the second so if i click on yes i wanted to cure the minutesomeone got on the page i can have this set to zero or i can have there be some kind ofa delay so we said that to know see there's any additional options with this note thereis an okay right and so this is actually really thoughtful of them you can enable cookiesand this is going to allow you to control if someone comes back to the site or theycan see this again so just see what options are there to choose yes and right here wecan choose a range so i sent this to two when someone comes to my website and sees thispop-up it won't appear again for two days

or if they go on to another web browser it'llprobably appear are they clear their cookies but you have some pretty good control overit now you also have options for this close button so if you see right there it's an actsand we can choose whatever he wants if i click on replace you have the choice of all of thesedifferent options so you definitely don't want a form of an x because if you don't someonemight not know that they need to click on it unfortunately that does happen but youcan choose whatever you wanted like maybe throw in a house and then you could choosethe size here the color of it whatever you want and so now it's a little home for somepeople you might want to make it larger so i just change that to 60 which are probablyclose to double the size but that would make

sense you want and ask but you also changethe position of where you want it so there it is real sex in the top right i can putit may be on the top right of the actual pop up like that in that should move it to beright next to the pop up its self okay so now you can actually choose also what actionsomeone would do to make this go away so could be just clicking on that extra whatever youput there but you can also have it be if someone hits the escape key or clicks on the overoverlake i think you should enable this overlay click option because i do that sometimes ijust want to click there and have it go away and then you have your standard options yourtopography in your advanced options so anyways and then you can just go ahead and save itswhat i do i think i might've set this the

trigger after a few seconds right so see ifi click on don and then publish of late into the x and tendency take me to the page actuallyjust went back and made it work as the x intent and that just means when you take your mouseand you move it out of this browser window it should trigger it like that and there itis it just triggered it and you can scroll down so i had this full-page template showingbut you can see how really cool this would be to show you you can do just all kinds ofthings you can have page specific pop-ups you can have light boxes for your videos youcan capture leads you can do amazing things you can demo your portfolio you can do allkinds of cool stuff so that is it to making pop-ups for your beaver builder based websiteusing the ultimate add-ons plug-ins and add-ons

splitting is not expensive and it's like 60or $70 right now and that you get all these modules rose and pretty soon you're in a half-fullpage templates for it and i love it and i use it on my personal website i'll use a lotof the different modules now i do have links to beaver builder and ultimate add-ons downbelow know when you click on those links and it goes over to the website ulcer affiliatelinks and what that means is if you were to purchase it they give me a small commissionit's not a huge commission it's really small commission and so if you did want to purchaseeither of those i'd appreciate it if you did it through my links however that is not whyi talk about these products i talk about it because i own on bottom with my own moneyand i currently use them and love them and

fully believe in them now if you did by ultimateadd-ons or beaver builder through one of my links i have a corset i'd like to give toyou for free all you have to do is forward your receipt over to me now verify that youpurchase it through my link the name of the course is beaver builder essentials and whatthat's gonna do skin it take the person that's new to beaver builder and maybe even buildinga website in its continued through the whole process of having in building an entire websiteusing beaver builder in i'd like to give that to you before you go i have something foryou and before i get into that i wanted to ask you to do something for me to give mea thumbs up on this video and if you're not a subscriber click on the subscribe buttonright beneath me if you have a question on

this video i'm happy answering you can alsoleave a comment or question down below this video hey i put together a course just foryou and him and they give it to you for free all you have to do is click on the buttonright here on the right is called three steps to wordpress success is an awesome courseyou're gonna love it i would love for you to join in and enroll as a student in thiscourse thanks for watching this video i really appreciated and i do it just for you

Monday, May 1, 2017

beaver home and cottage design book

tina srebotnjak: the man to do the formalintroductions is bob hepburn and he's the director of community relations and communicationsat the star. [applause] bob hepburn: thanks, tina. so joe clark'scoming. i heard him today say that the prime minister should come clean about the senatescandal. so maybe next week you can ask him questions about that. anyways, tina said myrole here is to formally introduce colin and richard. let me just say a few words aboutrichard at the beginning and try to keep it short with richard because he's worked for25 years professionally, in the world of performing arts and arts journalism. in that time, hehas written, directed, and acted in more than

225 productions. he served as artistic directorof five major canadian theatres and been associate director of the stratford festival. bh: he's also taught and/or directed at theuniversity of british columbia, simon frasier, winnipeg, george brown college and sheridancollege, and he's been the star's main theatre critic since the year 2000. but he also writescelebrity profiles for us, and has a regular saturday feature in the star called the biginterview. he did colin mochrie last week. he's also hosted a weekly cbc radio programon musical theatre and served as creative head of arts programming at tv ontario andin his spare time, he's written six books. [laughter]

bh: now, colin mochrie. colin was born inscotland. he says he was shy as a child, stating that neighbours would have commented thathe watched way too much television. when he was six, his family moved first to montrealand later to vancouver where he was a self-proclaimed loner who wanted to become a marine year, while in high school, a friend persuaded him to try out for a play where he playedthe role of an undertaker. bh: he was hooked when he got his first laugh.since then, colin has been entertaining canadians and fans around the world with his comedy,especially his improv, his acting, and now, with his new book, not quite classics, hiswriting. he's best known for his roles on whose line is it anyway? , this hour has 22minutes, and as host of are you smarter than

