FWS x    F C?   begintext  This tutorial is educational. Fischer Finance Consulting AG or Robert Fischer do not advise customers on how to trade any market nor does it give any buy/sell recommendations in particular markets. In addition, Fischer Finance Consulting AG or Robert Fischer and its employees shall not be liable for any incidential, consequential or punitive damages, losses or claims in any way connected with or arising out of the use of this product or service provided.www.fibotrader.com, PHI-spirals, PHI-ellipses and PHI-channels are registered trademarks and protected by U.S. and international Trademark Law. Any unauthorized use without the expressed written permission of Fischer Finance Consulting AG, CH-6300 Zug, Switzerland or Robert Fischer is a violation of law.No part of this publication may be reproduced, stored in a retrievalsystem or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of Fischer Finance Consulting AG, 6300 Zug, Switzerland or Robert Fischer.   text     lines      V    ?      -lZ щ!C↽ nYT{#x>B( U~7S9.%F?ӿ  ?    Arial7 p r :HVhS`0aP
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   slide1 ?     title  DISCLAIMER  ?$  	 begintext This tutorial is educational. Fischer Finance Consulting AG or Robert Fischer do not advise customers on how to trade any market nor does it give any buy/sell recommendations in particular markets. In addition, Fischer Finance Consulting AG or Robert Fischer and its employees shall not be liable for any incidential, consequential or punitive damages, losses or claims in any way connected with or arising out of the use of this product or service provided.www.fibotrader.com, PHI-spirals, PHI-ellipses and PHI-channels are registered trademarks and protected by U.S. and international Trademark Law. Any unauthorized use without the expressed written permission of Fischer Finance Consulting AG, CH-6300 Zug, Switzerland or Robert Fischer is a violation of law.No part of this publication may be reproduced, stored in a retrievalsystem or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of Fischer Finance Consulting AG, 6300 Zug, Switzerland or Robert Fischer. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O   /  t]f`   &     =5;`arrow_up    & 
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   slide2 ?r  	 text What makes the Fibonacci trading tools so valuable is that you know any time and in any market condition what to do.The Fibonacci trading tools qualify entry and exit points ahead of time, just follow the rules.These rules are simple, as long as the trader has the skill, patience and discipline to wait for the entry and exit points. They offer trading with low risk and high profit potential and do not change with the data compression.Working with the Fibonacci trading tools is very mechanical, because the rules are definitive.In general, trading with the Fibonacci trading tools means:- an open profit should never end up in a loss- there should be only small losses- there are times where we are not invested at allThis is the method by which I successfully trade my own money and I  hope that many others also benefit from this trading platform.In the following tutorial we will give you six examples, in order to show how easy it is to work with these tools. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O   BȀ  tKp0  @ 
n@  %P    =5c    =5`  ڸ    6   ڸ button_fill   4X@     ?-   (  _root.main_movie.button_fill   @ 100 # 
	   contents ?  B 	 text  lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O   @        wx@ i @     wx@ "ki @      wx@ #i @   
 ! wx@ &i @    " wx@ !pi @    # wx@ H}Ii @   	 i @  	 i @   $ ڸ  % 8  & 4h@      
      @  
	   slide3_1 ?D   ?  title  Example 1: Waiting for a 'regular' Correction of 61.8%  ?{  "	 text In this investment strategy waiting for a 61.8% correction in a regular sidewards market is rewarded by a low risk and high profit potential.The idea behind this strategy is explained in the following step by step approach: lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O   BȀ ' sp@ ( @	 	  ) ڸ   4X  8     *   $tD@@   
	   slide3_2 ?c  
	 text Step 1:We wait for a 61.8% correction of the total amplitude of the previous wave 1 (or first impulse wave). Important is that the size of the first impulse wave is not choosen too small or too big. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  +  , ڸ  - 8 @   
	   slide3_3 ?O   	 text Step 2:After the 61.8% correction, we have to wait for the entry rule. In most cases, for a buy signal, this will be the  previous 1- or 2-days high, depending on the volatility. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  .  / ڸ  ) 8 @   
	   slide3_4 ?  P	 text Step 3:Once the buy signal was executed, we  place the stop loss below the starting point of wave 1 (or point 0).Placing the trailing stop based on the PHI-ellipse and the PHI-channel is explained on the next slide.For more information read chapter 3 of the books. lines linesend scroll arrow_up _alpha _visible arrow_down    	              O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  0  1 ڸ  , 8 @       @ @ @ @ @ @ 
	   slide4_1 ?B   =  title  Example 2: Investing after an 'irregular' correction  ?  9	 text The difference between Example 1 and Example 2 is that we do not look out for a 61.8% correction, but a double retracement, which is typical for many sidewards markets.The idea behind this example is shown in the following step by step approach: lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  2  3 ڸ   4X 4 8  & 4h    * @   
	   slide4_2 ?  	 text Step 1:The correction is irregular, which means it has three smaller sub-waves. We buy after the second smaller correction. The entry rule is based on a previous day's 1- to 4-days high, depending on how low the correction goes. The buy signal should not be higher than the peak of wave 1. The stop loss is placed below point 0. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  5  6 ڸ  7 8 @   
	   slide4_3 ?  N	 text Step 2:When wave 3 or the distance between point B' and C is as long as wave 1 (point 0 to A) we can draw the PHI-ellipse with the starting point 0 through the two side points A and B'. Choose the USER MANUAL option under tutorials to learn how to draw PHI-ellipses. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  8  9 ڸ  3 8 @   
	   slide4_4 ?  O	 text Step 3:The median line of the PHI-ellipse is also the base line of the PHI-channel. Choose the USER MANUAL option under tutorials to learn how to draw PHI-channels.The outside line of the PHI-channel drawn through B' is also the trailing stop for the long position. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  :  ; ڸ  6 8 @     @ @ @ @ @ @ 
