You want to know how you can do for free
a study of keywords in google
It is a few seconds
on the featured video you what I tell
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words key associated with a
or industry specific search for
to know not by whom we
posicionarnos en google cuáles son las
más adecuadas que nos darán negocio
desde hace algún tiempo ya no es 100%
gratis no puesto que google con su
herramienta de análisis
ahora mismo ya sólo permite acceder a
ella a los usuarios que tengan al menos
una campaña activa dentro de google
adwords ya que si no no podrás ver esta
información
esto puede provocar una limitación no
para muchos usuarios que actualmente no
tienen esas campañas activas
gracias al profesional se 8 y saw al
cual pues sigo desde hace algún tiempo
no porque personalmente creo que publica
un contenido de real valor por lo tanto
te digo si quieres saber más sobre seo
debe ser una de las personas a las que
debes poner en tu lista a seguir sus
contenidos no de hecho te dejo en la
descripción del video el enlace a su
blog o no pero hace unas semanas
publicó un video donde hablaba de una
herramienta que aunque tenía
limitaciones es cierto pero te permitía
hacer este estudio de palabras clave
totalmente gratuito
la herramienta se llama aquí wall cirer
de hecho te dejo la descripción del
video el enlace a la misma para que lo
puedas encontrar directamente no quiero
mostraros cómo funciona y va a saber
que es muy sencillo no y el beneficio
que podéis obtener con ella
bueno acá estamos ya dentro de de la
herramienta y como puedes ver la
herramienta es muy sencilla lo único
que tienes que poner aquí es la palabra
clave sobre la que quieres que te busque
palabra relacionadas no es por ejemplo
pues fijar vamos a poner una búsqueda
imaginamos qué te dedicas al mundo de
los seguros de coches bien simplemente
pongo seguros de coches
llegamos aquí así keywords iba a saber
cómo automáticamente fija de que
empieza a generar decenas cientos y
miles de palabras relacionadas además
interesante es que te indica el número
de volumen de búsquedas mensuales que
tiene esa palabra y el coste por clic
dio dentro de google adwords o en este
caso pues fíjate estamos viendo para
seguros de coches casi 50 mil búsquedas
entre el 0 97 dólares
16 05 dólares habrá unas búsquedas
donde bueno pues a muerte de algún dato
bajó incluso erróneo pero fijaos toda
la cantidad de búsqueda sigue
trabajando ya vamos por 456 y y sigue
subiendo
obviamente tiene limitaciones respecto a
la propia herramienta de adwords no
puesto por ejemplo no podemos segmentar
por determinado país las búsquedas
concretas pero creo que para un estudio
inicial que necesita es hacer un poco
más y más global puede ser una
herramienta muy muy interesante no
bueno pues aquí sería dejarlo hasta
que te detectan las palabras clave y a
partir de aquí hace es el estudio como
éste te las pone todas de golpe pero
nos permite también hacer una descarga
fijados voy a parar a que siga haciendo
la búsqueda y le digo yo quiero
descargarme todas estas palabras clave
las 637 le di a descargar y fijaos que
automáticamente me genera un archivo de
texto así lo tenemos con todas las
palabras clave relacionadas para poder
utilizarlas tiene una herramienta muy
sencilla totalmente gratis y de la que
puedes obtener muchísimo valor ha
gustado el video
dale me gusta y quiero hacerte
partícipe de él por lo que dejan los
comentarios con el hashtag análisis
palabras clave
qué opinión te merece esta herramienta
y otras herramientas usadas para
análisis de estas palabras clave entre
todos los comentarios que reciba los
distintos vídeos del mes soltar en mi
curso on line de estrategia de marketing
digital valorada en 995 euros por lo que
cuanto más convenientes en mis videos
diarios más oportunidades vas a tener
de ganarlo así que deja ahora tu
comentario
si llueve para mí
me
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Reportage atelier costumes Opéra de Lyon - Duration: 11:28.
-We are in the costume workshops of the Opéra de Lyon.
The Opéra de Lyon has a workshop since 1969
when its new director Louis Erlo decided to found the new opera
and transform it into a creative theater.
He and Jacques Rapp, his decorator, asked the city of Lyon
to hire a team of tailors and a workshop foreman, Denise Denuzière.
At that time, the workshop was located
on the last floor, under the roof.