a canadian fifth grader? , i don't think i'dwant to tackle him on that one. colin has won two canadian comedy awards, a gemini award,and a writer's guild of canada award for this hour has 22 minutes. he never seems to stopworking; on stage, in films, and now at a writing desk. just a few weeks ago, he wasin australia, and now he's touring canada on a schedule that richard described in thestar last week as "more crowded than a kardashian family counselling session." bh: colin lives in toronto with his wife andson, and two dogs that he says won't come when called. bh: please welcome, colin mochrie and richardouzounian.

richard ouzounian: so, i learned, a few yearsago, the perils of trying to ad lib humorously with colin mochrie and i don't know if heremembers this, it will come back to him, it was the 50th anniversary of second cityin chicago and a bunch of us journalists, comedians, people, were all on a porter airlinesplane gonna be flying to chicago in a very bad windstorm. and i think it was your wife,deb, who tried to lighten our spirits and said, "well, if the plane goes down, i wonderwhat the newspapers will say, ha, ha ha." and i opened my big yap and said, "oh, yeah.i can see the globe now, 'canadian cultural icon, colin mochrie perishes, eight televisionshows have to finish'." there was a pause, and then he said, "and i can the toronto starnow, 'ouzounian crashes and burns once again'."

ro: so, that doesn't seem right. [laughter]i've learned i will never do it again. colin mochrie: i have to say, i thought yourresume was much more impressive than mine. 05:01 ro: yeah, but more people are interestedin yours. that's the important thing. 05:03 cm: well, sex sells. ro: you took that kardashian comment seriously,didn't you? shall we talk about the book first? and then get into your sordid life? cm: sure. ro: okay, good. in case anybody here doesn'tknow, i will say how brilliant it is, so he won't have to say it. he came up with a magnificentidea, which is take a lot of great works of

literature, and keep the first line and thelast line of them intact and then he went off to colin mochrieland in between. and sometimes,it bears a little resemblance, sometimes it bears no resemblance, but the one thing thatall the chapters have in common is that they're hilarious, and end of commercial, but youshould buy the book, it's great. it's like having, oh no, it's best to realize, thisis will be tacky, it's like having colin at your bedside table. ro: every woman's dream. cm: every man's nightmare. ro: what is your favourite chapter?

cm: oh, there's a couple. i like the sherlockholmes one because i didn't think it was a... i'd be able to write a sherlock holmes story.the only reason... most of the other chapters have nothing really to do with the originalstory but the first line of this had sherlock holmes in it so i basically had to use him.but there is no way i could come up with a mystery that would perplex the most intelligentman in the world, so i decided to use something where i felt a little superior to sherlockholmes and so he decides to become a stand-up comedian. cm: i was amazed at how easily that flowed'cause i haven't read a lot of sherlock holmes. i've seen all the movies but i've read maybea couple of the stories. but it seem to flow

and it sounded right. my agent just said "didyou write that in an english accent?" and i think i did. i could hear the voices. andthe one based on frankenstein, about a man who... okay, it's gonna sound weird, but it'sa man who strikes up a beautiful friendship with a chicken. ro: that's good. you have to read it. cm: you have to read it. i like it becauseit's cut... it's different and i find it quite touching. [chuckle] cm: i thought yes you laugh but when you readit, you will weep.

ro: and you will not eat an egg for weeks. cm: exactly. cm: so those were... i mean all of them ilike for various reasons but those two are the two that kind of stand out to me. ro: oh, i was again hearing your biographyand things that happen. the first thought i had is what if your parents had not givenup on montreal? what do you think would have happen to colin mochrie had he stayed in montreal? cm: you know what, i have no idea. there wasan even closer call. we had moved to vancouver. my father couldn't find any work. he was...he worked in a sheet metal but he had worked

on airlines fixing engines and he just couldnot get any work so he decided that's it, we're heading... we're moving back to he sold everything, we were in a motel and i think we were like two weeks away fromthe flight. and he decided at the last minute, "i'm gonna give it another try." and thentwo weeks later he got a job with air canada and that sort of changed our lives around.and i keep thinking, what would have happened if i'd gone back to scotland? i'm pretty surei wouldn't be here. ro: and billy conolly would only be the secondbest comedian in scotland. cm: yeah, i have no... i think he'd stillbe pretty safe. so i think that would have totally changed my life 'cause i'm not reallysure... i was lucky when i was in vancouver.

