關於 call for action example ，我們在網路上蒐集到這些相關的討論、資訊與評價

👨‍💼 การหาอนุพันธ์ย่อย (Partial differential)
มีบทบาทในงานวิศวกรรมหลายด้าน
ไม่เว้นแม้กระทั่งในวิชาคอมพิวเตอร์
ยิ่งตอนเรียนวิชาปัญญาประดิษฐ์ (AI)
สาย neural network , deep learning (กำลังดัง)
สามารถเอาไปไว้ใช้ปรับจูนพารามิเตอร์ในโมเดล
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ในรูปที่โพสต์ต้องการหาอนพุันธ์ย่อย
หรือเรียกอีกทีก็คือให้หา gradient
หรือก็คือค่าความชัน (slope) ในวิชาเลข 📈
ถ้าพูดให้ง่ายๆ เข้าไปอีก
ในโจทย์จะให้หาความชันของ z เทียบกับ x1 และ x2
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ซึ่งวิธีการแก้สมการไม่รู้ว่าจำกันได้ไหม
สามารถใช้พื้นฐานวิชาแคลคูลัสตอนม.ปลาย
เขาจะใช้กฏ chain rule
เป็นการหาอนุพันธ์แบบเป็นลูกโซ่
ข้อนี้ง่ายๆ แก้สมการแป็บเดียวก็เสร็จ
เอาล่ะผมคงไม่ลงคณิตศาสตร์
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🤔 แต่อยากตั้งคำถาม
แล้วเราจะแก้โจทย์แบบนี้
ด้วยการเขียนโปรแกรมอย่างไรดี
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😄 คำตอบ ในปัจจุบันนี้แต่ละภาษามีไลบรารี่
เอาไว้ให้แก้โจทย์ประมาณนี้อยู่แล้ว
ไม่ต้องนั่งแก้สมการทางคณิตศาสตร์ให้ปวดหัว
ขอให้เข้าใจไอเดีย ก็เขียนโปรแกรมได้ไม่ยากสบายมากๆ
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แต่ถึงกระนั้นก็ดี
การรู้ถึงแก่นทฤษฏีในวิชาแคลคูลัส
รวมทั้งเขียนโปรแกรมแก้โจทย์ในรูปตัวอย่างได้
รับรองคุณได้ไปต่อในงาน AI ได้ไม่ยาก
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ส่วนตัวอย่างการเขียนโปรแกรมแก้โจทย์ดังกล่าวผม
ทำตัวอย่างไว้ให้แล้วที่
https://colab.research.google.com/…/1BtVCWpwWovcVqkvEX5HaUA…
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โค้ดสั้นๆ ไม่กี่บรรทัดเห็นจนตกใจ
เพราะตัวไลบรารี่มันหาให้เราเสร็จสรรพ
แต่ต้องเข้าใจไอเดียนะ สำคัญมากกกก
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+++++ขอประชาสัมพันธ์ (ขายของ)
📔 หนังสือ "ปัญญาประดิษฐ์ (AI) ไม่ยาก" เข้าใจได้ด้วยเลขม. ปลาย (เนื้อหาภาษาไทย)
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ถ้าสนใจสั่งซื้อเล่ม 1 ก็สั่งซื้อได้ที่ (เล่มอื่นๆ กำลังทยอยตามมา)
👉 https://www.mebmarket.com/web/index.php…
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ขออภัยยังไม่มีเล่มกระดาษจำหน่าย มีแต่ ebook
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ส่วนตัวอย่างหนังสือ ก็ดูได้ลิงค์นี้
👉 https://www.dropbox.com/s/fg8l38hc0k9b…/chapter_example.pdf…
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✍เขียนโดย โปรแกรมเมอร์ไทย thai programmer
👨 💼 Finding sub-derivatives (Partial differential)
Role in Multiple Engineering
Not even in computer class
When I study in Artificial Intelligence (AI)
Neural network, deep learning (popular)
Can be used for tuning parameters in model
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In the photo posted, I want to find sub-ordained.
Or call again. It's for gradient.
Or it's the steep value (slope) in math 📈
If you say it easy, go in.
In the situation, I will find z's stance against x1 and x2
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Which is a solution to the equation. I don't know if I
Can be used in calculus course in milk. The end.
He will use the chain rule
Chain derivative findings
This one is easy. Solving the equation for a while and it will be done.
Well, I wouldn't have played math.
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🤔 but want to question
And we will solve this situation.
With how to programming
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😄 Answers nowadays. Each language has a library.
It's for solving this kind of problem.
No need to sit and solve a mathematical equation for headache.
If you want to understand the idea, it's not difficult. It's very easy
.
But it's good anyway.
Knowing the theory in Calculus
Including the solution programming in a sample photo.
Guarantee that you can continue in the AI job.
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Personally, as programming solves such an issue.
Already made an example at
https://colab.research.google.com/drive/1BtVCWpwWovcVqkvEX5HaUAIyUOlekC0m#scrollTo=LWvLB33chsGI
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A few short lines of code. I saw it until I was shocked.
Because the libraries are getting us done.
But I have to understand the idea. It's very important.
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+++++ Public relations (selling items)
📔 The book ′′ Artificial Intelligence (AI) is not difficult It can be understood by the number. Tipping (Thai language content)
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If you are interested in ordering book 1, you can order at (other books are gradually following).
👉 https://www.mebmarket.com/web/index.php?action=BookDetails&data=YToyOntzOjc6InVzZXJfaWQiO3M6NzoiMTcyNTQ4MyI7czo3OiJib29rX2lkIjtzOjY6IjEwODI0NiI7fQ&fbclid=IwAR11zxJea0OnJy5tbfIlSxo4UQmsemh_8TuBF0ddjJQzzliMFFoFz1AtTo4
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Sorry, no paper books available. Only ebooks.
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Personal like the book. You can see this link.
👉 https://www.dropbox.com/s/fg8l38hc0k9b0md/chapter_example.pdf?dl=0
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✍ Written by Thai programmer thai coderTranslated