   slide5 ?D  	 text Example 1 and Example 2 are valid strategies for a trader, who looks for an investment with low risk and with a high profit potential. The WinPhi program is perfectly structured for such a strategy, for all the trading tools are there at your fingertips.These strategies work on any of the more than 1,000 products we offer online on this platform. They can be tested on the historical data, which are included in the WinPhi program.All three entry and exit signals are based on the same rules, described in Examples 1 and Example 2:- We work with a swing size of 180 basis points in the Japanese Yen (110.00 - 111.80)- We wait for a retracement of 61.8% (Example 1) or a double retracement (Example 2)- We invest with a previous 2-day high for a buy signal or a previous 2-day low for a sell signal- The stop loss is at the beginning of the first impulse wave- Once we have the two side points A and B or B' we can draw the PHI-ellipse- The median line of the PHI-ellipse is also the base line of the PHI-channel- Once we have entered the long or short trading position, the outside line is the trailing stop.The interested reader can look up these strategies in much greater detail in our books.  Details on how to work with the Phi-ellipse and the PHI-channels may be found in the USER MANUAL (to be selected from the tutorials section)Access to the platform is free for one week. Afterwards it is only available, if you register. lines linesend scroll arrow_up _alpha _visible arrow_down    !              O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  <  A %  B ڸ  C 8    @     @ @ @ @ @ @ @ @ @ 
	   slide6_1 ?:   5  title  Example 3: PHI-ellipses and breakout signals  ?  	 text The strength of the PHI-ellipse is that it makes investors' behavior visible by surrounding price moves on any kind of data compression. The shape of the PHI-ellipse can be longer or shorter, fatter or thinner, depending on the price move.In the following steps, we will demonstrate how to work with the PHI-ellipse in this example: lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  D  E ڸ"  ; 8"   "   $tD@@   
	   slide6_2 ?  4	 text Step 1:Once the market price data gives us the starting point 0 and the three outside points A, B and B', we can draw the PHI-ellipse with the WinPhi program if wave 3 is least as long as wave 1. The endpoint of the PHI-ellipse at point D lies on the median line of the PHI-ellipse, which is determined when we can draw the PHI-ellipse with the starting point 0 and the two side points A and B'.At this time, the actual market price at point C is still within the boundaries of the PHI-ellipse. lines linesend scroll arrow_up _alpha _visible arrow_down    
              O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  F  G ڸ#  H 8# @   
	   slide6_3 ?  U	 text Step 2:For a valid buy signal, we need points B and B' at the lower outside line of the PHI-ellipse or the right side of the market price. The outside points B and B' give the PHI-ellipse a very stable shape and prevent it from moving higher.A buy signal is indicated, if the market price breaks out of the upper side of the PHI-ellipse. We buy on the following day on the previous days high.Once we've invested, the parallel to the median line of the PHI-ellipse (from point 0 to point D) which runs through the outside point B' acts first as the stop loss and if the market price moves higher, afterwards as a trailing stop. If the stop loss is too far away a previous 4-days low can be recommended.More information about the PHI-ellipse can be found in chapter 5of our books. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  I  J ڸ$  K 8$ @     @ @ @ @ @ @ @ 
   slide7 ?  [	 text This chart perfectly demonstrates that the shape of the PHI-ellipse can adjust dynamically to different price moves.The chart of the cash currency Japanese Yen shows that the PHI-ellipse can generate either countertrend signals against the trend direction or breakout signals in the trend direction.In our example we are only interested in the buy signal which occured when the market price reached a new high at point H.After the buy signal, the parallel to the median line of the PHI-ellipse (from point D to point H) which runs through the valley in F acts first as the stop loss and (when the price moves higher) afterwards as the trailing stop.What makes this chart interesting is that the PHI-ellipse indicated short-term, medium-term and long-term price changes.After we received the buy signal at point H, the profit target for this price move was at point J. This point was on the upper line of the very big PHI-ellipse, with the starting point 0 and the side points A and F.More details can be found in chapter 6 of our books.  lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  L  P u,  Q ڸ,  R 8,   , @     @ @ @ @ @ @ @ @ @ 
	   slide8_1 ?H   C  title  Example 4:	Multiple PHI-ellipses for counter trend signals  ?  =	 text Almost any price pattern independent from size can be surrounded by a PHI-ellipse on weekly, daily or intra-day data, for the structure of the PHI-ellipse is strictly related to the Fibonacci ratios.Three steps shall explain what we are looking for: lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  S  T ڸ6  J 86   6   $tD@@   
	   slide8_2 ?7   	 text Step 1:Almost every short- or long-term price pattern has at least two impulse waves, which are connected by one or more regular or irregular corrections. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  U  V ڸ7  W 87 @   
	   slide8_3 ?   	 text Step 2:Three smaller PHI-ellipses can signify a larger 3-wave price pattern. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  X  Y ڸ8  T 88 @   
	   slide8_4 ?A  	 text Step 3:The three smaller PHI-ellipses can often be surrounded by a bigger PHI-ellipse. This bigger PHI-ellipse is very stable, for the side points A' and B' are far apart. As the distance between the side points of a PHI-ellipse becomes larger, the  more reliable the trading signals become. Once the market price reaches the end of the big PHI-ellipse, we buy at the previous 2-day high (and vice versa for the sell point).The stop loss is the previous lowest low after a buy signal or previous high after a sell signal.The profit target can be calculated by taking 50% of the total amplitude of the previous big PHI-ellipse. Other options are discussed in our books. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  Z  [ ڸ9  V 89 @     @ @ @ @ @ @ 
   slide9 ?(  	 text In the DAX30 example we show a three-wave price pattern identified on daily data between October 2000 and April 2001 with three smaller PHI-ellipses surrounded by a bigger PHI-ellipse. Since the side points A and B are very far apart, we obtain a very stable, larger PHI-ellipse which successfully identifies the bottom of the market swing of the DAX at point C. The low point C of the big PHI-ellipse is also the low point of the third smaller PHI-ellipse, which starts at point B. Once the market price reaches the end of the bigger PHI-ellipse, we get a buy signal at the previous 2-day high. After the buy signal is executed, we can place the stop loss at the previous lowest low at point C. The profit target is at 50% of the total amplitude of the previous big PHI-ellipse, in this case the distance between the starting point 0 and the final point C. More options are discussed in our books.  lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  \  ` u@  a ڸ@  b 8@   @ @     @ @ @ @ 
   slide10 ?*  	 text In the S&P500 example we show a 3-wave price pattern identified on daily data between August 2000 and April 2001 with three smaller PHI-ellipses surrounded by a bigger PHI-ellipse. Since the side points A and B are very far apart, we obtain a very stable, larger PHI-ellipse which successfully identifies the bottom of the market swing of the S&P500 successfully at point C. The low point C of the big PHI-ellipse is also the low point of the third smaller PHI-ellipse, which begins at point B. Once the market price reaches the end of the bigger PHI-ellipse, we get a buy signal at the previous 2-day high. After the buy signal is executed, we can place the stop loss at the previous lowest low at point C. The profit target is 50% of the total amplitude of the previous big PHI-ellipse, in this case the distance between  starting point 0 and final point C. More options are discussed in our books.  lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  c  g uE  h ڸE  [ 8E   E @     @ @ @ @ 
