Join the conversation! Share your experiences, questions and comments regarding mindfulness meditation below. This MFLN-Military Caregiving concentration blog post was published on June 30, 2017. References:Caregiving in the U.S.: 2015 Report. United States: NAC National Alliance for Caregiving, 2015. Web. 25 Jan. 2017.Walsh, Colleen. Et.al. “‘Turn down the Volume’.”Harvard Gazette. Harvard University, 22 Apr. 2011. Web. 28 Feb. 2017.“Frequently Asked Questions.” UCLA Mindful Awareness Research Center. UCLA Health, n.d. Web. 20 Feb. 2017Galla, B. M. (2016). Within-person changes in mindfulness and self-compassion predict enhanced emotional well-being in healthy, but stressed adolescents. Journal of Adolescence, 49, 204–217.Hidden Heroes: America’s Military Caregivers. Rep. Santa Monica, CA: RAND Corporation, 2014. Web. 25 Jan. 2017.Hougaard, Rasmus, Jacqueline Carter, and Gitte Dybkjaer. “Spending 10 Minutes a Day on Mindfulness Subtly Changes the Way You React to Everything.” Harvard Business Review. Harvard Business Publishing, 18 Jan. 2017. Web. 20 Feb. 2017.Ireland, Tom. “What Does Mindfulness Meditation Do to Your Brain?” Scientific American Blog Network. Springer Nature, 12 June 2014. Web. 20 Feb. 2017.U.S. Department of Veterans Affairs. Caregiver Self-Care Workbook. National Caregiver Training Program Manual. Web. 1 March, 2017. In 2011 researchers at Harvard studied individuals participating in eight weeks of mindfulness meditation practice and found that, “mindfulness meditators more quickly adjusted the brain wave that screens out distraction [which] could explain their superior ability to rapidly remember and incorporate new facts.”Try it!Click the link below to try a five-minute meditation from the UCLA Mindful Awareness Research Center. This meditation, which focuses on the breath is an excellent piece for beginners.Interested in Starting Your Own Practice?Check out my Secrets of Self-Care Video Series to learn some of my tips for getting started. Written by Alicia Cassels, MA, MFLN Military Caregiving Team Member Is It Just Another Trend?You may have heard that companies like Nike, Bank of America, Google and Twitter have incorporated mindfulness into their corporate cultures and that high-profile celebrities use mindfulness meditation. With so much popular focus on the practice, it would be easy to discount mindfulness meditation as just another passing, popular culture trend.Less widely known, however, is the fact that mindfulness meditation is being studied at some of the best medical and educational institutions in the world. Using brain imaging technology and a new understanding of neuroplasticity (the ability of the brain to develop across the life cycle), researchers have begun to measure changes occurring in the brains of mindfulness meditators. Their studies indicate that mindfulness meditation is effective in improving memory, mental focus and the ability for individuals to respond thoughtfully in stressful situations.Another Tool for CaregiversDedicating daily time for self-care can present a challenge for busy caregivers who may find their time and energy stretched to the limit. Surprisingly, mindfulness meditation can be practiced in as little as ten minutes a day.A University of Pittsburgh study found that mindfulness meditation opens pathways for key regions of the brain to communicate with each other, enabling individuals to respond more thoughtfully in situations of stress. A 2016 University of Pittsburgh study which was published in the Journal of Adolescence found a correlation between mindfulness meditation and self-compassion in adolescents.