that's when the improv boom started to happenand that's when i got involved and that's, led to whose line which led to this. withoutthat... i have no idea 'cause i had no skills. and i'm not being humble, i had no skills. cm: there's nothing i can do. if this hadn'tworked out, i'd be so screwed. ro: you make a good sand... ro: do you make a good sandwich? cm: i'm a very good cook but i don't likepeople, so... cm: i wouldn't do well in a restaurant situation. ro: again your childhood wasn't exactly atextbook, "this is how to make a kid happy,"

being uprooted on several occasions. and ithink that you did tell me at greater length once about how awful those weeks, months inthe motel were waiting for your life to settle out. how did that, when you finally becamea comic, translate? i mean, are you fighting away that insecurity depression? or are youmocking it or pretending it didn't happen? what do you do with it? cm: i think it... that period helped me inmy improv and i could accept things. i was able to go with the flow. i had no power.i couldn't say to my father "no, we're staying," because he was scottish. cm: but i did learn throughout that, throughoutmy life it's been... when something has happened,

it's learn to sort of go with it and finda way to get around it or through it. and i've said, basically my career has been basedon revenge. so many times people said, "well, you're not gonna go anywhere, you're limited."you know, improv this was not an occupation when i was growing up, but i'm really pettyand... cm: my career is based on showing those people,yes, i can do something with what i have. sure it's limited. hopefully it will be alesson to people who think they can't do things. i make up crap for a living. cm: i could be a senator. cm: that's it.

ro: bob alluded to the fact that when youwere in high school you made a triumphant appearance in the life and death of sneakyfitch as the undertaker. but the real important thing that happened which took you years toget back to the stage was that you used that or they gave you that as a chance to startdoing your first real improv gig during the announcements. cm: oh yeah. i would... there were announcementsevery day about... there's school dance coming up on the 21st. please be there, show yoursupport. slave day, which i always thought, "slave day sounds wrong." cm: they would auction off students to peopleto raise money for the school.

ro: why didn't they ever make 12 years inkillarney high school? [chuckle] cm: i don't know, it would have gone reallywell. and so i, with a couple of friends, approached the principal and said, "i'd liketo do the announcements and maybe do it in a way that's a little funnier and perhapspeople will actually listen to them." so that... i get there a half hour before everybody elsewas there and sort of come up with a script idea. and then my friends and i would sortof improvise the announcements and it became really popular and i became famous in my schoolfor... as the guy who would do the funny announcements. it actually did help, dance attendance wentup. cm: so it was the first time i sort of realizedhow humour can actually educate people. not

educate but you listen more when you laugh. ro: can you recall any one of them that youdid? you must have one of them tucked away in your brain. cm: oh god, no. i remember i did a lot ofbatman parodies. so it's like batman and robin, the joker... well, one of the bands we hadat our high school was heart. they were pretty amazing and really cute. and so i believei was batman trying to stop joker from capturing heart and doing horrible things to them. idon't really... it was really funny. you have to trust me on this. cm: it was really funny.

ro: now it's interesting you got into twotopics here that have all intertwined. you talked about how the dance popularity wentup, and you talked about how heart was really a cute band. but you've also told me thatyou discovered early on, that being a comedian didn't get you any girls in high school. cm: oh god, no. i love women and what i loveabout them is a lot of times they don't really care what you look like. if you have a nicepersonality they'll give you a chance. where men are much more shallow that way. cm: but in high school, although many girlsliked me because i was funny and very sweet, but that made me the friend or, "you're justlike a brother i never had."

cm: unless you're at a school of hillbillies... cm: doesn't lead anywhere. so my dating lifein high school, and actually well into college, was pretty sparse. i mean i was liked butnot in that way. ro: this is something we never... cm: thanks for bringing that up, by the way. ro: we will... i will help you deliver thehappy ending later. cm: oh, good, good. ro: college, you went to vancouver city college.and you were in their theatre program. now i always forget, was it studio 58 or 55, or58?

cm: 58. ro: 58 and anthony holland was still runningit then. and he was kinda an eccentric, crusty british guy. and how did you get along withhim? cm: it was rocky our first... when i firstauditioned for him, he did this thing, and i actually saw him two days ago in vancouverand i meant to ask him this. when he would audition you, he would have a newspaper. soyou would do your audition and he would just read, and then sometimes he'd pretend to fallasleep. and i thought, "well, this isn't really welcoming." and it's hard for you to do yourbest work when you see, hear the rustling and sleeping. but he... and again i shouldask him this, he admitted me to the school

and it was a tough school to get into andi was pretty raw and i don't think i was that good, but sex sells. cm: so we get through our first term and wehave our end of term's one on one and all he said to me was, "you're very good at lowcomedy." cm: i took that as a compliment. cm: because anthony also was very good atlow comedy. he would direct some shows and he would put things in and we'd go, "wow,that's just... betty hill would be ashamed to do that." but i think i actually wore himdown and he actually really started to enjoy me and think i was funny and liked me andbefore i graduated we had this really lovely

bond. we still communicate through emails.he just turned 92 and a half. he's doing five one man shows, tuesdays with morrie. he'sworking more than i am. and he's still sharp as a tack. he's a little slower, of course,physically, but he's a great inspiration. and he said, "i'll give you my book if yousend me yours." so he gave me his book which i just read on the plane, fascinating story,so now i have to buy a book and send it to him. ro: now in the middle of this, well maybenot conventional but more traditional theatre background, you were lucky a kind of a doorjust opened up that would take you somewhere for the rest of your life, the day that thoseguys came. tell me about it.

