An Giang info: Youtube daily report Feb 1 2019

[ ♪ Intro ]

When you look at Earth today, it's easy to imagine that it formed as a perfect, fertile planet,

full of everything it needed to support life.

It's a beautiful, big, wet rock.

But scientists are pretty confident that's not what happened.

They've known for a long time that, because of Earth's early conditions,

the key ingredients of life, elements like carbon and nitrogen, have not been here since the beginning.

Popular hypotheses suggest they arrived via meteorites or comets,

but none of those models totally checks out.

So now, there's another idea.

Last Wednesday, in a paper published in Science Advances,

researchers announced that these elements most likely made a more dramatic arrival.

Instead of coming on meteorites, they may have come from a massive collision.

The same massive collision that formed the Moon.

Now it's not surprising that these elements, called volatiles, came from elsewhere.

They have really low boiling points, so when Earth was forming,

it would have been way too hot to hold onto them.

And also, thanks to their chemistry, any volatiles that didn't escape

would likely have been pulled into the Earth's iron core.

So, somehow, they must have been added to the mix later.

Otherwise, we wouldn't be here.

It's just that figuring out that "somehow" is much easier said than done.

Like, even though the idea about Earth getting its volatiles from meteorites is popular,

the numbers have never quite added up.

Earth's ratio of carbon to nitrogen is way higher than that of any meteorite.

So in this new study, a team of researchers at Rice University got creative to try and

understand what happened.

In their lab, they used machinery to put rocks under extremely high pressure and temperature,

squeezing them as if they were around 100 kilometers below the Earth's surface.

They were trying to recreate the environment that would have existed when planets' cores were forming.

And they found something interesting.

In their experiments, a planet with an iron core would normally pull in all the volatiles,

just like on Earth.

But if that core was rich with sulfur, the volatiles were less attracted to it,

so they remained free.

That doesn't mean much for Earth itself, since our planet doesn't have a sulfur-rich core.

But it does mean that a foreign rock with a core like that could have had plenty of

volatiles in its outer layers.

So if an object like this collided with Earth at some point,

it could have contaminated our planet with those elements that earth had long ago lost.

You might be thinking that sounds like a lot of sketchy "could have"s,

but the researchers found that it was surprisingly likely.

They ran around a billion simulations of the evolution of the solar system,

and found that the best explanation for the number and ratio of volatile elements on Earth is a scenario

where an object around the size of Mars collides with our planet.

Now as for the timeline, in the best-fit scenario, the collision lined up with the one that formed the Moon.

It's a promising, and really convenient, idea, but the case isn't closed yet.

This study mainly looked at the chemistry that might have happened during a collision,

but we'll need to learn more about the physical side of how planets grow and evolve.

Still, if proven, this research backs up the idea that, in all likelihood,

we owe our whole existence to the colliding worlds of the early solar system.

Of course, it's not easy to decode the solar system's history billions of years after events took place.

Fortunately, some clues are locked away at the edge of our solar system,

and scientists are starting to uncover them.

On Monday, in the journal Nature Astronomy, researchers announced that they may have indirectly detected

a kilometer-sized rock in the Kuiper belt, the ring of icy objects past Neptune.

If true, it would be the first time astronomers made a detection of an object like this on two separate telescopes,

making it the most convincing detection yet.

These barren rocks might not seem like they have much to do with us,

but they're kind of like long-lost relatives.

Earth and the other planets formed from objects like those.

The difference is that this icy fringe of the solar system wasn't dense enough to form planets,

so it's barely evolved at all in the last 4.6 billion years.

So in the absence of time travel, it's the closest we can get to seeing what things were like

when the planets were first forming.

In the study, scientists were especially interested in finding objects between one and 10 kilometers across,

because rocks like these formed the seeds of our planets.

Unfortunately, objects that size are way faint.

Like, much fainter than Pluto, so even the largest telescopes can't see them directly.

But, in theory, and maybe now for the first time in practice, we can detect them indirectly

by measuring blips in the light as they pass in front of stars.

It's a method called a stellar occultation.

