sandwich and preferred to their christmas lights. sandwich and preferred to their christmas lights. i think they spoke to eole christmas lights. i think they spoke to people alike christmas lights. i think they spoke to people alike like christmas lights. i think they spoke to people alike like sandwiches - to people alike like sandwiches generally. i don t like sandwiches generally. i don t like sandwiches aenerall . , generally. i don t like sandwiches uenerall. , ,, . , generally. they specifically tar: eted generally. they specifically targeted people generally. they specifically targeted people you - generally. they specifically targeted people you like i generally. they specifically targeted people you like sandwiches? absolutely, because it goes to bed narrative, doesn t it? narrative, doesn t it? narrative! 6:21am. thursday narrative, doesn t it? narrative! 6:21am. thursday morning. - sales of e scooters have rapidly increased over the last four years. but if you r
certainly there is no scientific rationale at this point for even distinguishing between vaccinated and unvaccinated people in terms of their ability to transmit this. we know vaccinated people can be walking around with very high loads of virus just like unvaccinated people. in riding it i got to see all the lies and misstatements from fauci and other public health people for two years and i understand better why everyone is so cynical. everyone who has been paying attention is so cynical about everything that comes out of this man s mouth, and everyone else who is telling us what to do. they ve been wrong about practically everything from the beginning and it s increasingly clear that if we had done next to nothing we would be in exactly the same place we are now. we might even be in a better place. we might ve actually reached herd immunity at this point. laura: if they actually believed in herd immunity. natural immunity too. laura: .
whilst we were riding it, and we had a big digital meter on the ride, so that we could say, at two minutes ten, we need to bring this movement back, or we need to exaggerate that big drop, at three minutes ten, we are going to bring that forward. the video creators also need to have intimate knowledge of how the ride moves. one of the first things that we actually start i with is the ride envelope, what are - the degrees of motion? three degrees forward and back, pitch and roll, stuff like that, so all of those - mechanical engineering things that are built into the way - that we work with our camera. even though the ride envelope may be x, you can trick- the brain into y, because even though the seat only moves i a little bit down, if we thenl continue the camera further down, then slow down the way that the seat moves down - and speed up the camera, - you have the sense that you re going much faster than you may actually be, or you may be - going at a steeper rate - of descent than
it is clear how much the video, lighting and music add to the atmosphere. the sight, the sound, smell, the movement, to be as overwhelming as it is, and to know how the technology works, but even knowing how it works, it works on my body, physically, in a way that is quite astounding. inside the control room, the ride operator monitors the gondola s precise movements, and theo is one of those responsible for working out how exactly how it is moving and when. on the computer, first, we would understand where those peaks and drops are, and we would programme that in, and we would essentially go for a ride, and we would film that ride and also speak whilst we were riding it, and we had a big digital meter on the ride, so that we could say, at two minutes ten, we need to bring this movement back, or we need to exaggerate that big drop, at three minutes ten, we are going to
it is clear and watch the video, lighting and music add to the atmosphere. the sight, the sound, smell, the movement, to be as overwhelming as it is, and to know how the technology works, but even knowing how it works, it works on my body, physically, in a way that is quite astounding. inside the control room, the ride operator monitors the gondola s precise movements, and theo is one of those responsible for working out how exactly this moving and when. 0n the computer, first, we would understand where those peaks and drops are, and we would programme that in, and we would essentially go for a ride, and we would film that ride and also speak whilst we were riding it, and we had a big digital metre on the ride, so that we could say, at two minutes ten, we need to bring this movement back, or we need to exaggerate that big drop, at three minutes then, we are going to bring that forward. the video creators also need to have intimate knowledge of how the ride moves.