cm: i was... a friend of... i was still intheatre school and a friend was doing a play reading of a new play, and part of the eveningwas there was a thing that had been invented by this englishman living in calgary calledtheatresports which was improv diner sports setting. there were two teams. there was areferee who would issue challenges. and there were judges that would judge the improv. andthe improvisers were amazing people. there was morris panych, who is a great director.bob baker, also director, and i think he was artistic director of the citadel for a while. ro: still is. cm: still is? and some great actors. jilldaum...

ro: jay brazeau? cm: jay brazeau. yeah. and they did this theatresportswhere they got suggestions from the audience and made up things and i was just... i justfell in love with it, partly because i'm lazy and i thought, "hey, you don't have to learnstuff." but i just thought, "this was the greatest things!" so i immediately, i heardthere were some theatresports workshops and signed up and found that i just... i didn'tactually need a lot of workshops. i immediately got it and felt so comfortable in that worldand that the next week i was doing matches. cm: and we were doing it in a small was the perfect theatre for improv. it was small and intimate kind of a... therewas a three-cornered stage and the audience

was really close and we were doing shows at11 o'clock at night. when we were starting, we would run to th mcdonald's next door andpull people in and say, "yeah, you've got to watch this." and by the end of the year,we were the big thing in vancouver. people would line up around the block at midnightto see these people make up with a show before their very eyes and it was... the great thingit wasn't just actors. there was... there are writers, directors but the one of thegreat improvisers, he was a cable installer. it just seemed to speak to people who hadthis... needed this outlet to do it and it was so much fun. ro: the first time you did it successfully,did you feel like, i don't know, you had done

drugs or you were on a high, or you jumpedout of a plane? what was it like? cm: well, never having done drugs... ro: did you inhale while you improv-ed? cm: no. it did have that what i imagine heroinewould be. it was just this incredible rush. it was a rush from beginning to end just asyou're standing up stage and you realize, "oh the audience has bought tickets to seea show. we don't have it." and that's when the rush starts. cm: and then you go out and there's... it'ssort of a... it's a rush mixed with a calm. there's that excitement but there's also,"i'm home, i'm with these people that i trust

and i know it's all gonna work out." there'sthis optimism that i have in no other part of my life where i know it's gonna work out.and there is that rush of i just made that up and this entire audience with their differencesand their... whatever makes them laugh, laugh at this thing i said, it's just really did become... whenever there was a week where i didn't play, it was so depressingand i couldn't watch because that depressed me more, especially if they were good. you'reso, "oh." because i wanted to jump up there and do it. i just wanted to perform all thetime. ro: again, they always say the actor's nightmareis the actor waking up or having a dream that he's in a play and doesn't know the lines,doesn't know what he's supposed to say. would

your nightmare be that you are in a play andyou had a memorized script? would that be... cm: no. i'm actually very good... i'm a verygood memorizer. scripts come very easily to me which is great because i don't put a lotof work into them so i can just read them the day of, do them. but i was reminded iwas in winnipeg last night and i saw a couple of old friends, rob mccath and miriam smith,and miriam and i had done a show called i'll be back before midnight at the vancouver playhouse.and we're in this farm in the middle of nowhere, there's a sinister handyman, there's possiblyan incestuous relationship with the sister but it's... we're in the middle of nowhere.and there was this scene where the door of the big pot-bellied stove is supposed to blowopen and it's kind of little scary and it's

fine. well for some i guess they put a littletoo much explosive in and it blew the thing off the top and there was a fire. cm: i mean not a big fire but there was afire in this stove and i'm looking at it going, "i'm an improviser. i should come up withsomething." cm: and i'm looking at it, and miriam's kindof looking at me going, "hmm." and there was nothing. and then the stage manager came onwith a fire extinguisher, put out the fire and left, and i had all that time and i stillcould not think of anything. i was going, "how do i explain a woman with a fire extinguishercoming on to this deserted farm and then just leaving, we'd never see her again?"

ro: but if it was an improv sketch she wouldhave been there... cm: oh it would have been perfect but i keptthinking, "there's no way i can make sense of this so it never happened." ro: now, it's great that you're talking, tellingthe story. do you think then improv versus traditional theatre maybe a right brain, leftbrain kind of thing? you know, different parts of you? cm: yeah, it is a different muscle. when iwas doing art with pete donaldson, evan buliung and i hadn't done theatre in a long time andmorris was directing and they were incredibly supportive and protective of me because ihadn't done it for a while, but it is that...