And it's not easy to pull off.

That blip in light is very small and lasts less than a second, and with just one telescope,

it can be embarrassingly difficult to tell between a 4.6-billion-year-old space rock

and, like, a bird that flew past.

So the team in this study set up two identical telescopes on the roof of a school in Japan,

and monitored around 2000 stars for just over a year.

After sifting through more than 100,000 hours of data, they found what they were looking for:

one possible detection of a Kuiper belt object passing in front of a star.

So far, it's just a candidate.

Even though the chances are really small, we can't entirely rule out the possibility

that the signal came from a statistical fluke, or something like an asteroid.

But if it is real, this tiny shadow can still offer some insight.

Making some assumptions about its shape and position, scientists peg its diameter at around 1.3 kilometers.

That supports previous results that suggest there may be more small objects in the Kuiper belt

than some studies previously thought.

And the better we understand how they're distributed,

the better we can understand what kinds of objects grew into the planets and which ones stayed behind.

To get closer to that answer, the team and their collaborators plan to keep looking for

other occultations that can tell us more about these ancient rocks and the history we share with them.

So, between our observations and simulations,

we can start to fill in some of the holes in our solar system's majestic history.

Thanks for watching this episode of SciShow Space News!

And especially thank you to all the people who support us on Patreon,

helping us unpack science news like this.

We love doing what we do and we're very thankful to have you on board.

If you want to support the show and partner up with a bunch of other curious, wonderful people,

you can go to patreon.com/scishow.

[ ♪ Outro ]

For more infomation >> The Moon's Birth May Have Given Earth Ingredients for Life | SciShow News - Duration: 6:44.

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Velvet Buzzsaw ENDING & KILLS Explained - Duration: 12:33.

The satirical horror movie Velvet Buzzsaw explores what happens when the pretentious

world of modern art collides with a collection of supernaturally-charged paintings from a

dead artist with a dark and horrific past.

Yippee-ki-yay, movie lovers, I'm Jan and in this video I'm explaining everything you need

to know about Velvet Buzzsaw, the movie's ending and what each of the kills represents.

Plus I'll be delving into who Vetril Dease really is and how his supernatural art comes

to life.

As you'd expect, spoilers ahead for the movie, so take care if you haven't seen it yet.

When ambitious assistant Josephina stumbles across the dark, creepy art of dead painter

Vetril Dease, her decision to commercialise the work that the painter wanted to destroy

kicks off a series of escalating horrific deaths.

As Josephina looks at one of his portraits, the ashes of paintings that Dease was burning

before he died, re-ignite, the first indication of the supernatural forces inside his art.

The eyes on this portrait also seem to shift slightly from the centre to the side looking

at Josephina as she unravels and examines more paintings inside the dead artist's apartment.

Those watching eyes are a spine-chilling premonition of what's to come for many of the characters

in the movie.

Eyes often show up shortly before a character dies, as if they're observing and making a

moral judgement.

Just after gallery owner Rhodora reveals to Josephina that she's deliberately removing

many of Dease's works from the market in order to create scarcity and drive up the value,

the eyes on a wall watch Bryson who's been tasked with hiding the art and who opens up

a crate removing some of the paintings presumably to keep for himself.

Bryson, of course, ends up dead shortly after at the hands of some painted monkey mechanics.

Just before Gretchen's deadly encounter with the sphere, the blurred eyes of the boy and

girl in this portrait come into focus.

It's as if Dease's spirit is awakening in the painting and is about to pass deadly judgement

on Gretchen for how she's abandoned the principles of her former position as a museum curator

to make money and deliberately gain special access and favours for private clients.

Likewise, the eyes in a sinister doll open up to watch gallery owner Jon just before

he's strangled by an installation in his gallery.

And after Josephina ditches Damrish when he decides to go back to his art collective,

there's an especially creepy eye on the graffitied wall behind her looking right at her.

The mural comes alive setting a spectacular trap for her as a gallery full of graffiti

art opens up behind the wall.