By: Jason M. Jowers, MS Boy blowing bubbles and holding hands with a parent Return to article. Long DescriptionPexels[Boy Blowing Bubbles by leeroy on April 28, 2015, CC0]Family stress can be at an all-time high within military families during times of deployment. This is even more so true for single-parent military families. The REACH Center at the University of Minnesota conducts research that can help us to better identify and address key issues that impact military service members and their families. A research study they conducted in 2015 found that single parents in the military experienced higher stress levels during times of deployment, had lower levels of social support, and had a harder time reintegrating with their families and children post-deployment .So what can single parents in the military do when they are called up for deployment? Who do they reach out to as caregivers for their children while they are gone? Military One Source has a quick read article on ways to plan and organize to prepare before, during, and after deployment . These tips include: choosing caregivers, arranging finances, keeping routines, and talking to kids about the changes. Deployments are tough on single parent households but are doable with a plan and careful consideration.For more info on both the emotional and financial toll that single parenting can have on military families, tune into to this archived webinar, “Separation & Single Parenting in the Military” from our Family Finances Series. This series was a collaboration between the MFLN Personal Finance team and MFLN Family Development and provides CEUs for financial professionals as well as social workers and therapists.To hear personal experiences of single parents who are also active duty military personnel, take a listen to our Anchored podcast episode, “Double Duties: Exploring Single Parenthood in the Military.” CEUs are still available for those who are interested.References Vaughn-Coaxum, R., Smith, B. N., Iverson, K. M., & Vogt, D. (2015). Family stressors and postdeployment mental health in single versus partnered parents deployed in support of the wars in Afghanistan and Iraq Psychological Services, 12(3), 241-249. doi:10.1037/ser0000026 Retrieved from: https://reachfamilies.umn.edu/sites/default/files/rdoc/Vaughn-Coaxum_2015.pdfMilitary OneSource (2018). Leaving Your Children with a Caregiver during Deployment. Retrieved from: https://www.militaryonesource.mil/military-life-cycle/deployment/during-deployment/leaving-your-children-with-a-caregiver-during-deploymentThis post was written by members of the MFLN Family Development Team. The Family Development team aims to support the development of professionals working with military families. Learn more about our team at https://militaryfamilieslearningnetwork.org/family-development, and connect with us on Facebook, and on Twitter. Subscribe to our Anchored. podcast series on iTunes and via our podcast page.
In this week’s Friday Field Notes, we will explore the resources available through cooperative extension to promote spiritual fitness. What is Spiritual Fitness?Spirituality is a broad spectrum of behaviors, values, and beliefs that individuals hold in regards to their own spirit or soul. For some, their spirituality involves a specific religion, but others practice spirituality through connections with others and/or nature. Spirituality is associated with lower rates of depression and anxiety as well as possibly assisting military families with coping with the stresses of military life.For some, spirituality is a key part of their self-care routine. To learn more about the importance of self-care routines, join Military Caregiving on July 10th at 11am Eastern Time for At Our Best: Caregiving Today, a part of MLFN’s Kids Serve Too! partnership with Sesame Street for Military Families. In this webinar, presenters will discuss the importance of self-care for caregivers and give ideas to start a self-care routine.Cooperative Extension and Spiritual FitnessCooperative extension provides resources to help individual and families focus on their spirituality. For example, North Carolina State Extension has collected resources in their youth-focused #passthemike initiative that deal with topics such as religious literacy, islamophobia, and antisemitism. Contact your local extension office to learn more about the programs and resources in your area.Mindfulness. Mindfulness is a great way to develop one’s spirituality. Please see our previous blog on psychological fitness to learn more about the opportunities cooperative extension provides to learn more about mindfulness.Self-care. Self-care is an important part of caring for one’s psychological health. Cooperative extension provides educational resources to learn about the importance of self-care, as well as ideas for self-care routines. For example, have a look at these ideas from Kentucky and Maine cooperative extension.
Smoke and Flame guru Joel Osis shares his workflow for adding edge blur in Smoke’s ConnectFX – great for working with green screen or chroma key.If you’re looking to get clean edges in your chroma key and video compositing projects, this tutorial by Joel Osis has you covered. Getting a smooth key can be tricky…and adding an edge blur can sometimes produce a very unnatural effect. In this Autodesk Flame and Smoke tutorial, Joel shows you how to successfully isolate and then add a slight edge blur to your keyed footage in Smoke. Additionally, you’ll see how adding “regrain” to this blurred edge can help pull off the effect – making it look more organic.This Autodesk Flame and Smoke tutorial is geared toward video pros that are already have experience working with nodes and the ConnectFX effects interface. Adding an edge blur to your composited footage in Smoke is a subtle effect, but an important one for really ‘selling’ the composite.You may also be interested in Joel’s previous Autodesk Smoke tutorial on converting a 2D video image to 3D. Thanks for sharing, Joel!