like there was also that worry that, "oh,he's gonna start making up stuff," and i never would in a play because i really respect theplaywright. it's your job to use those words to get their ideas and their view across.but it was a totally... it never even came into my mind, "oh, i'm gonna try a new linehere, see if that works." it was just, "this is the work. this is what i'm gonna do. ihave to make this clear." cm: and there was one line that i was surewas a joke. and i couldn't get the laugh. and i was... i tried a little improv in myhead, like, "oh, i'll try it like i'm really upset because of something, maybe that'llgive the inflection it needs," and nothing. and two days before the end of the show, i'dtotally given up. and it got the laugh. and

i didn't know why. and that was irritating,[laughter] it was like, "why did it get the laugh now?" and i'm pretty sure i didn't doanything different, but for some reason the audiences one laughed. and that, for the restof the show, just niggled at me. but it was still a good performance. ro: okay, good. now, you're in your 20's,you're improvising next door to mcdonald's, city stage, right? the basement and everything.and it's fun, but did you ever say, "is this going anywhere?", or... cm: no. i mean, we started getting paid becauseit started becoming very successful, and then we started doing improvised shows. we didan improvised hamlet, which went really well.

it's hamlet and his friends have a theatresportsmatch against claudius and his friends. but there's still parts of the play, so, you know,polonius gets killed in the middle, and his father's ghost comes in the middle of a matchand gives him advice. and it became a big success. and then we did another one calledsuspect, a game of murder, which was a murder mystery and was hugely successful, and probablyone of the best shows i've ever been involved with. had a great mixture of script and improv.and we started making money, so we started getting paid, but i thought, "that's it." cm: and then expo happened, and we were doinga lot of improv shows, which was fun, but then i started, i felt like i was just doingthe same thing over and over again, and i

was looking for a challenge. and the womani was with at the time said, "why don't we go to toronto?" because we have some friendsthere, maybe do more theatre. so i moved out there, ryan stiles was on the show with me,and who i had improvised with the theatresports was at second city. and he called one dayand said, "there's an opening in the touring company, you should come and audition forit." so i did, and the woman who auditioned me was deb mcgrath, who i ended up was a gruelling audition. cm: covered so many bases, i thought, "what'sthis about? washing dishes?" cm: and i then got involved with second city,and then whose line came through that. the whose line producers were doing a cross-countryaudition tour, and they saw our cast, and

auditioned us. ro: but with true mochrie luck. cm: yeah, because we worked as a cast, wewere doing what you're supposed to do in improv. you support each other and you make each otherlook good, and you work on making the scene look good. so we were doing great scenes,but nobody stood out. so none of us got cast. and then the next year, deb and her writingpartner, linda cash, had written a show that was being produced by imagine we moved down to la, and the whose line people came through again, and i was auditioningwith people i didn't know, so it was, "hey, screw you. look at me."

cm: and an important lesson for the kids outthere, look out for yourself at all costs. ro: yeah so... 'cause that worked. no? cm: yeah. and then i got it. and went to england,my first show, i sucked. but luckily ryan stiles, they were doing some shows in newyork the next year, and ryan said, "give colin another chance." and they had kinda likedme, they were just disappointed that my first show was so horrible. so they paired me upwith ryan, who i'd worked with for years before whose line, and it worked. ro: now on that show, when you're horrible,does it mean you can't think of anything to say, or everything you say doesn't work, oreverything you say just lands like an egg,

or... what is it? cm: i was just very tentative. i'd met thethree other people a couple hours before we taped the show, and they were lovely, theywere all lovely, and they knew each other, and they had worked together, and i was theoutsider. and i just played mind games on myself, going, "oh, will britain understandme? yes, we speak the same language, but will they get this weird canadian, and... " i thinki got one laugh, when i pretended i was a salmon, and... ro: that was canadian. cm: yes, it was very canadian but nothingto build a career on.

cm: so the producer, before the show, danpatterson said, "if it goes well, you can do the show on sunday." then after the show,he came up and said, "so you're leaving monday, are you?" cm: which i felt was a bad sign. but oncehe paired me up with ryan, from there, they just kept adding more shows for me. althoughevery year, i would get the contract, and they would contract me for two shows. andi would always end up doing the entire thing, but they just wanted to hedge their bets. ro: again, it was rehearsed and performedand taped in a very short period of time, right?

cm: yeah, it was... we'd go to britain, andi think their order was 12 shows. so that would be three weekends. ro: wow. so in effect, the big chunk of yourcareer that people remember you for, made you a star was done like a couple of longweekends. cm: yeah, it didn't take any time at all,and it sort of came back to bite me in the posterior, because people thought i was justworking all the time when in fact i was doing three weekends and then, every once in a while,i'd get cast in some things but because it was all spread out over weeks, people thought,"oh, he's just constantly working and saying yes to everything." it's like, "no. i'm sayingyes to things four months apart. i have to

work." especially during the time when i wasdoing 22 minutes and whose line, i was going back and forth between halifax and la andthe la stuff was really easy. as i said, three weekends. the halifax stuff was considerablyharder. ro: yeah. cm: there was a lot of writing and a lot ofworking and... ro: but is that more competitive too, though? cm: oh, yeah because there was that wednesdayreading where everybody has their material and they read all their material and thenthe producers go away and they pick what's your... the first week i was there, i wrotei think, 10 sketches and i think one got picked.

and greg thomey came up to me afterwards andsaid, "don't do that. write maybe three, because once they're gone, they rarely come back andtake them again." ro: okay. cm: and so, i learned to actually write onthe plane when i was going to the studio and those were the ones that would always getpicked for some reason. i would just type something in the two-hour flight to halifaxand then read it and always. and so, i realized everything i say is a really bad life lesson. cm: don't put a lot of thought into your work. cm: and don't work well with others.