   slide11 ?  A	 text The most interesting observation working with PHI-ellipses is that the human behavior expressed through price swings seems to be stable in different data compressions. In the previous chart we showed that three smaller PHI-ellipses could be surrounded by a bigger PHI-ellipse on the S&P500 chart on daily data. The identical the price swing repeats itself on the 60-minute hourly data in the time between Januar 2001 and April 2001. The bottom of the smaller PHI-ellipses, which runs from point B to point C, touches the outside line of the bigger PHI-ellipse at the bottom of the whole price move at point C. Once the market price reaches the bottom of the PHI-ellipse we get a buy signal at the previous 2-hours high. After the buy signal is executed, we can place the stop loss at the previous lowest low at point C. The profit target is 50% of the total amplitude of the previous big PHI-ellipse, in this case the distance between  starting point 0 and final point C. More options are discussed in our books.  lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  i  m uJ  n ڸJ  a 8J   J @     @ @ @ @ @ @ @ @ @ 

   slide12_1 ?l   g  title  Example 5:	Finding significant turning points with the PHI-ellipse and Fibonacci price targets  ?  z	 text The idea behind this strategy is to find the turning point in  markets ahead of time. This is possible with the combination of the PHI-ellipse analysis with the calculation of price targets using the Fibonacci ratios, as explained in chapter 8 of our books.Three steps shall illustrate what we are looking for: lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  o  p ڸT  h 8T   T   $tD@@   

   slide12_2 ?B  	 text Step 1:We will always have a three-wave price pattern, but many times there will be a five wave price pattern as well. We can multiply the  distance between the starting point 0 and the end of wave 1  with the Fibonacci ratio 1.618, while the distance between the starting point 0 and the high of wave 3 will be multiplied with the Fibonacci  ratio 0.618. The two price targets will usually create a price band which will indicate the final point of the PHI-ellipse, in case the market price moves this high. If it does not, we wait for a new opportunity. For the analysis to work, the price band has to be fairly narrow. If the price band is too wide, the analysis is invalid. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  q  r ڸU  s 8U @   

   slide12_3 ?  	 text Step 2:The PHI-ellipse with the starting point 0 and the two side points 1 and 4 will most likely generate the final point 5 within the calculated price band, if the market price moves this high.For more speculative investors a three-wave price move with the extension in the first wave, calculated with the Fibonacci ratio 1.618, might also be a strong signal for a trend change. lines linesend scroll arrow_up _alpha _visible arrow_down    	              O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  t  u ڸV  p 8V @   

   slide12_4 ?  	 text Step 3:As already discussed in Examples 1 and  2,  we take the median line of the PHI-ellipse as the base line of the PHI-channel. The outside line of the PHI-channel runs parallel to the baseline of the PHI-channel.Once the market price breaks through this outside line, an entry signal is generated.The stop loss will be identified as the highest high before the sell signal or the lowest low before the buy signal.The profit target is 50% of the total amplitude of the previous PHI-ellipse, in this case the distance between  starting point 0 and final point 5. Other options are discussed in our books. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  v  w ڸW  r 8W @     @ @ @ @ @ @ 

   slide13_1 ?c   ^  title  Example 6:	Finding significant turning points with the PHI-ellipse and the PHI-spiral  ?  ~	 text The idea behind this strategy is to find turning points in the market place ahead of time with the combination of the PHI-ellipse and the PHI-spiral.As described in the Chapter 5 of our books, the most accurate trading tool is the PHI-spiral, provided that both its center and starting points are chosen correctly. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  x  y ڸ^  n 8^   ^   $tD@@   

   slide13_2 ?  	 text Step 1:As a general rule we use the PHI-spiral as follows:- the center of the PHI-spiral is at point 1- the starting point is at point 0 or point 2, depending on the size of wave 1- the PHI-spiral may turn either clockwise or counterclockwise- the final point of the PHI-ellipse should be determined by the third spiral ring (exceptions are possible) lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  z  { ڸ_  | 8_ @   

   slide13_3 ?  ]	 text Step 2:The PHI-ellipse is used as described before, running from starting point at 0 through the side points 1 and 2 or 4, whichever is further to the right. The end of the price move should occur with the final point of the PHI-ellipse and be touched by the third PHI-spiral ring. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O  }  ~ ڸ`  y 8` @   

   slide13_4 ?  	 text Step 3:The entry signal is the outside point of the PHI-channel as described in the previous examples.The stop loss would be the previous high/low before the entry signal. The profit target is 50% of the total amplitude of the previous PHI-ellipse, in this case the distance between starting point 0 and end point 5. Other options are discussed in our books.If the market price precisely hits multiple targets generated with Fibonacci tools, we do not have to wait for the breaching of the outside line of the PHI-channel, but can invest instantly on a 2-day previous high (buy) or low (sell). lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O     ڸa  { 8a @     @ @ @ @ @ @ 
   slide14 ?Q  	 text On page 21 we showed the same chart with multiple PHI-ellipses. This time we demonstrate, how other Fibonacci trading tools could be applied.Step1: We can draw the PHI-spiral with the center at point C and the starting point at D. When turning the PHI-spiral counter-clockwise. The third spiral ring determines the bottom of the market price point E.Step 2: We can calculate the extension by multiplying the distance between points A and  B with the Fibonacci ratio 2.618. The price target confirms the bottom of the market price in point E.Step 3: We can now draw the PHI-channel with the base line between points X and  Y. The outside line of the PHI-channel runs parallel to the base line drawn through point Z. If we multiply the width of the PHI-channel with the Fibonacci ratio 1.000 we receive a new PHI-channel line, which determines the market bottom in point E.Step 4: When we multiply the distance between points A and D with the Fibonacci ratio 2.618, we can also identify the low of the market price using the Fibonacci time goal day analysis.The interested reader can find more detailed explanations about how to work with multiple Fibonacci trading tools in chapter 8 of our books. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O     uh   ڸh   8h   h @     @ @ @ @ 