What does it take to break into the big leagues? Are there advantages to working freelance versus taking a job at a big color house? Gain real-world insight from professional colorist Rob Bessette.Rob Bessette is a senior colorist working at the Boston post house Finish Post. Bessette has worked with a range of commercial clients, including Coca-Cola, Toyota, Chili’s, and recently, a promo for Epix’s “Road to the NHL.”Watch Bessette’s color montage:Talk about how you became a colorist.Out of college I landed an internship and learned how to handle film, patch decks, and use Smoke and Flame. I eventually got hired as a nighttime assistant where I did all the tape dubbing, archiving and prep for the next day. I did that for about a year. One day they needed an assistant in the color suite. Everything used to be linear, so assistants would need to change all of the film reels, make sure all the selects were colored and then lay everything off to tape at the end.I did double-duty with both jobs. I sat with the colorist with 20 years experience under his belt and apprenticed with him, learned what he was doing and how he worked with clients. I started prepping his projects and working with 35mm footage, which sometimes for coloring just getting good footage to work with is half the battle. It’s hard to make bad footage look good, especially when you’re talking about footage acquired with DSLRs and mini DV and stuff like that.After a year of doing both jobs, I was getting burned out and told my bosses I wanted to graduate to color and came on to assist color full-time. Eventually I got some requests from clients and after a few years the colorist I apprenticed with went somewhere else and I got a shot at getting some work with paying clients. That was about 10 years ago now.What’s your color grading software of choice? Any specific reason for that platform?I’ve been on DaVinci before it became Resolve. I learned on the Davinci 2k Plus back in 2004 or 2005. Those were the days of 16 and 35mm transfers and digibeta tape. Since I learned on Davinci, Resolve was an easy transition. Back in the day I also tinkered with Apple Color, Quantel and Avid Symphony. I’ve never toyed with Baselight or Nucoda which are next on my list.What Resolve features have been game-changers for you? Any secret tricks that’ve changed your workflow?As I’ve gotten more experience, getting into those mid-high relationships and mid-low relationships in the Log tab are really big for me. I’ve also really enjoyed working with the Hue vs. Saturation curves. The tracking is obviously huge. When I saw Resolve for the first time and saw the tracker, I knew we had to get it. That was a no-brainer.Yeah, I mean it pretty much goes real time, or even faster.Faster than real time! The ease of the node-based workflow or even feeling your way around the panel just feels really natural and smooth. There’s no clunkiness. It does whatever I want it to do. The great thing with Blackmagic is that they listen to the feedback. I emailed them a while back and asked if there was a feature of turning a circular power window into a custom bezier window. One release later, that was in there. Clearly I wasn’t the only one who requested it. They have all these big movies being made on the software. I have trouble wrapping my head around the fact that they give it away for free.When Blackmagic Design released its Davinci Resolve software for free, there was an explosion of new colorists on the scene. The big color houses felt the pinch of the 2008 recession and started taking every job possible. Do you find it difficult to find work in this climate with these factors?Budgets definitely run the gamut. We see a lot of high-end broadcast work, but there’s a lot of web content too. People are pushing a lot of social media work now. Instagram is blowing up with video content and advertising. Whereas Instagram used to contain more user-sourced content, there’s a lot more commercial content on there now.Right – Instagram users can now upload up to 60 seconds of video, up from 15 seconds, which enables advertising companies to tell more engaging stories.Yeah. That said, budgets are shrinking across the board. Some ad agencies keep work in house to save money on smaller jobs, but they’ll work with us when they need more professional work. We definitely feel a little bit of the budget pinch, but a lot of people are still putting out great work.Is there ever a point where you don’t take the job on? Color jobs tend to run for a couple of hours to a day, so I wondered if any job is too small or if you always try to accommodate.There’s definitely jobs that I’ve personally turned down, but if I do, I offer them to a junior guy. But in general, we try to work with the ad agencies. We have an hourly rate and a day rate that they know going in, but sometimes they have a budget cap in mind, and as long as it’s within a decent range, we tend to play ball. It gets hairy when someone has a 90-minute feature. We end up extending the timeline to a month or five weeks to work on it during our downtime so we can still prioritize full-rate work. As long as the filmmaker understands that, we’ll work with them to make it happen.It’s the old good/fast/cheap paradigm — pick two. You’re obviously good, so if it’s cheap it can’t be fast. In editorial, low-budget music videos are a several-week commitment. Coloring that same music video might only take half a day, so it’s easier to fit in, and it can be great for exposure and creativity. A feature can really suck up the time and resources.If we’re working on a commercial, there’s typically a bigger budget, because it’s actually selling something. There’s money to be had at the back end. A music video or a movie, maybe it’ll make money, maybe it won’t. Indie movies are a toss-up. Our bread and butter is generally commercials, but we don’t tend to turn down work.Are you finding there’s a lot of competition in Boston?The Boston color world is very small. Most of our competition on the East Coast is in New York City. The big color houses also have remote connections where agencies can sit in Boston and remotely supervise the session in New York.Being based in New York, I’ve seen the upsurge of freelance colorists emerging, even though there are only a handful of big companies. It’s been interesting to see those freelancers taking work from the bigger houses.Finish Post is in a middle ground. It still has a boutique vibe. Freelancers make their money on being cheaper than a facility. I take only a fraction of my rate, but what I gain is infrastructure. I have an assistant and a producer, client services and the latest and greatest equipment. I know some freelancers that go from facility to facility and bounce around with whatever’s thrown at them. What colorists do is the same no matter what program we’re on.What’s the