cm: yeah. ro: well, it's funny. mary walsh was herea little while ago and in one of the off-stage conversations we were having, i said, "howcome the newfoundland comedy tradition is so built on the rant, with everyone going..." and she said, "well, it's so no one else can fucking get a line in and interrupt youand ruin your show and that's why, i'm not gonna... rick mercer, shut up. cathy, shutup. i'm talking now." cm: mary was amazing. she would come in andi'd have my little weird sketch and she would have these rants and she would have like,a paragraph, and then she'll say, "i'll do the rest when we tape." and they go, "yeah,okay." and then come up with this amazing

material. she just amazed me every week. shewas amazing to watch. i wish i had like a tenth of her writing skill. ro: i mean, again, she does something differentlike when you improvise, you either improvise within a sketch or you improvise verbally,word games, but have you ever improvised at length a character or improvised around thecharacter? cm: in toronto, and i urge you to see theseguys if you ever do, because they're great, the national theatre of the world. cm: one of the many things they do is theyimprovise a play based on the playwright. with them, i've done tennessee williams, chekhov,mamet, noel coward. and it starts off, they

talk to the audience. they ask what's happeningin your world, what's happening in the world today. then from that, we'd get a title andjust do a one-act play as if it was written by tennessee williams, and we keep the samecharacter. and what i love about that process is unlike with the short... when you're playingshort games, people always jump in and do stuff. the pace is slower. people leave scenes,which you never see in the short form, and it has just this wonderful integrity to thecharacter and the style. and yes, it's not gonna be a tennessee williams that you wouldsee in a tennessee williams, but it has enough of the flavour and it's still wacky but it'sstill true to the form and i loved doing that. i've had so much fun working with them.

ro: that's cool. i don't know if i'm misrememberingor not, but i seem to recall a corner gas episode that you appeared on... cm: yes. ro: where the joke was how many shows colinmochrie was on at the time? cm: yes. it was, i think the concept was hankwas going to join an improv group and there was a lot of fun and they were having a lotof... making a lot of fun about improv and it was in the diner and they were talkingabout, "that bald guy is in everything." cm: then i walk by, go, "hey, brett," andhe goes, "hey," and i keep walking. and at the end, i did a little... brett was doinga public announcement about libraries and

reading books and i just came in and hornedin and he just went, "you are in everything, aren't you?" cm: but again, i wasn't. three weekends i'dworked that year. cm: but it was fun to do. mark farrell, whoran 22 minutes, also ran corner gas so he... i mean, it's so canadian. he said, "is italright if we make fun of you?" cm: i went, "yeah, because you'd be the first." ro: now, again, the typical thing we get withcolin mochrie is, "i'm gonna dump on myself, probably so you won't do it or i'll do itbefore you and i'm gonna tell you how insecure i am." what would make you feel that you werereally validated and accepted as a performer

or a star or a canadian or anything? cm: my god, i don't know! you know what? ifelt validated by the success of whose line. when they were doing the american version,there were talks of maybe of me not being part of that because i'm bald and i was older,and you don't want to see that on american television. cm: and dan patterson, the producer, said,"you know what? it works with the ugly guys." cm: so... and he was right, there's no suchthing as a good-looking improviser. and then when we went to the cw, which is a youth-orientednetwork, there was a headline in the newspaper, "cw pins hopes on older, ugly people."

ro: and this is... i've asked you to thinkof your most successful thing and this is what's coming out. cm: oh yeah, no this is... but here's thething, again, they were talking about replacing ryan and i because we're older. every tapingwe did for the cw, the audience was under 25, and they laughed at us even though wewere old. for me, it was like, "yes, we're not doing hard-hitting satire. we're justdoing goofy comedy that any age can laugh at." and when you're doing it, you tend toslough it off because it's goofy. but i've had so many people come up and say, "i wasgoing through a horrible time, a divorce, a family member was dying."

cm: deb and i were at a leafs game and thisyoung boy came up and he had his leafs sweater and he said, "could you sign this?" and isaid, "yeah, do you really want me to sign the sweater though? i'll sign anything but..." he started to cry. he said, "my father and i used to watch your show all the time. hegot cancer. when he was sick, we would watch it and we would forget for that half hour."and deb and i are just like crying, cut to the jumbotron. cm: but we talked to this young man, and hewas just one of many people who come up. for me, i always thank them for reminding me that,yes, we're doing a service in a way. for half an hour you can forget whatever's happeningin your life, whatever's happening in the

world. so, for me, that validated what i wasdoing. i thought, "yeah, it is goofy. yeah, i'm making up crap but i'm doing somethingfor a little while for someone." not everyone can say that. so i'm i am proud of what who'sline has done, it's started that improv out there. it started groups in schools so kidshave been improvising. families have come up and said, "we play the games with the kids.we have the improv nights." so i'm real... for me, that makes me feel great, that reallystokes my ego. ro: the other thing is probably the big successof your life is your marriage. cm: a lot of work. ro: i know deb works very hard.