   slide15 ?  \	 text On page 22 we showed the same chart with multiple PHI-ellipses. This time we demonstrate, how other Fibonacci trading tools could be applied.Step1: We draw the PHI-spiral with the center at point B and the starting point at C. When turning the PHI- clockwise, the third spiral ring determines the market low at point E.Step 2: We can now calculate the extension by multiplying the distance between points A and  B with the Fibonacci ratio 1.000. This extension meets point E at the bottom of the market.Step 3: Now we draw the PHI-channel with the base line between points X and B. The outside line of the PHI-channel runs parallel to the base line drawn through point A, which determines the market bottom in point E.Step 4: When we multiply the distance between point B and point D with the Fibonacci ratio 2.618, we can identify the low of the market price using the Fibonacci time goal day analysis.The interested reader can find more detailed explanations about how to work with multiple Fibonacci trading tools in chapter 8 our books. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O     um   ڸm   8m   m @     @ @ @ @ 
   slide16 ?  P	 text On page 23 we showed the same chart with multiple PHI-ellipses. This time we analyze the price move using other Fibonacci trading tools.Step1: We draw the PHI-spiral with the center at point B and the starting point at A. The spiral turns counterclockwise. The third spiral ring identifies the low point G of the market price.Step 2: We can calculate the extension by multiplying the distance between points A and B with the Fibonacci ratio 2.618. The price target confirms the low point G.Step 3: We can draw the PHI-channel with the base line between points A and C. The outside line of the PHI-channel runs parallel to the base line drawn through point E, which confirms the low in point G.Step 4: When we multiply the distance between point D and E with the Fibonacci ratio 2,618, we can identify the bottom the market at the low point G by using the Fibonacci time goal day analysis.The interested reader can find more detailed explanations about how to work with multiple Fibonacci trading tools in chapter 8 of our books. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O     ur   ڸr   8r   r @      @ @ @ @ ?-   (  _root.main_movie.button_fill   @ 100 # 
   slide17 ?7  	 text What makes trading with the Fibonacci trading tools so worthwhile? They analyze human behavior, which is the driving force behind market swings. The tools are also based on naturally occurring mathematical ratios and work best in markets with high volatility and liquidity.This tutorial outlines how to work best with the Fibonacci trading tools. Much more information, along with numerous examples, appears in the books 'The New Fibonacci Trader' and the 'New Fibonacci Trader Workbook'. (Wiley, 2001)There is magic behind the Fibonacci trading tools that is sometimes difficult to understand, but this website and the Fibonacci Trader books are now being offered to dispel this mystery.The Website includes the Forum, Idea Box, Products to Watch and other features along with an online execution of the Fibonacci trading tools, in order to give every trader access to all the possibilities these trading tools offer. lines linesend scroll arrow_up _alpha _visible arrow_down                  O    H     N    I (           O   O    d   O  O   N I (           O   O    d   O  O F           O   O          O   O     @ 
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^i @  %   2@ Ti i @  &  \`i @  @    #33@    #33@    #33@    #33E@    #33k@    #33@    #33@    #33@    #33@ @ @ @ @ @ @    #33#@    #33E@    #33f@    #33@    #33@    #33@    #33@    #33@    #33.@ @ @ @ @ @ @    #33O@    #33q@    #33@    #33@    #33@    #33@    #33@    #339@    #33Z@ @ @ @ @ @ @    #33{@    #33@    #33@    #33@    #33` @    #33`E @    #33` @    #33`˃ @    #33a @ @ @ @ @ @ @    #33aO @    #33a @    #33aՃ @    #33b @    #33b[ @    #33b @    #33b߃ @    #33c# @    #33ce @ @ @ @ @ @ @    #33c @    #33c @    #33d- @    #33do @    #33d @    #33d @    #33e7 @    #33e{ @    #33e @ @ @ @ @ @ @    #33e @    #33fC @    #33f @    #33fǃ @    #33g @    #33gM @    #33g @    #33gӃ @    #33h @ @ @ @ @ @ @    #33hW @    #33h @    #33h݃ @    #33i @    #33ic @    #33i @    #33i @    #33j+ @    #33jm @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step1 @ @ @ @ @ @ 	 i @ p	 i @ p@ 	 i @ 	 i @ @ 	 i @T	 i @T@ 	 i @ȉ	 i @@ 	 i @8	 i @8@ 	 i @	 i @@ 	 i @	 i @@ 	 i @	 i @@ 	 	 @ @ @ @ @ @ @    #33j @    #33j @    #33k5 @    #33kw @    #33k @    #33k @    #33l? @    #33l @    #33lŃ @ @ @ @ @ @ @    #33m @    #33mK @    #33m @    #33mσ @    #33n @    #33nU @    #33n @    #33nۃ @    #33o @ @ @ @ @ @ @    #33o_ @    #33o @    #33o @    #33 N @    #33  @    #33!Z @    #33! @    #33"f @    #33" @ @ @ @ @ @ @    #33#n @    #33# @    #33$z @    #33$ @    #33% @    #33&
 @    #33& @    #33' @    #33' @ @ @ @ @ @ @    #33( @    #33( @    #33)* @    #33) @    #33*6 @    #33* @    #33+> @    #33+ @    #33,J @ @ @ @ @ @ @    #33, @    #33-V @    #33- @    #33.^ @    #33. @    #33/j @    #33/ @    #330v @    #330 @ @ @ @ @ @ @    #331~ @    #332 @    #332 @    #333 @    #333 @    #334 @    #334 @    #335& @    #335 @ @ @ @ @ @ @    #336. @    #336 @    #337: @    #337 @    #338F @    #338 @    #339N @    #339 @    #33:Z @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ 	  i @ p@ 	  i @ @ 	  i @T@ 	  i @@ 	  i @8@ 	  i @@ 	  i @@ 	  i @@ ?.   (  _root.main_movie.button_fill   @ 100 # 	  @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step2 @ @ @ @ @ @    #33: @    #33;f @    #33; @    #33<n @    #33< @    #33=z @    #33= @    #33> @    #33?
 @ @ @ @ @ @ @    #33? @    #33  @    #33  @    #33 @    #33 @    #33* @    #33 @    #336 @    #33 @ @ @ @ @ @ 	! 	" @ " 3K+ @ " 3Kǋ @ " ~S3K @ " B3KK @ " 3K݋ @ " /@ " L/,@ " /ά@ " )/,@ " @ @ @ @ @ @ 	# i @ p@ 	# i @ @ 	# i @T@ 	# i @@ 	# i @8@ 	# i @@ 	# i @@ 	# i @@ 	# @ @ 	 i @@ 	 i @@ 	 i @@ 	 i @8@ 	 i @@ 	 i @T@ 	 i @ @ 	 i @ p@ 	 i @  @  @ @ @ @ @ @ 	$ i @ p@ 	$ i @ @ 	$ i @T@ 	$ i @@ 	$ i @8@ 	$ i @@ 	$ i @@ 	$ i @@ ?.   (  _root.main_movie.button_fill   @ 100 # 	$ @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step3 @ @ @ @ @ %  2@ 
 @ 	$ i @	% i @ @ 	$ i @	% i @T@ 	$ i @	% i @ @ 	$ i @8	% i @@ 	$ i @ȉ	% i @T@ 	$ i @T	% @ 	$ i @ @ 	$ i @ p@ 	$ i @  @ $ @ %  2@ 
*@ %  2@ 
:_P@ %  2@ % @ %  2@ ,,@ %  2@ 4T@ %  2@ <Ȁ@ %  2@ D@ %  2@ L@ %  2@ Ti @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	& i @ p@ 	& i @ @ 	& i @T@ 	& i @@ 	& i @8@ 	& i @@ 	& i @@ 	& i @@ 	& @ @ @ @ @ @ @    #33> @    #33 @    #33J @    #33 @    #33V @    #33 @    #33^ @    #33 @    #33j @ @ @ @ @ @ @    #33 @    #33	v @    #33	 @    #33
~ @    #33 @    #33 @    #33 @    #33 @    #33 @ @ @ @ @ @ @    #33 @    #33& @    #33 @    #33. @    #33 @    #33: @    #33 @    #33F @    #33 @ @ @ @ @ @ @    #33N @    #33 @    #33Z @    #33 @    #33f @    #33 @    #33n @    #33 @    #33z @ @ @ @ @ @ @    #33 @    #33 @    #33
 @    #33 @    #33 @    #33 @    #33 @    #33 @    #33* @ @ @ @ @ @ @ 	 i @@ 	 i @@ 	 i @@ 	 i @8@ 	 i @@ 	 i @T@ 	 i @ @ 	 i @ p@ 	 i @  @  @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ 
	   fadestep '  ӪDdi @  @ ' ̀ $ӪEhi @ p@ 	' i @ @ 	' i @T@ 	' i @@ 	' i @8@ 	' i @@ 	' i @@ 	' i @@ ?    _root  slide4    ' ӪDd@      67  d	 slide3 @ 7 @ @ @ @ @ @ @ @ @ ?    