most difficult part of dealing with clients? It’s difficult for many clients to articulate their color feedback.I’ve gotten all sorts of adjectives to describe color from clients: dirty, funky, murky, sweet, romantic. I get all these weird words that I’m supposed to interpret as meaning warmer or cooler or more green or whatever. I have to associate those words with doing something with the highlights or shadows, or maybe I need less contrast or saturation to get that look. Being able to think about what those adjectives mean is really the driving force. I always ask for references, whether it’s a menu for a cheeseburger or if it’s a source of inspiration. Those go a long way to hone down a look you’re going for. Managing client expectations is a whole other aspect of the job that’s really one of the untold arts – being able to get them what they want without them exactly knowing what they want.Do you run into clients saying that images look different on other monitors still? Nowadays I’ve played cuts back full screen on the computer monitor to make sure clients are happy with it there. It makes them feel better about approvals. I’m not a stickler about the single calibrated monitor any more.The days of saying ‘I’m right and you’re wrong’ in the color suite are gone. You can offer up your opinion and you can listen to theirs and explore, but no client wants to hear ‘you’re not right.’ If there’s a reason to have a collaboration, you talk it out and see what various things look like, to try what people said. If you tried something that doesn’t work, the client sees they weren’t right anyway. Sometimes something they suggested does work! You didn’t expect it but you got a better product in the long run.As far as monitoring goes, that’s the bane of my existence. ‘I looked at the cut on the phone on the train while it was rainy out, and it looked weird.’ It’s going to happen pretty much no matter what you do. In an electronics store with 50 TVs in front of you, every single one looks different. How do you compensate for that? You can’t. I’ve walked the slippery slope of making various versions, and it just gets you into trouble, because everyone sees things a little differently. It’s probably the most common conversation that I have in the suite, and it’s one that I don’t necessarily enjoy having.There’s an app called Shady on the Mac that can artificially darken the computer screen. I sometimes use this while in session with clients who get hung up on different displays. No one thinks a darker monitor looks better, so instinctively they look at the brighter one.Regarding “right” or “wrong” in a color context, it would be even worse to point to the scopes and say that you’ve scientifically matched the shots, that it’s correct because the equipment says so. When you cut from a wide to a close-up, the client might perceive a person as being more saturated just because they’re closer to the camera. At a certain point, you have to be willing to abandon the scopes in favor of the client’s eyes.You can’t tell someone they’re wrong because the equipment says so. From their perspective, they’re saying they’re right because their eyes are telling them so. That’s what it looks like to them. They don’t care what the machine says. I see it all the time with wides and close-ups with 4k footage. For projects delivering in HD you can blow up the footage quite a bit, but even with the same exact dailies cut together, shots feel different when you zoom.It’s pretty crazy how the eyes work like that. Let’s say you’re coloring a :30 with a :15 cutdown. Shots are perceived differently because of the shots that come before or after it.It all depends on context. One of our biggest jobs is to make sure that everything’s consistent. It’s not the most glamorous part of the job by any means, but if your work is consistent and the common person doesn’t notice your work, you’ve done a good job.It’s one of those invisible art forms, like editing. Most of the work is done in making the job consistent. When it’s time to impose a look on the job, that’s really where the client comes in. Is that similar to your process?That’s kind of how I work as well. When I start, I take an initial look at the footage so I know what to expect, what might work and what might not. Then I offer up some ideas and explain why. I’m not throwing looks at them just to throw looks at them. When we arrive at a style, they kind of let me do my thing. When I get about 80% of the way there, then we sit down for the fine-tuning. So my client involvement is very involved in the beginning in coming up with a look and the direction, then I do most of the work in the middle, and at the end everyone comes together to put the final polish on it.What’s the dynamic in working with DPs? Cinematographers often speak in very technical terms as opposed to more emotional terms of what the shots are doing for them. Does this ever get in the way?I’ve had that happen a couple of times. The first few times I was a little annoyed by it, but I’ve learned to roll with it now. They’re not trying to do the work for me, that’s just how they talk. If we can get on the same page, ultimately that leads to a better image and everyone’s happy, and that’s what it’s all about. I could see how it could get taken the wrong way, but with clients you just have to be able to roll with the punches. You can’t let anyone push you around, and you have to stand up for your vision, but you have to also be willing to hear other ideas as well. The worst thing you can do is run forward stubborn and bullheaded with an ‘I’m right, you’re wrong’ attitude. No one wants to work with that guy.Any advice for people just starting out in color correction?Get as much real-world experience as you can. One thing that everybody has now that they didn’t have before was accessibility to the software. When I started out it was this kind of black art nobody knew about. The only people who had access to it were people who worked at big post houses or film processing labs. Now, I have it on my laptop that I can carry around.What differentiates you now is how you handle yourself and your creative looks and styles, being able to come up with ideas on the spot and using the software really as an extension of your mind. You shouldn’t be looking around the software for where each button is. You should be able to instantly think with instinctual reactions, and that really comes with practice and muscle memory and learning how footage reacts to certain environments. The only way to do that is with practice, and as much as you might begin by practicing on footage downloaded from tutorial sites, there’s nothing like a real job where pressure is on you to learn it right.Stay tuned for our continuing conversation series with colorists or read past interviews with Patrick Inhofer and Alexis van Hurkman.