Josephina's death seems particularly appropriate as the paint from the art that she so despises

melts, runs towards her and then consumes her.

And, after she's killed we see she's been incorporated directly into the graffitied

wall.

What's going on with each death is that each victim ends up becoming part of the deadly

artwork.

Bryson was pulled into the painting of the monkey mechanics, and the sphere consumed

Gretchen's arm and her dead body was assumed by most people to be just another part of

the art installation.

Remember that the archivist who was studying Dease's paintings for Rhodora discovered there

was blood tissue in every one of the works she studied.

She assumed the blood belonged to Dease, and that seems quite plausible because in one

of the flashbacks, there's a bowl full of blood with a bloodied knife and razor next

to it, and we also see a glimpse of Dease painting with a hand partially wrapped in

a bandage of sorts and what looks like cuts or wounds around his wrists.

Writer-director Dan Gilroy has talked about how one of the themes of Velvet Buzzsaw is

"the idea that artists invest their spirit into their art."

It seems as if by literally painting his own flesh and blood into his works, Dease has

invested them with a supernatural spirit.

While the characters in the film are all desperately trying to take advantage of Dease's artwork

and exploit his life and everything he lived through for their own gain, what they don't

realise, as Daveed Diggs, who plays Damrish, has said, "is that Dease's past and the violence

he lived will actually reach out and kill you."

If new victims like Josephina and Bryson end up becoming part of the art which killed them,

then perhaps it's also possible that some of Dease's paintings contain blood tissue

from his previous victims.

For example we learn in the movie that as an adult Dease tracked his abusive father,

tortured him and burned him alive, but what if Dease painted parts of his father into

some of his paintings as well?

Now, we need to talk about Rhodora and the importance of her tattoo "Velvet Buzzsaw"

which carries a lot of meaning especially as it's also the movie's title.

First of all, it's the name of the punk rock duo Rhodora formed with her friend Polly Anna.

Damrish tells Rhodora he was a fan of their early work, but the pair eventually split

up.

What matters though is that Rhodora abandoned her original passion and anarchic roots and

decided instead to become part of the status quo, building a career as a well-known dealer

in the moneyed and powerful world of art.

As she's built her status in the art world, Rhodora's learned how to trick and manipulate

artists, buyers and rivals alike.

She understands how to pick up promising new talent like Damrish for her gallery while

simultaneously offloading talent like Piers who's no longer productive onto her rival

Dondon.

Rhodora also manoeuvres Josephina into partnering with her to sell the stolen Dease paintings,

and in the past she's manipulated Morf behind his back by using his boyfriend for inside

information.

Her smarts almost seem to get her through to the end of the film unscathed as she realises

just how dangerous Dease's paintings really are and she empties her house of any art or

images.

However, Dease's spirit still finds a way to enact revenge on her for stealing his work,

and the "Velvet Buzzsaw" tattoo on her neck springs to life slicing her to death while

she's in a pose which mirrors the art previously on her bedroom wall.

Ultimately, as Rhodora herself said, "art is always dangerous"; and the "no death, no

art" tattoo on her arm is, of course, particularly fitting for both her and the movie.

The name "Velvet Buzzsaw" is also an interesting oxymoron as it implies something soft and

luxurious but sharp and deadly at the same time.

It applies to Rhodora and how she softly, softly manipulates people around her while

also using more cutting methods to get what she wants, for example, threats of legal action

to force Josephina into sharing ownership of Dease's art; and remember that Damrish

says he was specifically warned to be careful of Rhodora.

The name Velvet Buzzsaw also applies to the lethal threat that a seemingly innocent piece

of art can pose.

Velvet Buzzsaw is clearly a pointed critique of the contemporary art world and the pretentious

critic Morf certainly isn't spared as he ends up dead at the hands of Hobo Man, the walking,

talking homeless superhero that Morf was so willing to critically tear apart at the beginning

of the movie.

I wonder whether the inclusion of this particular artwork of a down-on-his-luck, former superhero

is not only a comment on the changing nature of what's popular or in when it comes to the

art world, but also a reference to how one of the most popular genres in current film

and TV entertainment, the superhero franchise, will eventually, like other genres before

it, fall out of the great favour it's currently in.