   slide4  '    u\=` (    %I1n+Eng=  M    lXǁs     %G.3z*:!*~au2-P]@uq}BH      wm     % m&      wk     % kWYK E    h 	      i-RbpJKHe!BB"\K2A	HOL      P.ۇg 	      D      P 	           P.Ň 	           P 	           P. 	       	u   !?+   &  _root.main_movie.button_fill   @ 0 # 
   start         D*  ؉  j  jp  j
   O 	  K+h
  #ȉ  #        My       #33  ȇM1$3t@  @  %    ضu\  @       ض(m5 @        @ R i @    mlԯmi @    di @    Sxi @    Ƚ@ wvi @    ظ@ pi @    i @    ff@ <i @    - i @    mlL:i @     @ 
Ai @      2@ 
Ai @  $  hji @  %  Ui @  &  i @  @    #33@    #33@    #33@    #33S@    #33!  ^i @  @    #33%	! i @ @    #33	! i @ @    #33	! i @ @    #33`	! @    #33@    #33`g @    #33a9 @    #33b @    #33b݃ @    #33c @    #33d @    #33eU @    #33f' @    #33f @ "  .> i @  @ 	" i @ @ 	" i @ @ 	" i @ @ 	" @ @ @ @ @ @ @ 	 i @ p	 i @ p@ 	 i @ 	 i @ @ 	 i @T	 i @T@ 	 i @ȉ	 i @@ 	 i @8	 i @8@ 	 i @	 i @@ 	 i @	 i @@ 	 i @	 i @@ 	 	 @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @    #33gG @    #33g @    #33g @    #33h1 @    #33h @    #33h̓ @    #33i @    #33ii @    #33i @    #33j @    #33jS @    #33j @    #33j @    #33k= @ #  @  K i @  @ 	# i @ @ 	# i @ @ 	# i @ @ 	# @ @ @ @ @ @ @    #33k @    #33k̓ @    #33l @    #33l] @    #33l @    #33l @    #33m5 @    #33m} @    #33mŃ @    #33n @    #33nU @    #33n @    #33n @    #33o- @ @ @ @ @ @ @ @ @ @ @ @    #33os @    #33o @    #33o @    #33  @    #33! @    #33! @    #33"& @    #33" @ ?.   (  _root.main_movie.button_fill   @ 100 #    #33#: @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step1 @ @ @ @ @ @    #33# @    #33$F @    #33$ @    #33%N @    #33% @    #33&Z @    #33& @    #33'f @    #33' @ @ @ @ @ @ @    #33(n @    #33( @    #33)z @    #33) @    #33* @    #33+
 @    #33+ @    #33, @    #33, @ @ @ @ @ @ @    #33- @    #33- @    #33.* @    #33. @    #33/6 @    #33/ @    #330> @    #330 @    #331J @ @ @ @ @ @ @    #331 @    #332V @    #332 @    #333^ @    #333 @    #334j @    #334 @    #335v @    #335 @ @ @ @ @ @ @    #336~ @    #337 @    #337 @    #338 @    #338 @    #339 @    #339 @    #33:& @    #33: @ @ @ @ @ @ @    #33;. @    #33; @    #33<: @    #33< @    #33=F @    #33= @    #33>N @    #33> @    #33?Z @ @ @ @ @ @ 	 	 @  . @  a@  ;p@  p@  ރ3KP@  33P@  E3 P@  .@@  Zl* @  *Y @  )* @ @ @ @  mlP:@ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@  mlL:i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ ?.   (  _root.main_movie.button_fill   @ 100 # 	 @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step2 @ @ @ @ @ @    #33? @    #33 f @    #33  @    #33n @    #33 @    #33z @    #33 @    #33 @    #33
 @ @ @ @ @ @ @    #33 @    #33 @    #33 @    #33 @    #33 @    #33* @    #33 @    #336 @    #33 @ @ @ @ @ @ @    #33	> @    #33	 @    #33
J @    #33
 @    #33V @    #33 @    #33^ @    #33 @    #33j @ @ @ @ @ @ @ 	% i @ @ 	% i @ @ 	% i @ @ 	% @ @ @ @ @ @ 	  i @ @ 	 i @	  i @8@ 	 i @	  i @p@ 	 i @	  i @@ 	 i @8	  i @@ 	 i @ȉ	  i @@ 	 i @T	  i @T@ 	 i @ 	  i @@ 	 i @ p	  i @@ 	 i @  	  @ @ @ @ @ @ @    2@ 
F@    2@ 
L@    2@ 
Q@    2@ 
WC@    2@ 
\@    2@ 
bC@    2@ 
h@    2@ 
m@    2@ 
s@ @ @ @ @ @ $  @ @ 	$ i @ @ 	$ i @ @ 	$ i @ @ 	$ @ @ @ @ @ @  ȇfM$Ft  @    @  ȇ.M$ӂ[t   @   @  ȇ-Mq$St   @   @ 	  @   @ 	  @   @  ȇ-M1$St  @ p   @ 	  @T   @ 	  @8   @  ȇ-M$ӂt  @   @  ȇfM1$SFt     @ @ @ @ @ @ @  Ѷu\  @    @ 	  @Ȗ    @ 	  @    @ 	  @    @ 	  @ p    @ 	  @T    @ 	  @8    @ 	  @    @  ضu\ ,    @ @ @ @ @ @ & 9@ 	& i @ @ 	& i @ @ 	& i @ @ ?.   (  _root.main_movie.button_fill   @ 100 # 	& @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step3 @ @ @ @ @  l5 @      @  l5 @ p    @ 	  @     @ 	  @T    @ 	  @Ȗ    @ 	  @8    @ 	  @    @ 	  @    @ 	  @    @  l5,    @ @ @ @ @ @ @    #33 @    #33v @    #33 @    #33~ @    #33 @    #33 @    #33 @    #33 @    #33 @ @ @ @ @ @ @    #33 @    #33& @    #33 @    #33. @    #33 @    #33: @    #33 @    #33F @    #33 @ @ @ @ @ @ @    #33N @    #33 @    #33Z @    #33 @    #33f @    #33 @    #33n @    #33 @    #33z @ @ @ @ @ @ @    #33 @    #33 @    #33
 @    #33 @    #33 @    #33 @    #33 @    #33 @    #33P @ @ @ @ @ @ @    #33PW @    #33P @    #33P݃ @    #33Q @    #33Qc @    #33Q @    #33Q @    #33R+ @    #33Rm @ @ @ @ @ @ @    #33R @    #33R @    #33S5 @    #33Sw @    #33S @    #33S @    #33T? @    #33T @    #33TŃ @  @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ ?.   (  _root.main_movie.button_fill   @ 100 # 	 @      67  g slide4 @ 7 @ @ @ @ @ @ @ @ @ ?    