Breaking into online video content? You’ll need the right tools for the job. Check out how DaVinci Resolve 14 can save you time and money.Cover image via Shutterstock.Travel vlogger, web-based comedian, video game streamer, YouTube personality, make-up reviewer: while these aren’t necessarily titles that you would classically associate with filmmaking or videography, there’s no denying that online video creation has become a viable way of making an income in the digital age. These titles are only here today because of the advances in filmmaking technology that enabled consumers to buy excellent hardware at a low cost. There are so many options for hardware and software, it can get confusing quickly, especially if you’re new to online content creating. One of the core elements of online content creating is consistency. If you’re not uploading often, you’ll lose your audience. With that in mind, let’s have a look at how Resolve 14 may aid you in creating content faster.Quick DeliveryRendering is often the most mundane part of editing. It’s long, it’s tedious, and it’s even worse when you accidentally forget to select a setting — then you must repeat the process. Resolve streamlines all of this, especially for the online content creator. When we go to the delivery page, we see two built-in presets for YouTube and Vimeo uploads.These presets are specifically for online uploads. By default, you get a QuickTime H.264-encoded media file, restricted to 10,000 kb/s. This is at 720p, but you can very quickly change it to 1080p for a crisp HD upload. Additionally, all of the settings are entirely customizable. Mainly, however, you can take your edit to the delivery page, select the YouTube preset, and start rending for your next upload.Smooth CutIf you didn’t perform a jump cut in an online video in 2017, can you really say you’re an online content creator? But what if you want to go against the flow and produce a video with no jarring cuts? Or perhaps you’re making a serious video using a consistent cut, but at one point you stutter or pause for too long. Well, in Resolve, there’s a feature called smooth cut that will solve this problem.First, identify your pause, remove that section, then go to the effects library and find smooth cut. Add that to the edit point, and when you hit play, it’s almost as if the cut doesn’t exist — the smooth cut will optically blend the two points together.Smart BinsResolve makes managing your media easier with smart bins. You can think of Smart Bins like an iTunes smart playlist. The bins automatically detect the specified elements of a clip and place them into the desired bin. Essentially, you could offload your media into the media pool, and have resolve automatically sort out the contents of your edit before you’ve even offloaded the final clip. So if you were working with two cameras and you want to separate the two (perhaps they require different color treatment because one camera had the incorrect white balance), you just input the details relevant to your camera.To create a smart bin, right-click in the smart bin area on the Media Page, and select add smart bin. You will then see a pop-up window that allows you to set the rules of your smart bin. Here, you can pretty much define the rules however you want. From a specific camera codec to a particular clip length — the choice is yours.Dynamic TrimDynamic Trim is a great feature in Resolve, perhaps one of the best, and it’s going to decrease the amount of time you spend editing dramatically. When you need to switch between trim tools, there’s no multiple tool icons to choose from or numerous keys to hit. It’s just this one icon, which is T on the keyboard.When you enter trim mode, all the available functions (ripple, slide, slip, roll) activate, depending on where you situate your cursor on the clip.Placing the cursor at the start or end of a clip: ripple edit.Placing the cursor within an edit point: roll edit.Placing the cursor on the top half of the clip: slip edit.Placing the cursor on the bottom half of the clip: slide edit.This form of editing is very time-saving, and it will speed up your editing dramatically.Streamlined EffectsIn Resolve, you can very quickly implement transitions into your edit without the hassle of opening an effects tab. You can add an organic fade in or fade out with these handlebars on all audio and video clips.You simply drag the handlebars right or left (depending on which end of the clip you are working with), and you can implement a fade-in within milliseconds. No pen tool, effects panel, or preset needed; just drag right or left.If you have a favorite transition, you like to use — let’s say the cinematic star wipe — you can forget dragging the transition to the edit point every time you want to use it. Just right-click on the transition in the effects panel, select set as standard transition, and then when you’re editing your content, click on the edit point and press Ctrl+ T. The transition will then apply to your edit point. You can also adjust the transition’s length in the same manner as a media clip. Sync Audio from Wave FormIf you record your audio onto a separate