Gilroy also appears to think that critics can be too fast to point out faults and criticise

the work an artist may have poured their heart and soul into.

There's also some interesting commentary on whether too much value is given to the opinion

of a critic.

In the film, Rhodora says Morf "is a god" in their world, and when he decides to publish

his negative review of Hobo Man, it kills the sale of the piece that was brokered before

the review ran.

Morf is occasionally presented a little more positively than some of the other characters,

such as when he turns down Gretchen's proposal to feed her early information about his reviews.

However, he demonstrates he's more than willing to sacrifice any principles he may have if

it's expedient for him to do so or to cater to his own prejudices.

For example, he gives a negative review to Ricky's art show even though he liked it,

because he was sleeping with Josephina at the time and she asked him to make her ex-boyfriend

Ricky suffer.

And when Morf discovers Damrish is sleeping with Josephina, he yells "The admiration I

had for your work has completely evaporated!"

He's also ridiculously fussy and snobbish, complaining about cheesy funeral music; and

although he warns Rhodora that Dease's work is dangerous and to "stop selling it, box

it up and get rid of it", we see that he's kept some of it for himself and is going to

lock it away in storage, presumably to sell on in the future for a huge profit.

That moment is, of course, his ultimate undoing because that's when he comes face to face

with Hobo Man who he disparaged so savagely at the beginning of the film.

Ultimately then, the characters who die in Velvet Buzzsaw receive a death that parallels

how they've behaved.

Morf is literally torn apart by the thing which he figuratively tore to shreds earlier,

and as the movie's producer Jennifer Fox says, Josephina "is consumed by the graffiti art

she rejected and Rhodora by selling out her punk roots […] Bryson is killed by acting

on his primitive nature [and] Gretchen for over reaching."

So, why are some characters not targeted by Dease's supernatural creations and survive

to the end of the movie?

It seems that Gilroy may view Coco, Damrish and Piers as relatively innocent in comparison

to the others and therefore perhaps worthy of being spared the wrath of Dease.

Coco, played by Natalia Dyer who many of you'll know from Stranger Things, is too new to the

art scene to have been completely corrupted.

As an outsider who's only just joining that world, she's still clear-headed enough to

understand what isn't art.

For example, after Gretchen bleeds to death from having her arm sliced off by the Sphere,

Coco's the only person who can recognise that a dead body sprawled on the floor isn't actually

a piece of art.

As artists themselves, John Malkovich's Piers and Daveed Diggs's Damrish seem to understand

the underlying power of Dease's art.

Piers and Damrish both become mesmerised by Dease's paintings and this seems to be the

trigger that leads Damrish to abandon Rhodora's gallery and go back to his Collective, much

to Josephina's disgust.

Piers also goes back to creating art purely for himself, making sand drawings that the

tide gradually washes away as the credits roll.

Interestingly enough, that scene was inspired by Dan Gilroy's own experiences in the 1990s

writing the movie Superman Lives, starring Nic Cage and directed by Tim Burton.

When he found out the movie was being canned after 18 months of work, Gilroy told EW that

he went down to the beach and thought about how nothing he wrote was ever going to be

seen and so he "might as well come down and write words in the sand and have the waves

just wash them away."

But that was also the day that Gilroy decided to value what he creates not for how many

people see it or its commercial success, but simply for himself.

However you feel about the movie, Velvet Buzzsaw is more than just a horror film set in the

contemporary art world.

It's also a commentary about our relationship with any art form, including movies and TV.

Velvet Buzzsaw's producer Fox has said it's "about the commodification of art […] and

the way in which this self-selecting group of curators and dealers […] is anointing

certain people, ignoring other people, and [...] creating a false economy."

Gilroy has also said "art can't really exist without somebody paying for it, but once art

becomes monetized, it loses something.

[And] the problem when you over-monetize 'Art,' it becomes an object rather than something

imbued with a spirit, or an idea, or even a soul."