The Fate of Authoritarian System (Lee Yee)

As the Legislative Council (LegCo) election date is getting closer, the Hong Kong pro-CCP government pondered what tactic to use – the DQ (disqualifying candidates) tactic or the postponement tactic? Then came the latest rumor: the election will be postponed for a year due to the epidemic.

Only the mentally-challenged would believe that excuse.

Although many pan-democratic camp (pan-dems) candidates cannot make up their minds on which direction to go within their response to the confirmation letter, the government is still wary of the DQ tactic: if it excavates what the candidates did or said in the past and uses that to mass DQ them, people would be appalled by it and reaction from the international side would be strong; if it accepts their writings in the confirmation letter and let them through the gate, then it is extremely likely the pan-dems would win the election. So DQ wouldn’t work, postponement it is then.

The postponement tactic is actually directly in breach of the Basic Law Article 69 which sets the term of office for four years. Of course, when such unrefined law like the National Security Law (NSL), which blatantly violates the Basic Law, can be so speedily passed and immediately implemented, then the Basic Law has long become garbage in the eye of the CCP, who can now stamp and approve all the dirty deeds with the National People's Congress (NPC) seal and fool itself that everything is legal.

But this could be another miscalculated blunder in the making. Postponing the election for a year would actually attract more criticism from the international society than the DQ tactic, because although DQ is against human rights, it is not unlawful to do so; however, the postponement has obviously violated the constitution. Maintaining the regulations of a constitutional system is the most basic rule a civilized government required to follow. The western politicians are the most stubborn about this.

Despite the news of last year’s anti-ELAB movement being closely followed worldwide, apart from the US, the western countries did not react too much on the parliamentary levels; hiding Wuhan virus from everyone which led to a global pandemic had also not caused any actions except Trump who flared up plenty of times, and some minor mutterings from some western countries with no real action; The noise surrounding the China-US trade war escalated, but many western countries were reluctant to get involved or ban Huawei as they wanted to maintain a relationship with China. But then when Hong Kong NSL was launched, and all hell broke loose. Within a month, the US stepped up its anti-China action and gradually revealed its sanctioning measurements. The Five Eyes and even the pro-China EU have all halted their extradition treaty with Hong Kong. The UK became the first country that banned Huawei.