device, you’re going to have to sync your audio in post. There are plenty of audio sync plug-ins on the market that can do this for you (or you can manually sync your audio and video files by lining up the waveform), but either way, it can take too long or cost too much. If you’ve used a DSLR or a camera with onboard audio, you can sync your video file and audio file very quickly in Resolve 14.Find your audio and video clip in the media pool, select both files, right-click, and select sync to the waveform. The waveform from your audio capture will then merge to the video clip based on the waveform from your DSLR.These are just a handful of editing tools in Resolve that can help you become YouTube’s next big content creator. Since the software is free, don’t shy away from downloading it and trying a few things out.Looking for more information on DaVinci Resolve 14? Check out these articles.How to Create a Realistic Lens Flare in DaVinci ResolveWorking with DaVinci Resolve 14’s Powerful Face Refinement Plug-inCheck Out The Newest Audio Features in Resolve’s Edit PageLearn How To Create A ‘Deakinizer’ Tilt-Shift Effect In ResolveMaster Resolve’s Built-In Film Grain with This Rundown Lewis McGregor is a certified BlackMagic Design DaVinci Resolve Trainer.
We spoke with the writer/director about multi-protagonist screenplays, split screen editing, and her commitment to losing creative control.Writer/director Christina Kallas’s film titles might suggest happiness and rainbows, but she is most interested in exploring the violent storm before you get there. Here’s what she had to say about her work and a varied career.The Rainbow Experiment (courtesy Christina Kallas).PremiumBeat: Christina, there is always a vibrant, emotional core to your work. This is not surprising since you’ve written a book on screenwriting, Creative Screenwriting, with the subtitle “understanding emotional structure.” Can you tell us what you mean by “emotional structure?”Christina Kallas: I like starting the process of creating a film with an unresolved question. Something I have no answer to. But it nags me. I want to know. So each script I write, each film I make is for me a discovery. And that discovery is an emotional journey. In a strange way it mirrors the potential emotional journey of the audience member. That is what emotional structure is.What it is not is the emotional journey of a character — as in classic dramaturgy. This is the beauty of multi-protagonist — it disables continuous identification with one character, and so opens us up to something deeper, which has to do with each one of us as an audience member and with the human condition. We are not observing someone emote. We are emoting ourselves.In The Rainbow Experiment, my question was whether one can apprehend simultaneously the often opposing perspectives of everyone partaking in a traumatic incident — which to me is the long way of describing real compassion. So my question was Is real compassion possible? In 42 Seconds of Happiness, I wanted to know whether romantic love is real love, or whether it can ever be. With my next film, Paris is in Harlem, I guess I am wondering whether we can get over the division, the separation that we are experiencing right now as people.Maybe someone watching my films can answer these questions for themselves — I cannot give answers; I am just asking the questions. I am opening a box and inviting you to look inside. The eyes are yours and they are connected to your brain.Cast of 42 Seconds of Happiness (via Christina Kallas).PB: In both of your produced features, 42 Seconds of Happiness and The Rainbow Experiment, you work with ensemble casts. Often the scenes feel improvised. Is it scripted or do you allow the actors the freedom to contribute to the dialogue and action?CK: There’s a moment in Matty’s monologue in The Rainbow Experiment, where he says, “Is there a fucking script or does everything happen by accident? And if it does happen by accident, why this accident and not another? Why me? Why the hell me?” When he talks about the “fucking script,” he means fate, of course. He agonizes about what happened to him and whether he could have avoided it. He is the victim but also the perpetrator.But to answer your question more directly: I consider screenwriting an art form, which I have studied all my life, and I love experimenting with it. Multi-protagonist is the most challenging form of screenwriting. A multi-protagonist film without a precise screenplay is virtually impossible. How would you stay hooked, be able to follow so many storylines and characters, and have the emotional journey we were talking about? Not to add the whodunnit and the gradual discovery of what really happened. I knew that The Rainbow Experiment with its 36 characters and its complex nonlinear plot would end up being a longer film. The script — which was recently acquired by the Library of the Academy of Motion Picture Arts & Sciences for their permanent Core Collection — was just over 160 pages long. The film ended up being 129 minutes, which is a pretty normal length for a multi-protagonist film.As a director, I work extensively with