cm: deb has worked incredibly hard, incrediblyhard. ro: when you guys met, who kinda marked whofirst? cm: oh, her. ro: really? cm: marked, okay. and because... ro: she said i want that ugly, bald guy? cm: when we... when i auditioned for her,she said, "it's between you and the cute guy." i got it. there were... part of the problemwas she was married. yeah, it tends to be a sticking point. again, i was not... andthis will surprise many of you, i was not

that at ease with women. i was... i lovedwomen and i was very good as a friend. but it was never... i never thought, "oh, here'swho i'm going after," or "this woman's... " i missed every signal. and a couple of monthsafter we had been working together, we went up to a friend's cottage and she kept tryingto get me to go places with her. like she said, "oh there's these amazing flowers youshould come and see," and i go, "i'm just reading this book." cm: she said, "oh, down here i just saw theseamazing animals. we should go... " i go, "oh, well, we're just playing some trivial pursuit."god bless her for hanging in there. and then she said, "let's take a canoe ride." i went,"nobody else is up, alright." so we went out

and it was really hot. i kept going, "am igetting burnt?" 'cause i... she goes, "no, no, no. listen, i'm kind of attracted to youand fa fa fa." and i kept... i just kept going, "i think i'm getting sun burnt." cm: so we kind of discussed her feeling. thenwe went back and sure enough, i was burnt. i was totally, totally burnt. cm: it was an awful time in many ways becauseof just the whole situation of breaking up a marriage. but it ended up lovely and herex-husband and... he comes over for dinner, he lives in edmonton. he's a great improviser,a great actor. for me, it was... although it had a horrible start, it was really meantto be. 'cause she... oddly enough, she said,

"i thought you'd be easier to change." cm: but i've actually changed quite a bitbecause of her. she's an incredibly optimistic person, almost sickeningly so. through her,i've learnt to see what i have and enjoy what i have. she's done incredible things for me,and i'm just... everyday, when i see her, just, i'm constantly, i have my breath takenaway from her. i'll just look at her and go, "oh, how did this happen?" and i'm not goingto cry. i said i wouldn't. cm: but yeah, she's an amazing... she's animportant, an incredibly important part of my life. and without her, again, i wouldn'tbe out here. she pushes me and makes sure that i work at the top of my game.

ro: that's great. i think that's a good thingto go to audience questions on. ro: don't be afraid. cm: i am very sweet, just... ro: does nobody want to improvise with him? 42:45 cm: no. ro: i have more i can ask him, but i thoughtyou guys always like to have a chance out there. no? what would... yes. come to themicrophone, please. ro: so you can be humiliated publicly. cm: hello.

s?: hi, how are you? cm: i'm fine, how are you? s?: good. cm: what's your name? s?: samara. really excited to meet you. cm: oh, of course you are. s?: what would you say to an up-and-comingperformer who's trying to give it their all and just pushing through and trying to getto hopefully one day somewhat of what you have?

cm: give up. cm: my thing is make sure, make sure thatthis is the thing that you want to do. and make sure you're doing it because you loveit and not because you want celebrity or to be a star. because sometimes that love ofit is all you have. and yourself. and do it wherever you can. when i was starting improvising,we would have... be working on a really small theatre where the cast would outnumber theaudience. but through that, you learn where your strengths are. you learn how, "oh, alright,i have to entertain this audience of three." and you work really hard and you find waysto do it and some of those shows were actually some of the most fulfilling shows i've everhad. it's... is it actor or improvising?

s?: acting. cm: yeah. yeah. s?: but still. cm: no acting, 'cause acting is tough becauseyou have to depend on others to hire you. what you can do, what's great now as opposedto when i was growing up in the last century, is you have like youtube and the internetso you can actually get your stuff out there. if you write monologues for yourself and sortof get it out. but go to classes. do it wherever you can. go to the actra union. look at theboard and see where there's scene classes. just do it. and you... my thing always was,there are many improvisers as good or better

than me. thousands. but the thing that i had,was i'm really stubborn. and my thing was, i'm gonna hang in until everyone else quitsor dies. cm: and then partly because, as i said before,i had nothing else to fall back on, so i had to. but yeah, the first thing is, make sure,if there's anything else you can do, anything else that you love doing, check into that. cm: really. because acting can be at times,soul destroying and rejection all the time. and you have to be strong to get through that.and you have to have this belief in yourself. it is really easy for that belief to erodeaway after weeks and years of rejection. this must really be depressing you.

s?: oddly not because you ended up where youare. cm: and you know what, when i became famous,i was 40. so that was... i'm 42 now. cm: and it's just going at it. and if youlove it, do it for the love. a lot of times, luck plays a big part of it. and all you cando is be ready for when that break happens, and go for it with all your might. s?: thank you. cm: thank you, thank you. ro: others? yep. all the women come to seeyou. cm: well, sex sells.