Which is why there's that line in the movie where Josephina says "what's the point of

art if nobody sees it?"

The film itself suggests that it's only the artists who realise the true value of art,

as both Damrish and Piers reject the over-commoditised art scene and return to their artistic roots.

This whole idea of the point of art and who sees it is also interesting because although

Velvet Buzzsaw premiered at the Utah-based indie film festival Sundance, the movie is

available on the global streaming service Netflix, which means a lot more people will

likely see this film than if it were only released in cinemas.

As for writer-director Dan Gilroy, he has various ambitions for the film: obviously,

he wants people to see and enjoy the movie, but he also wants it to spark conversations

and ideas.

On top of that, he told Vanity Fair that he hopes "people look at art in a slightly different

way. [... and that they] realize the artists have invested [...] their creative soul into

the work."

And finally, he'd like the movie "to do for the art world what Jaws did for swimming."

In other words, "When walking into a gallery of art, one should fear what might happen..."

After all, what about all those Dease paintings that have found their way into the hands of

street vendors selling them for five bucks a piece?

Will Dease be ok with this as the works are in the hands of the people now rather than

in the privileged art scene?

Or will he move on from taking revenge on the hypocritical art world to judging the

everyday hypocrisy of ordinary people?

So, what do you think of Velvet Buzzsaw?

And what did you take away from the movie?

Let me know in the comments below.

If you're new here and enjoyed this, then every week I have new movie breakdowns, so

do subscribe and hit the bell to get all my new videos.

Until then, you can tap left for my latest horror movie video or tap right for another

video you're sure to like.

Thanks for watching and see ya next time.

Yippee-ki-yay, movie lovers!

For more infomation >> Velvet Buzzsaw ENDING & KILLS Explained - Duration: 12:33.

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Suzuki SX4 S-Cross - Duration: 1:05.

For more infomation >> Suzuki SX4 S-Cross - Duration: 1:05.

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Making Your Scholarship Stand Out - Duration: 1:01.

For more infomation >> Making Your Scholarship Stand Out - Duration: 1:01.

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Pounded by Mjolnir - Duration: 7:10.

Hello everyone.

We know that Thor flies using Hammer propulsion

but today I'm gonna show you a different technique

to move around.

For more infomation >> Pounded by Mjolnir - Duration: 7:10.

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Neymar toma atitude revoltante após levar unfollow de Bruna Marquezine no Instagram - Duration: 3:27.

For more infomation >> Neymar toma atitude revoltante após levar unfollow de Bruna Marquezine no Instagram - Duration: 3:27.

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"Ce lapsus graveleux" de Brigitte Macron qui a provoqué "un fou rire" chez son mari - Duration: 1:39.

For more infomation >> "Ce lapsus graveleux" de Brigitte Macron qui a provoqué "un fou rire" chez son mari - Duration: 1:39.

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CURSO 6 CORDAS 100% NA PRÁTICA E MASTIGADO - Duration: 4:08.

For more infomation >> CURSO 6 CORDAS 100% NA PRÁTICA E MASTIGADO - Duration: 4:08.

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1st February 2019 | All Night Prayer | Message by: Rev. Dr. S. Vijayaraj - Duration: 2:59:10.

For more infomation >> 1st February 2019 | All Night Prayer | Message by: Rev. Dr. S. Vijayaraj - Duration: 2:59:10.

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ADVANCED Controller Fortnite Shotgun Aim Tutorial! (PS4/Xbox Fortnite Shotgun Tips) - Duration: 10:32.

Hey what is going on guys, in this video today we're gonna be going over how to improve your

shotgun gameplay in Fortnite.

About a month ago I made an aim tip video that was mainly focused on how to properly

take advantage of aim assist.

And at the end of that video, I asked you guys to share what specific aspect of aiming

you most struggle with in Fortnite.

So, I read over a bunch of those comments and probably the most common thing I saw,

is that a lot of people struggle with shotgun aim specifically.

And, I can totally understand why that's something that so many people want to improve on.