   slide6  ,    uT9 (    %fq޻Tj0  !    U}8 (    %/|B!©{       Ms\     %5z^     P2 	      ؀ 1    `x 	      9$(PL> A) 	   r?+   &  _root.main_movie.button_fill   @ 0 # 
   start      x  0    #33  SLbhb i @    qsfDLᯏi @    4c8L i @    8c8^[ǀi @  	  8c8Ami @  
   Hi @    '@i @     @ {i @    Ȁ @ ;i @    ml`i @     2@ i @    ^i @     i @    DNi @    ri @    i @    Zi @  @ @ @ @ @ @    #33@    #33$@    #33q@    #33@    #33
@    #33W@    #33@    #33@    #33>@    #33@    #33@    #33`I @    #33` @    #33a} @    #33b @    #33b @    #33cI @    #33c @    #33d} @ @ @ @ @ @ @    #33eO @    #33f# @    #33f @    #33gǃ @    #33h @    #33im @    #33j? @    #33k @    #33k @    #33l @    #33m @    #33n[ @    #33o- @    #33p @    #33! @    #33#J @    #33$ @    #33& @    #33(: @ @ @ @ @ @ @    #33( @    #33) @    #33** @    #33* @    #33+v @    #33, @    #33, @    #33-f @    #33. @    #33. @    #33/Z @    #33/ @    #330 @    #331J @ @ @ @ @ @ @    #332 @    #333 @    #335
 @    #336J @    #337 @    #338 @    #33:
 @    #33;J @    #33< @    #33= @    #33?
 @    #33 J @    #33 @    #33 @ @ @ @ @ @ @    #33& @    #33 @    #33 @    #336 @    #33 @    #33 @    #33J @    #33 @    #33 @    #33^ @    #33 @    #33  SLbh b @    #33n  L^h b i @ p@    #33 	 i @ @  L^hb i @T@  L^hb i @@ 	 i @8@  L^hb i @@  L^hb i @@ 	 i @@  SLbhb @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step1 @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ 	  @     @  c8L  @ p   @ 	  @    @ 	  @T   @ 	  @   @ 	  @8   @ 	  @   @ 	  @   @ 	  @   @  4c8L    @ @ @ @ @ @ 	  @      @  c8^[ǈ @ p    @ 	  @     @ 	  @T    @ 	  @Ȗ    @ 	  @8    @ 	  @    @ 	  @    @ 	  @    @  8c8^[ǀ,    @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step2 @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 i @  @  @ @ @ @ @ @  L^hb i @ @ 	 i @ @ 	 i @ @  SLbhb i @  @  @    #33F @    #33 @    #33	B @    #33	 @    #33
> @    #33
 @    #33: @    #33 @    #336 @    #33 @    #332 @    #33 @    #33. @    #33 @ @    #33& @    #33 @    #33 @    #33 @    #33 @    #33 @    #33 @    #33 @    #33
 @ @ @ @ @ @ @    #33 @    #33 @    #33 @    #33 @    #33 @    #33* @    #33 @    #336 @    #33 @  @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @  ml @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @   2@ U
@ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ @ @ @ @ 		  @      @ 	 c8Am @ p    @ 		  @     @ 		  @T    @ 		  @Ȗ    @ 		  @8    @ 		  @    @ 		  @    @ 		  @    @ 	 8c8Am,    @ @ @ @ @ @ 	  @      @  acf4L鯎 @ p    @ 	  @     @ 	  @T    @ 	  @Ȗ    @ 	  @8    @ 	  @    @ 	  @    @ 	  @    @  qsfDLᯏ,    @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @ p	 i @@ 	 i @ 	 i @@ 	 i @T	 i @@ 	 i @Ȅ	 @ 	 i @8@ 	
 i @ p	 i @@ 	
 i @ 	 i @@ 	
 i @T	 i @@ 	
 i @Ȅ	 @ 	
 i @8@ 	
 i @@ 	
 i @@ 	
 i @@ 	
 @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @      67  g slide6 @ 7 @ @ @ @ @ @ @ @ @ ?    
   slide8  A    uĵtH$ (    %֥tq6VO5/zs>5K9&g\n觜Vfʛ  6    oeGa         rcOޱXS{[}?qb }    h6 
       tB_ T}B|dBW T0 TfxTB_ T_df|t_;f T_bdBBB| T}_     Pg 	      D  	M!   ?+   &  _root.main_movie.button_fill   @ 0 # 
   start         o   B   C          ( 	  @
  
   @ #33  fe@ K`i @    S`8 i @    ܪūp\i @    t+S i @    F< i @    {4g1YEi @    Ȕ@ " i @    Ǯ9	i @    e@ Q@4 i @     ?v6i @    eӹi @    >Q@ ki @       ֐i @     2@ V li @    e! i @    _Q i @     i @    i @    <7i @    3* i @  @ @ @ @ @ @  ?#33,@  ?#33?@  ?#33S@  ?#33g@  ?#33{@  ?#33@  ?#33@  ?#33@  ?#33@  ?#33@  ?#33@  ?#33@  ?#33@  @ #33,@ @ @ @ @ @ @  ?#33[@  ?#33@  ?#33@  ?#33@  ?#33@  ?#33C@  ?#33q@  ?#33@  ?#33@  ?#33@  ?#33`U @  ?#33` @  ?#33a @  @ #33ai @ @ @ @ @ @ @  ?#33a @  ?#33b @  ?#33c1 @  ?#33c˃ @  ?#33dc @  ?#33d @  ?#33e @  ?#33f- @  ?#33fǃ @  ?#33g_ @  ?#33g @  ?#33h @  ?#33i) @  ?#33iÃ @  ?#33j[ @  ?#33j @  ?#33k @  ?#33l' @  @ #33l @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step1 @ @ @ @ @  3#33l @  3#33m	 @  3#33mQ @  3#33m @  3#33m @  3#33n) @  3#33nq @  3#33n @  3#33o @  3#33oI @  3#33o @  3#33oك @  3#33 B @  3#33  @  3#33!b @ @ @ @ @ @ @  3#33"2 @  3#33# @  3#33# @  3#33$ @  3#33%j @  3#33&: @  3#33' @  3#33' @  3#33( @  3#33)n @  3#33*> @  3#33+