Since 1993 when the Jean Nouvel building was reconstructed,
the workshop is located
five minutes away from the opera between Lacassagne and Royale streets.
This allows artists
to come to us and try on the costumes.
When Serge Dorny, director of the Opera,
programs a new production, he submits it to a producer.
This producer chooses a team called maîtres d'oeuvre:
a scenographer to design the set up,
a lighting engineer for the lights and a costumer to design the costumes.
The workshop works with the costumer
to achieve the costumes until the first performance.
At first the costumer works on the costume models and drawings
submitted to the producer.
Then, six months to a year prior to the first stage performance
of the production, we organize a show of the costume project
with the opera direction.
The workshop will then have to organize and achieve the costumes
by accompanying the project during its whole creation process.
At each step during exchanges with the costumer,
the workshop brings forward proposals regarding material choices,
costume cuts and technical solutions
that can meet the project's aesthetics and the artists' comfort.
Today the workshop consists of 17 persons.
At first, the modeling costumers work on the models of the costumers
to interpret them in three dimensions.
From the patterns, moldings
and cuts in the final fabrics, they work with the tailors
who achieve and assemble the costumes
through the different steps from the fitting preparations
until the finishing touches.
The costume designer works on the costume dyeing,
sheens and fabric printings.
She also makes accessories such as jewels, headdresses
or masks for the costumes.
To complete the costume's outline, we have a cobbler
in charge of an important shoe collection from different eras.
If needed we can buy or make specific shoes depending on the requests.
Over a season,
the opera program represents
five to seven new lyric productions,
three or four reprises of our repertoire
or exchanges with co-producers such as La Scala, Brussels, London,
Madrid, Barcelona or New York's Metropolitan.
The opera also has a ballet company consisting of about thirty dancers
for which we also make costumes.
The company offers four kinds of evenings per season
on the opera stage made of works from the repertoire or new productions.
The workshop also works with the choir school of the Opéra de Lyon
consisting of about a hundred children partnered with the National Education
which can sing in the different productions.
The choir school also offers its own production each season.
The program's intensity forces the workshop
to simultaneously work on several productions.
The workshop team then needs to be reinforced with intermittent artists
split into production managers, modeling costumers,
tailors or decorators.
Staging rehearsals start four to five weeks
prior to the show's opening night.
This is when the workshop's activity becomes more intense
until costumes are delivered during the piano run-through
a week before the opening night.
Everyone from the workshop brings its know-how
to meet the requirements of a high-quality work.
-This is indeed a very impressive costume.
Getting up high to sing the first aria of the queen was a challenge
because I suffered from vertigo at first.
When rehearsing without the dress,
I could see an impressive abyss below my feet.
But it also allowed me to build the character.
I could stage the queen's notion of power and domination
thanks to the two-and-a-half-meter altitude reached by the platform.
It was a blessing in disguise.
I had a hard time working at such heights
but I could personify the character.
O tremble not, beloved son!
The specificity of this costume comes from its size.
It is a monumental costume since apart from my little head and arms
it is a dozen-meter-wide and a dozen-meter-long dress.
It is a very impressive costume which has nothing to do
with the usual pair of jeans.
It is also a way to get into this queen's role
which has a magical and mystical side
and was treated by Pierrick Sorin like a deity.
The dressing process was also a way for me to get into the role again.
We were going down to the second vault,
amongst girders and a wooden ceiling.
We could hear the cracks of the singers' footsteps on stage.
It was both distressing and exciting to see things getting set up.
Of course I was helped by two dressers,
a make-up artist to check if everything was alright,
technicians...
We were a team of roughly twelve to fifteen persons
on the alert for this aria. We set up ourselves well in advance.
I could hear Papageno's then Tamino's arias,
the dialog with the three ladies
before being installed on a tiny platform
with straps for my feet and waist to ensure my safety once I was up.
Then it started.
The dresser slipped the dress on in the best way she could
through my arms with a great slit on the back that was then closed.
It was a real mess.
Of course I preferred doing those rather distressing handlings
well in advance.
This is why I spent a long time strapped in the second vault
waiting for my turn and for the platform to rise.
Once again it was anxiety-provoking but allowed me to focus on this queen
and get conscious of this moment when the queen of the night enters
that the audience was expecting.
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