Close range shotgun fights are without a doubt the most important and most aim-dependent

fights in all of Fortnite.

No matter how great your IQ, positioning, and building are, you're simply gonna have

to be able to win a 50/50 shotgun fight every once in a while.

And especially if you land in super populated towns with a lot of buildings like tilted,

retail, or pleasant, you're gonna really struggle to even survive the first couple minutes of

a game if you aren't to hit shotgun shots.

So, hopefully this video will help you guys do exactly that, and without further ado let's

get right into it.

Alright, so if you've watched any of my aim tip videos or just shotgun tip videos in general,

you've probably heard some of the more basic/common shotgun tips.

You don't really ever want to aim down sights, you always want to position yourself to where

you can take advantage of left-side peaking, always aim for the head, try to stay mobile

at all times in those close range fights, and try to avoid as many 50/50 shotgun fights

as possible by using your builds to block shots.

Even though those tips are basic, I don't want to make it seem like they aren't incredibly

important.

What I commonly see with my friends who are just casual players trying to improve, is

that, for the first 2-3 games after I tell them, they'll make an effort to implement

tips like that into their game.

But, after those first 2-3 games, they'll kinda forget to keep doing it, and it'll eventually

just fade out of their gameplay entirely.

So, even though those things may seem super basic, don't just gloss over and forget about

them.

Because if you don't have the fundamentals down, the more advanced shotgun tips I'm about

to share won't really help you as much.

Alright, so as I'm sure you guys know, one of the most important skills to have to be

a great shotgun player is the ability to consistently hit headshots.

Especially now with any pump blue rarity or higher pump shotgun doing 200+ headshot damage

at point blank range, it's now more important than ever to prioritize headshots over body

shots.

But, obviously that's much easier said then done.

Here's a really simple tip that if you guys can get master, I guarantee it will help you

hit more shotgun headshots and also just generally be more accurate.

A mistake that soooo many players make, is that they keep their crosshair positioned

way too low whenever they're running/walking around in-game.

I'll explain what I mean by that in a second, but first, I want you guys to watch this clip

from my friend that I think illustrates the problem very well.

I'm going to zoom in and slow the clip down a bit so it's a little easier to follow.

I want you to really focus on the positioning of his shotgun's crosshair here, and also,

what he does when he goes to take the shot.

What you just saw in that clip was basically a textbook example of how that bad habit of

keeping your crosshair too low while moving, will have a MAJOR negative impact on your

shotgun aim as a whole.

Because that player kept his crosshair so low while running forward, he was basically

lined up with his enemy's foot when he ran through the door and they first came face

to face.

Now, I've told my friend about a million times that he should be going for headhosts in every

shotgun fight he gets into, so, instead of just shooting the foot, he instead goes for

a last second semi-flick shot towards the enemy's head.

It was a valiant attempt, but as you guys saw, that play ended up resulting in a 21

damage shot with I believe 2/10 total pellets hitting.

If you keep your crosshair positioned too low when engaging in shotgun fights, you're

going to be forced to make a choice between 2 less than ideal options every single time.

You can either keep your crosshair low and just go for body shots, or if you want to

go for a headshot, you'll do the same thing my friend did in that clip, and basically

gamble your life on a last prayer second flick shot.

Also think about it like this.

If you keep your crosshair at body level or below, when you see an enemy you're going

to need to first: adjust your aim left and right so you're lined up horizontally with

the enemy, and then second: adjust your aim up and down to try to hit a headshot.

However, if you can get into the habit of always keeping your crosshair at head level

even while you're moving, you only need to worry about adjusting left and right.

This not only makes aiming with shotguns easier and leads to more headshots but, it also makes

it so that don't need to do those split-second flick shots, which are very difficult to consistently

hit on controller/console.

So now here's another clip from the same player that was in the first clip, but this time,

he is going to keep his crosshair at head level even while moving.

And again, pay attention the crosshair placement and also, just how much easier and smoother

it all looks compared to the first clip.

This issue of keeping your crosshair too low while moving is way more common than you probably

think it is.

I've noticed that it's pretty much a natural thing for the majority of players.