 @  3#33+ @  3#33, @ @ @ @ @ @ @  3#33-r @  3#33.: @  3#33/ @  3#33/ @  3#330 @  3#331b @  3#332. @  3#332 @  3#333 @  3#334 @  3#335V @  3#336" @  3#336 @  3#337 @ @ @ @ @ @ @  3#338 @  3#338 @  3#338 @  3#339f @  3#339 @  3#33:B @  3#33: @  3#33; @  3#33; @  3#33; @  3#33<f @  3#33< @  3#33=B @  3#33= @ @ @ @ @ @ @  3#33>z @  3#33?> @  3#33  @  3#33  @  3#33 @  3#33Z @  3#33" @  3#33 @  3#33 @  3#33v @  3#33> @  3#33 @  3#33 @  3#33 @ @ @ @ @ @ @  3#33	 @  3#33	v @  3#33	 @  3#33
V @  3#33
 @  3#33: @  3#33 @  3#33 @  3#33 @  3#33 @  3#33n @  3#33 @  3#33R @  3#33 @ @ @ @ @ @ @  3#33z @  3#336 @  3#33 @  3#33 @  3#33^ @  3#33 @  3#33 @  3#33 @  3#33F @  3#33 @  3#33 @  3#33n @  3#33* @  3#33 @ @ @ @ @ @ @  3#33 @  3#33 @  3#33 @  3#33 @  3#33 @  3#33r @  3#33^ @  3#33P% @  3#33P @  3#33Q @  3#33Q @  3#33Q @  3#33Ru @  3#33R @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step2 @ @ @ @ @ @  3#33S) @  3#33Sm @  3#33S @  3#33S @  3#33T5 @  3#33Tw @  3#33T @  3#33T @  3#33UA @ @ @ @ @ @ @  3#33U @  3#33Uǃ @  3#33V	 @  3#33VK @  3#33V @  3#33Vу @  3#33W @  3#33WW @  3#33W @ @ @ @ @ @ @  3#33Wك @  3#33X @  3#33X_ @  3#33X @  3#33X @  3#33Y' @  3#33Yi @  3#33Y @  3#33Y @ @ @ @ @ @ @ @ @ @ @ 	  @     @  tkR @ p   @ 	  @    @ 	  @T   @ 	  @   @ 	  @8   @ 	  @   @ 	  @   @ 	  @   @  t+S    @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @  j @ 	 i @ @  j i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ @ @ @ @ 	  @     @  {Er41YE @ p   @ 	  @    @ 	  @T   @ 	  @   @ 	  @8   @ 	  @   @ 	  @   @ 	  @   @  {4g1YE   @ @ @ @ @ @  @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ @ @ @ @ 	  @     @  n<  @ p   @ 	  @    @ 	  @T   @ 	  @   @ 	  @8   @ 	  @   @ 	  @   @ 	  @   @  F<    @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step3 @ @ @ @ @  C\ @    @  ͑C\` @ pB @ 	  @ p @ 	  @T @ 	  @Ȳ @ 	  @8` @ 	  @A @ 	  @ @ 	  @` @  C\,    @ 	  @    	` 	  @    	` @ 	  @ &  	  @ &  @ 	  @ K  	  @ K  @ 	  @ q ` 	  @ q ` @ 	 ,    	 ,    @ @ @ @ @ @ @  3#33Z3 @  3#33Zw @  3#33Z @  3#33Z @  3#33[? @  3#33[ @  3#33[Ã @  3#33\ @  3#33\I @ @ @ @ @ @  Ȁ @ _  3M`Q@  ˬ5"@  l5"@  c5"@  .5D"@  l5d"@  5"@  5"@  ]l5"@  )5D"@  @ @ @ @ @  ml֏(@ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ @ @ @ @  @ " @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ @ @ @ @  f@ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ @ @ @ @  9O^@ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @   ?v6B@   ?m\i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@   ?v6B@ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @   2@ Y(l@   2@ \(l@   2@ _0l@   2@ b8l@   2@ e8m @   2@ h@m @   2@ kHm @   2@ nHm @   2@ qPm @   2@ qP| @   2@ qP@@   2@ qP@@   2@ qP@   2@ qP@   2@ qPǀ@   2@ qP@   2@ qP@   2@ qP @   2@ qQ @ @ @ @ @ @  3#33\E @  3#33\ @  3#33\˃ @  3#33] @  3#33]O @  3#33] @  3#33]Ճ @  3#33^ @  3#33^[ @  3#33^ @ @ @ @ @ @ @  3#33^ @  3#33_% @  3#33_g @  3#33_ @  3#33_ @  3#33@  3#338@  3#33Z@  3#33z@ @ @ @ @ @ @  3#33@  3#33@  3#33@  3#33@  3#33!@  3#33B@  3#33c@  3#33@  3#33@ @ @ @ @ @ @  3#33@  3#33@  3#33@  3#33,@  3#33N@  3#33o@  3#33@  3#33@  3#33@ @ @ @ @ @ @  3#33@  3#33@  3#336@  3#33W@  3#33y@  3#33@  3#33@  3#33@  3#33@  @ @ @ @ @  QF@ Q@4 @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @      67  Ie' slide8 @ 7 @ @ @ @ @ @ @ @ @ ?    