Halting the extradition treaty is due to the NSL claims that criminals can be sent to China to go on trial, which was a different scenario when the treaty was signed. The NSL has indicated that Hong Kong’s judicial system is no longer independent from China. Last year, 65% of China’s foreign investment was via Hong Kong. Foreign investors chose Hong Kong as a base because they believed Hong Kong had judicial independence. However, with the implementation of NSL, it is no longer the case.

Right now, there are increased actions against the NSL from western countries daily and this sanctioning circle is growing. China has to utter gibberish like “angry”, “sternly refute” to different countries every day.

The CCP and Hong Kong pro-CCP camp thought postponing LegCo election is just a trivial matter, but Pompeo said he would pay extra attention to Hong Kong’s LegCo election in September; UK Foreign Secretary Dominic Raab has also told Wang Yi, China’s Foreign Minister, the same in a call.
Yan Zeya, a Taiwanese author said yesterday on Facebook, “I hope Taiwan and Hong Kong would break this misconception, that the left-wing in the West are pro-China, and the right-wing are anti-China. Take the New Zealand Prime Minister as an example. She is from the Labor Party, left-wing, but not pro-China. How the left and right are divided in a country depends on internal affairs and its economy, but has nothing to do with foreign policies. Its attitude towards another country is not distinguished by left or right, but hawk and dove. Some country’s hawks ally with the right, some with the left, some do not ally with any side. Furthermore, if there are more than one hostile countries, then the same country could be a hawk to country A, and a dove to country B.

NZ Prime Minister Ardern clearly indicated during last week’s China Business Summit, that the NZ government differ from China on some issues, including Hong Kong NSL, the situation of Uyghurs in Xinjiang and Taiwan joining the WHO. She emphasized, that these subjects are extremely important to the Kiwis (New Zealand people).

Lately, the China policies of the US and western countries are becoming more aligned – they are all becoming the eagle. The catalyst of this drastic change is indeed Hong Kong NSL; and the postponement of the LegCo election would only exacerbate the anti-China and anti-Hong Kong actions.

Once a rule is broken, one would keep breaking it; to use a lie to cover a lie, it must be a bigger lie; to fix the loophole by breaking rules, the hole would only get bigger; to use mistake to mend another mistake would only create a bigger mistake. And this, is the fate of the authoritarian system.

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
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Five trading tips and techniques to identify trends.

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Trend Indicator #1
The first tool that you can use to help you identify the direction of the trend is a line chart. So for example, if you look at this, alright, this is a normal, typical candlestick chart. And for those of you who are seasoned, right, you might probably guess already that you know, hey, you know, the trend is towards the upside. But for newer traders who are struggling, right, to even see this, alright? You can use a line chart to help you better visualize it. Here's an example, right. This is the same line chart as you saw earlier. And because you're only focusing on the lines, right, the trend now becomes more apparent. So, if you're often, right, struggling to identify the direction of the trend, try changing it to a line chart, right, and it might help you see better, okay?

Trend Indicator #2
The second technique, right, that I want to share with you is price action, right? How you can use price action to identify the direction of the trend. And it's quite simple. What you're trying to do is to locate the swing-high and swing-lows in a market, because you know, in an uptrend, it consists of higher highs and higher lows. So in this example, you can see that you have a series of higher lows, higher lows, higher lows, higher lows, and higher lows. Right, so this tells you that the general trend is toward the upside. And vice versa, if you see, right, a series of lower highs, right, in this case, a series of lower highs, lower high, a lower high, a lower high, a lower high, it tells you that the trend is towards the downside, okay?

Trend Indicator #3
So the moving average is a simple indicator that pretty much sums up the historical price on the charts. So for example, a 200 period moving average takes the closing price over the last 200 candles, alright, and plop it as a line on your chart. So as you can see over here, right? This case, right, this black line over here, is the 200-period moving average. So a very simple technique that you can use is that if the price is above the 200 period moving average, then the longterm trend is up. Okay, let me repeat once more. If the price is above the 200 period moving average, then the longterm trend is up. So this means, right, you don't have to note it into account the swing-high and swing-lows in a market. So for example, in this case, you, at this point, right, you have a lower high over here, right?