the actors prior to shooting, and when we shoot I try to give them as much freedom as possible, as long as they cover the script — which enables more real-life performances. And I try not to block a scene as much as I can, so as to allow for more organic movement. Obviously I adjust between takes, and there are scenes that offer themselves for this kind of approach more than others. Cassavetes used to do this a lot — Altman too. With The Rainbow Experiment, I gave myself an extra challenge with the aforementioned Matty — the character who breaks the fourth wall. He had to speak his lines in a feverish way and not ever miss a single beat or word — that is a wholly different type of performance and a very different process. I kind of liked the idea that the person who is between life and death is much more limited in his freedom than the characters who are still alive. But I did not know if the combination would work, so I shot each scene with and without Matty, to have both options available to me when I edit.The Rainbow Experiment.PB: The editing in The Rainbow Experiment plays out almost like another character in the film. It manages to be both visible and seamless in a way that enhances the disturbing narrative. What did you discuss with your editor, Natalie Reneau, when you first showed her the footage? Was this approach always in your mind, or did it evolve in the editing bay?CK: The other character in the film is you, the audience member. The cinematography and the editing are meant to give one the sense that one is in the film rather than watching a film. Like being a (very nervous, emotionally involved) fly on the wall. My editors (Brian Miele in 42 Seconds of Happiness, Natalie Reneau in The Rainbow Experiment) are extremely important to me. Editing is a very long and complex process on my films, also because of the split screen experimentation — so we need to be able to have fun with each other. So I guess my first discussions with Natalie were more aimed at finding out whether we had a common sense of humor. But yes, the split screens were written in the screenplay, or we wouldn’t have had the appropriate footage to create them.You know, it is a funny coincidence, but this last semester I taught a course at the Feirstein Graduate School of Cinema in Brooklyn, which was called “Script Analysis for Cinematographers and Editors.” And while teaching that course, I understood how inherent cinematography and editing are to the narrative structure. The films I most like are not just filmed — they have an inspired, conceptual approach to cinematography and editing, which is defined by the story or the experience that the filmmaker is aiming to create.In 42 Seconds of Happiness, I saw it much like when we join a party as a guest and need time to orient ourselves to how everything and everyone are connected, and then suddenly, after witnessing a key moment, we understand more and retrospectively what we have experienced and why we have experienced it that way. The cinematography and the editing were following that idea more than anything else.My next film, which I am currently preparing to shoot, Paris is in Harlem, will be structured like a piece of jazz — in a way it is my humble tribute to the most freewheeling of American art forms — and in my eyes America’s greatest contribution to world culture. The film’s multi-character approach, the framing, the fractured timeline, the rhythm: they all evoke jazz.Paris in Harlem (courtesy of Christina Kallas).PB: Both your films were clearly passion projects. As a writer/director, creative control must be important to you. How does that translate to distribution? What is the strategy to get the films seen and sold?CK: You know, that idea of creative control is interesting. Actually, I do all I can to lose control. My whole process is an orchestrated effort to lose as much control as possible, so that accidents can happen. It is imperfection that bears beauty or that state of fearlessness and surrendering which allows for the deepest ideas. So yes, creative control is important to me. Let me put it another way: I do not want my films to be controlled by anything other than truthfulness.I do not have a strategy to get my films seen and sold. My only strategy is to become who I really am. You know, as an artist, you have to find a way to do whatever you want. And to go beyond what kind of films the market tells you to make. Figure out who you are, what you are good at, what you want to do, and do that. It’s less simple than it sounds.Also, the films that the market tells you to make have been made already. So what’s the point of remaking them?Christina Kallas (photo by Lauren Sowa).PB: You’ve had a varied career, from filmmaker to producer to professor — and even held the mantle of President of the Federation of Screenwriters in Europe. How is your part as storyteller different in each role?CK: Yeah, I’ve done it all, haven’t I? My CV is nuts. I’m curious, so I had to have firsthand experience of as many things as possible and as extensively as possible. Also, I moved country and even continent a few times, so I am not really to be categorized