   slide12  @    uġtH= (    (    %XwsVA\(6".yǩ+OTQ.%Z9(9    hP 	      >2d 
LR_j8HOL2      o`      $x{p     X!K`z 	      2 !    X!qz 	      3	L !    Xqz 	      t3	L {    h6 
      tB_ T}B|dBW T0 TfxTB_ T_df|t_  ;f T_bdBBB| T}_     PB 	           P& 	           P( 	           P 	           P, 	       	    ?+   &  _root.main_movie.button_fill   @ 0 # 
   start        #33:  ŜD-i7Y@i @    i @    d= i @    O i @     @ IV@i @       R<i @  	  @  i @  
  ȩP@  i @    	@ [~@i @    "  uڀրi @    UV@ zi @    33@ i @    w i @    #G  uڛ i @    33@ ~i @    wi @    ȣ@ Tzi @    "  m?i @    33@  i @    ds i @    !  m6*i @    33@  i @    d.v i @    $  bRi @    33@ +8i @     1?Ii @    ^`i @    q(i @    1s*i @     U`i @  !  Fi @  "  A$i @  @ @ @ @ @    :@    k@    @    @    @    -@    ]@    @    @    @     @    P@    @    @    @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @    +@    t@    @    ` @    ` @    a/ @    a @    bS @    b @    cw @    d @    d @    e+ @    e @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @    f5 @    f @    g% @    g @    h @    h @    i @    i} @    i @    jm @    j @    k] @    kՃ @    lM @ @ @ @ @ @ @ 	  i @ @ 	  i @ @ 	  i @ @ 	  @ @ @ @ @ @ @    m= @    n- @    o @      @    ! @    # @    % @    ' @    )z @    +Z @    -: @    / @    0 @    2 @ @ @ @ @ @ @ 	! i @ @ 	! i @ @ 	! i @ @ 	! @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step1 @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ 	  @   	` @  P6 ]h @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @  "  uڀր    @ @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ 	  @   	` @  Z= ] @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @  #G  uڛ     @ @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @  33@   @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ 	  @   	` @  ,UUp s  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @  "  m?    @ @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ 	 , K  @  M/0 sb
B @ 	 Ա @ 	  @ 	 MeL @ 	  @ 	 d  @ 	 B @ 	 " @  !  m6*    @ @ @ @ @ @ 	  @   	` @ 	  @ pP @ 	  @ uP @ 	  @Td@ @ 	  @SE0 @ 	  @8C0 @ 	  @2!C  @ 	  @!' @ 	  @, @ 	     @ @ @ @ @ @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	
 i @ p@ 	
 i @ @ 	
 i @T@ 	
 i @@ 	
 i @8@ 	
 i @@ 	
 i @@ 	
 i @@ 	
 @ @ @ @ @ @ @ @ @ @ @ @    4: @    5 @    6 @    8V @    9 @    ; @    <v @    = @    ?6 @      @     @    R @      Ŝ4,iY@i @ @     	 i @$@ 	 i @@ 	 i @H@ 	 i @@ 	 i @l@  ŜD-i7Y@@ @ @ @ @ @ @ 	" i @ @ 	" i @ @ 	" i @ @ 	" @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step2 @ @ @ @ @ 	  @     @ 	  @ p   @ 	  @    @ 	  @T   @ 	  @   @ 	  @8   @ 	  @   @ 	  @   @ 	  @   @ 	   d  @ @ @ @ @ @ @ @ @ @ @ @  Ŝ4,iY@i @	" i @ @ 	 i @	" i @ @ 	 i @	" i @ @ 	 i @8	" i @  @ 	 i @@ 	 i @T@ 	 i @ @ 	 i @ p@  ŜD-i7Y@i @  @ @     @     @    b @    	& @    	 @    
 @    v @    : @     @     @     @    N @     @     @ @ @ @ @ @ " @ A@ 	" i @ @ 	" i @ @ 	" i @ @ ?.   (  _root.main_movie.button_fill   @ 100 # 	" @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step3 @ @ @ @ @ 	  @      @ 	  @ p    @ 	  @     @ 	  @T    @ 	  @Ȗ    @ 	  @8    @ 	  @    @ 	  @    @ 	  @    @ 	 ,    @ @ @ @ @ @ 	  @      @ 	  @ p    @ 	  @     @ 	  @T    @ 	  @Ȗ    @ 	  @8    @ 	  @    @ 	  @    @ 	  @    @ 	 ,    @ @ @ @ @ @ @ @ @ @ @ @    6 @     @     @    N @     @    
 @    f @     @    " @ @ @ @ @ @ @ @ @ @ @ @     @     @    n @    2 @     @     @    z @    > @     @ @ @ @ @ @ @ @ @ @ @ @     @    z @    6 @     @     @    n @    P @    Ps @    Pу @    Q/ @    Q @    Q @    RK @    R @  @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ @ @ @ @ 	 ;@  @ 	 ;@  i @ p@ 		 i @ @ 	 ;@  i @T@ 		 i @@ 	 ;@  i @8@ 		 i @@ 	 ;@  i @@ 		 i @@ 	 ;@  @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @  " EK i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@  $  bR@ @ @ @ @ @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @      67  I1 slide12 @ 7 @ @ @ @ @ @ @ @ @ ?    
   slide13  9    lC  (    (    %;;5lBNi6HSJEwA      n
x$?      %w!fK:TI`_'Tza漚n7^+٠ԧўpҼСK'IUzv}gESCӊ۽R	rɍzy)l(I	ƍJ852ZhT1HszLPGA(`|'O
 
써$Hۮ 	   ?+   &  _root.main_movie.button_fill   @ 0 # 
   start          e      n` @    	`   Ť=Q @   %    ʗC@ @        ΗB׳ @         @ E@i @    mlŰi @  	  0@ C i @  
  M i @    Ȍ1@ Si @    āQ9T^|i @     &?ui @    $Қ i @    C i @    h i @    \تi @    ETxi @    i @       ("     ڲ@ @ @ @ @ @ @ @ @ @ @      f5 @      f @      g/ @      g @      h' @      h @      i! @      i @      j @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ @ @ @ @ @      j @      k# @      k @      l/ @      l @      m9 @      m @      nC @      nɃ @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ @ @ @ @ @      o @        @      " @      # @      %
 @      & @      ( @      ) @      + @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @      ,2 @      -^ @      . @      / @      0 @      2 @      3F @      4r @      5 @ @ @ @ @ @ @ @ @ @ @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step1 @ @ @ @ @ @    3n` @ H  	` @ 	  @   	` @ 	  @   	` @ 	  @$  	` @ 	  @l  	` @ 	  @  	` @ 	  @   	` @ 	  @H  	` @ 	  @  	` @ 	  @  	` @ 	  @$  	` @ 	  @l  	` @ 	  @  	` @     n`  K  @ @ @ @ @ @ @ @ @ @ @ @      8 @      :j @      < @      ?. @       @       @      Z @       @      " @       @       @      J @       @       @ @ 	 i @ @ 	 i @ @ 	 i @ @ 	 @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step2 @ @ @ @ @ @  Ťb>Q @ p %  @ 	  @  %  @ 	  @T %  @ 	  @ %  @ 	  @8 %  @ 	  @ %  @ 	  @ %  @ 	  @ %  @  Ť=Q    @ @ @ @ @ @ @  ņ-#@ @ p    @ 	  @     @ 	  @T    @ 	  @Ȗ    @ 	  @8    @ 	  @    @ 	  @    @ 	  @    @  ʗC@,    @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @ ?+   &  _root.main_movie.button_fill   @ 0 # 
   step3 @ @ @ @ @ @  Η,᪶׳ @ p    @ 	  @     @ 	  @T    @ 	  @Ȗ    @ 	  @8    @ 	  @    @ 	  @    @ 	  @    @  ΗB׳,    @ @ @ @ @ @ @ @ @ @ @ @      b @       @       @      Z @       @       @      P' @      Pу @      Qy @  @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	
 i @ p@ 	
 i @ @ 	
 i @T@ 	
 i @@ 	
 i @8@ 	
 i @@ 	
 i @@ 	
 i @@ 	
 @ @ @ @ @ @ @ @ @ @ @ @ 	 0@ C i @ p@ 		 i @ @ 	 0@ C i @T@ 	 0@ C i @@ 	 0@ C i @8@ 	 0@ C i @@ 	 0@ C i @@ 		 i @@ 	 0@ C @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ @ @ 	 i @ p@ 	 i @ @ 	 i @T@ 	 i @@ 	 i @8@ 	 i @@ 	 i @@ 	 i @@ 	 @ @ @ @ @ ?.   (  _root.main_movie.button_fill   @ 100 # @      6  I`; slide13 @  @ @ @ @ @ @ @ @ @ @   