cm: i'm fine, how are you? nice to see youagain. s?: i have a question for you. for somebodywho's studying directing movies, you've acted in many shows. what advice would you havefor a director as an actor? cm: oh. s?: what would you expect from a directoras an actor? cm: i like personally for a director to sortof stay out of my way until i'm way off. and then for them to say, "you know what, no,you're wrong." 'cause i like to try to find my own way. i've had directors, "actually,this is what i want you to do." and actually act the scene out for me. and it's like, "well,then why didn't you do it? why did you hire

me?" you could probably answer this best. ro: no, no, no. cm: 'cause you've directed. ro: you've had some ornery directors. cm: i've had some... i was in a movie withjohn travolta and it was... nora ephron directed. and... yeah. cm: and of course as usual in my movie career,my part was cut. but i think there was a small part of it. but she was lovely and she treatedeveryone, whether it was john travolta or me, like we were equals. and would come upand say, "this is really nice. why don't you

try... " i love the 'why don't you try' becauseeven if that particular thing doesn't work, it could lead to something else. it couldspark something else that the actor can grab onto and make their own. and she had a calmness,which i've worked with many directors who don't have that and i find it hard to workin a combative... s?: like hostile sort of... cm: yeah, it's exhausting and i tense up.i love sets where everyone is relaxed. and usually the tone is set by the director andthe star where it's, "we're having fun here. we're making a movie, we're gonna work, butit's not rocket science. no one should die at the end of it." so creating an atmospherewhere the artists feel comfortable enough

to go anywhere and feel creative enough togive you what you want, i think that's one of the more important things. and a good crafttable. s?: craft services, yeah. one more questionif that's okay? cm: yep. s?: as a canadian entering the film industry,what would say? would you say stick it out or go the united states? cm: you know what, the canadian in me saysstick it out because we need people making movies here in canada and forcing canadiansto see them. cm: and i don't mean it that bad. i feel thereis this... and it's a hold back from when...

when i was growing up, the thing was, "no,don't watch that, it's canadian." and i think now, that is totally off base. we have productsthat are equal to anything in the world. every year, there's a canadian movie in the oscarrace, in the foreign movie, which still... anyway. cm: 'cause we're so different from them inmany ways. well, we are. believe me, i can't say yes stay in canada 'cause i went to thestates and did a show, but i do try to come back and try to get things happening herebecause the natural resources of this country are largely untapped and criminally ignored.actors, directors, writers get the short script. they don't get... there isn't the money thatamerica has. there isn't the government support,

but there also isn't support of the mediaand the audience a lot of times are apathetic. yes, there's a rabid group of canadian nationalistswho watch everything but we need to broaden that. and it doesn't mean making our productmore american-like. it doesn't even have to be this movie is canadian. if you make a moviewith canadians, a canadian has written it, a canadian has directed, it's a canadian don't have to beat over the head, "we're canadian, look there's a beaver." cm: we should be free to write our story.newfoundland, quebec, bc, all of these provinces are incredibly different. they're all incrediblycanadian and they all come up with a product that speaks to us. that speaks to i'd say, yes, try to do it here. try to

do it here. try to change the landscape here,then go to the states. cm: thank you. ro: we can probably do one more, one morequestion. you coming up? cm: sure, here we go. all women. s?: hi. cm: hi. s?: i'm just curious, you've talked a lotabout what got you here and i'm just curious if you have plans for the future and i knowthat whose line has come back this year and i'm just curious what your plans are.

cm: well first, god bless you, thinking ihave plans. s?: no pressure. cm: my entire career has been, what? justgoing from one thing to another. i have had this 45-year plan that seems to be going verywell. i would love to do... well, i love doing what i'm doing. i love... brad sherwood andi have been touring for the last 11 years. i love that show because we don't have anyinterference. we're succeeding and failing on our own merit. when we're good, we're good.when we suck it's because we suck. we don't have someone saying, "hey, you should havea wacky black neighbour." which is, in television and movies, everybody has a say and what youwant to do may not end up being in the final

product. that said, and i think i may havementioned this to you, i have always wanted to do an action movie. cm: because, when you watch your typical actionmovie and you see the hero, whether it's a schwarzenegger or van damme or channing tatumor whoever the new one is, you pretty much know it's gonna work out. if i was the actionstar... cm: there'd be a little more tension. they'dsay, "is he gonna make it to the second reel or is he just gonna... " so i don't thinkanyone will ever do that, but i think it would be a brave choice. and you'd go see it, wouldn'tyou? s?: yeah.

ro: so, mr. mochrie, is there anything i haven'tasked you you want to expound on? cm: no. for those of you who bought the book,thank you. this was a hellish experience. it really was. i'm used to working with peopleand this was working by myself hoping that what i was doing was funny. i had great helpfrom adrian, my editor, and carly watters who was my literary agent and jeff andrewswho made me do this 'cause he's a dick. cm: no, i just said that 'cause he's here. ro: and you meant it in the nicest way? cm: i meant it in the swedish way. but, youknow what, it was one of my proudest achievements, having finished this book, having... i'm reallyhappy with the way it turned out and i hope

you enjoy it. and if not, in the summer, youcan use it to kill flies. cm: win-win. ro: colin, thank you very much. thank you.colin mochrie, everybody.

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