Trend Indicator #4
The fourth thing that I want to share with you is what we call a trend line. So a trend line is something like support and resistance, but the only difference is that a trend line is diagonal. It's pointing towards a direction, okay? So you can see that a trend line, this case, right, tells you the direction of the trend as well, because if the trend line is pointing higher, it's slanting upwards, it tells you that the trend is towards the upside. And also, just like the moving average, right, the steepness of the trend, right, the steepness of it, the angle of it, tells you the strength of a trend. If you see a trend-right, that is very steep, right, almost parabolic, and it's telling you that the trend is really strong.

Trend Indicator #5
So, the trend line is another way that can help you identify the direction of the trend, and gauge the strength of it. And also, right, another variation of a trend line is what we call a trend channel. Right, so a trend channel is like a trend line. The only difference is, right, and you have this upward boundary over here. So if you remove this upward boundary, this is just a typical trend line that you see. Alright, but now with this upward boundary, it gives you a cap, right, to tell you where the price, where the market may potentially find resistance.

Learn to recognize the Doji candlestick pattern to find profitable trading opportunities.

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The Doji candlestick pattern is when the candle has the same open and closing price. You can see at the open and the close are the same level, so this is why you see a straight line on the chart. And this is the high and the low. So one thing to take note is that a Doji has nobody on the candlestick pattern, right.

Let's look at the three different types of Doji candlestick patterns and how you can trick them and find profitable trading setups, right.

2:00 Doji Candlestick Pattern #1
The first one is what we call the Dragonfly Doji, right. So again, right, the close and the open is the same level, but the difference this time around for Dragonfly Doji is that the candle has a lower wick, right, a lower wick. So this means that you can see the rejection of lower prices.

You can see that this is a Dragonfly Doji, this portion over here shows you rejection of lower prices. You can see that the market opened here. Then it came all the way down, right. And finally, the buyer stepped in and pushed the price back all the way up higher and finally closing at the same price level.

The ultimate way to trick a Dragonfly Doji is when the market is an uptrend, right. Notice that the market is, say, above the 50 period, moving average, for example. And it tends to bounce off it, you know, repeatedly. When the market comes back to this moving average right, this is an area of value. This is where you, potentially, you look for buy opportunity, right.

7:00 Doji Candlestick Pattern #2
The next Doji candlestick pattern I want to talk about is the Gravestone Doji, alright. The candle has the, again right, same open and same close but this time around it has a long upper wick. So this means, right, that there is a rejection of higher prices. The market has rejected higher prices. And it looks something like this.

So we can see that the Gravestone Doji serves as an entry trigger, right, and depending on your goals on that trade right. Whether you want to capture a swing, or capture a trend, right, you can use the appropriate trade management or trading stop loss technique.

9:45 Doji Candlestick Pattern #3
The third one I want to talk about is the Long-legged Doji, right. So, it looks like a normal, standard, Doji, right. Open, close, same level. But this time around, the upper and lower wick is very long, right, and they are very long. So this means that there is strong indecision in the market. And it looks something like this. It's like a regular Doji, but this time round, right, the highs and lows of the candle is very long, okay. So this means that there is strong indecision in the market.

Usually, the first retest, right, especially if the move comes in very nice and strong, right. The level usually would hole in and reverse the hole. But if the market comes back to the level repeatedly, over a short period, there's a good chance that it could break up and you want to be trading the breakup of the heist.

** FREE TRADING STRATEGY GUIDES **

The Ultimate Guide to Price Action Trading: https://www.tradingwithrayner.com/ultimate-guide-price-action-trading/

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Pullback Stock Trading System: https://pullbackstocktradingsystem.com/

Price Action Trading Secrets: https://priceactiontradingsecrets.com/

If you have any questions for me, leave it in the comment section below, alright. I'll respond to you and if you enjoyed this video, hit the thumbs up button, right and subscribe to my channel for more videos to come, right. So with that said, I wish you good luck and good trading.

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