It's finny because whenever I give people this tip to instead keep it at head level,

I get told that it feels really weird, and almost like you have a new line of vision

that makes it harder to see in front of you.

That's okay, if you're doing it correctly it will seem annoying at first, but eventually

you will get used to it.

And keep in mind, a lot of you guys have probably been playing Fortnite for over a year now,

which means for over a year you've been running around with your crosshair at leg/feet level.

So, it's going to take a lot of focus and effort to correct that problem.

You can't just pay attention to it for 2-3 games and then expect your muscle memory to

be fixed just like that.

So now that we've fully covered that super important tip for shotgun aim, let's talk

about the tfue classic/tfue special.

This technique is another more advanced type of shotgun tip, thats so important to learn

when it comes to taking that next step as a Fortnite player.

For those of you guys that don't know what the tfue classic is, it's basically a technique

done when you have about 2-3 levels of high ground over a player, and you want to shoot

them with your shotgun.

And how you do it is you take a shotgun shot while jumping forward, and then place a connected

floor piece under your feet so it catches you and stops you from falling.

And there are 2 main reasons why this is so effective.

1: because you're able to get off shots while still keeping high ground and 2: it enables

you to shoot from angles which may not be possible by just sitting on top of that high

ground.

My explanation of specifically how to do it may not have been the best, so here's a quick

little clip thats a solid example.

So yeah, the tfue classic is something that you'll see me do in my gameplays all the time.

It's probably a little easier on PC but its definitely totally doable on controller as

well with a little practice.

It actually used to be harder a few months ago because of the shotgun delay that was

added at the beginning of season 5, but, it's a little easier now mainly because of the

builder pro builds instantly setting.

And the final thing I want to cover in this video today is a super quick discussion on

sensitivity related to shotgun aim.

So, since you're really never going to be ADSing with shotgun, the only sensitivity

that matters is your X and Y sensitivity.

I can comments all the time asking questions like "I play on 8-8 sensitivity, is that too

high?

Or I play on 5.5-5 is that too low?"

So here's my general advice when it comes to X and Y sensitivity for shotgun aim, and

just general non-ADS aim as well.

Even though X and Y sensitivity goes from 0-10 in Fortnite, I would guess that the vast

majority of really good controller players play on somewhere in the range from 6-8.

That doesn't mean all of them but, definitely a lot of them.

Does that mean that YOU NEED to play on 6-8 X and Y?

No, it doesn't, but I would definitely recommend it.

And especially now that you can have a custom building sensitivity with the building sensitivity

multiplier, there's nothing wrong with playing on something like 6-6 and then just making

your building sensitivity higher.

However, I would say that the bear minimum for X and Y sensitivity is 5-5.

Anything lower than that, and it's simply too low to be able to track sprinting and

jumping players in shotgun fights.

It may sound a bit odd but here's how I kinda helped my friend find the best sensitivity

for him.

I made him start on 6.5-6.5, and then just had him move either up a or down by .5 at

a time depending on if he felt his sensitivity was too slow or too fast.

But, if you get to a point where you're at 5-5 and you still feel like you can't control

it, I would recommend struggling until you get used to that rather than going lower and

into the 4s.

So, I hope you guys enjoyed this video and if you watched the entire thing be sure to

let me know with a comment down in the comment section below.

This video was about improving your shotgun aim in Fortnite, so I wanna know, what do

you think about your own personal shotgun aim?

Is it a strength in your game, a weakness, or something in-between.

Be sure to leave a like, leave a comment, subscribe, turn on post notifications, do

whatever the heck you want, and I...will catch you guys next time.

For more infomation >> ADVANCED Controller Fortnite Shotgun Aim Tutorial! (PS4/Xbox Fortnite Shotgun Tips) - Duration: 10:32.

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For more infomation >> Ces 10 Mauvaises Habitudes Peuvent Gravement Nuire à Vos Reins - Duration: 4:07.

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The Moon's Birth May Have Given Earth Ingredients for Life | SciShow News - Duration: 6:44.