in any possible way. Sometimes I think I have lived a few lives, all in one. The one I am living now is the most fitting of all. I love directing. Maybe I am finally becoming who I really am.PB: You’ve recently been invited to be a juror for the 46th annual daytime Emmy awards. What is your process when evaluating material? How does one choose “the winner” in a category?CK: You know, this whole thing of competitions and awards and best-of lists is a game we are all playing consciously, although we know it means very little in terms of goodness. I do not have a process. I do not know if anyone has a process. We are watching or reading based on who we are and what we have watched and read before — which can be a lot or very little. Our education and our background plays a huge role — ideally jurors or gatekeepers should be as educated as possible and have a background which is as diverse as possible. Otherwise we would end up with a monoculture, which would be very boring, don’t you think?An award or a nomination is just a stamp of approval from a limited group of people — nothing more and nothing less. The mechanism is simple: the more we have heard of something, the more we have heard of others liking it and giving it their stamp of approval the more we are prone to like it — or, if we are more of a character who likes to differ, to dislike it. But it’s fine. Until we find something else, we need this game to be able to reach an audience that is as large as possible. Because the larger the audience, the bigger the chance you will be able to change some people’s lives as an artist. And, ultimately, this is the goal, right? To change the world. To make it a better place. Isn’t that the real reason why we are all doing what we are doing?Cover image via The Rainbow Experiment.Looking for more industry interviews? Check these out.Tom Cross on Editing First Man and Working with IMAX FootageSet Photographer Matt Kennedy on Shooting for Marvel and MoreInterview: Composer Dan Marocco of Brooklyn Nine-NineScreenwriter Patricia Resnick on Altman, Mad Men, and Working 9 to 5Jonah Hill on Writing and Directing Mid90s — and Tips He Learned from the Greats
These four simple rules can help you capture the perfect slow-motion sequence for your next project — without overpowering the scene.In this tutorial, we go over some simple rules to follow when capturing and creating slow-motion sequences. Slow-motion is a powerful tool, but if you don’t handle it properly, it can ruin your project.Let’s take a look at some best practices to keep you on track. 1. Don’t Overuse ItFar too many content creators use this tool as a cinematic crutch. The value of higher frame rates is in quality, not quantity. If you use this effect for every single moment in a scene, it will become dull. Save it for important moments.2. Keep It SteadyIf you’re in a pinch, and you don’t have a stabilizer handy, shooting anywhere from 60 fps to 120 fps is a great way to smooth a handheld shot. This will allow you to capture more dynamic coverage that you can stabilize in post by slowing it down.3. Motion and EmotionSlow-motion moments work best when there’s either fast motion or intense emotions. If someone laughs, cries, yells, or screams, chances are it will translate well in slow-motion. The same goes for anything with a lot of movement. Essentially, any detail that moves too quickly for the human eye — running, jumping, slapping, splashing — looks epic in slow-motion.4. When and WhereSlow motion should always enhance a moment. If there’s nothing to gain by changing the frame rate, then don’t do it. Clearly, slow-motion sequences are noticeable, but they shouldn’t pull the viewer out of the larger scene. Think about how, when, and for how long you can sustain a slow-motion sequence, and use it to enhance the scene, not draw it out.Interested in the tracks we used to make this video?“Typewriter” by Wolves“Ear Candy” by FlorianLooking for more video tutorials? Check these out.How to Alter the Color of Your Video Using Lumetri CurvesVideo Tutorial: How to Use Premiere’s New Freeform View6 New Features in Premiere Pro’s Essential Graphics PanelHow to Perfectly Position Your Content in Premiere Pro 2019Tutorial: Getting Started with Content-Aware Fill in After Effects
Your industry is different from other industries. What matters to you and your clients may or may not matter to someone else and their clients. The big trends that threaten your industry may benefit another industry. But when it comes to the principles of selling, your industry is no different than any other.You may feel that your industry is special when it comes to prospecting and creating opportunities, that it is somehow more difficult for you to gain the commitment of your prospective client’s time. Your industry is not to blame. The difficulty in gaining appointments crosses all industries, and the root cause is that you are not trading enough value for people’s time, and prospecting by its very nature requires that you call people who are right now uninterested in what you sell. The principle here is that you need a strong value proposition to command your dream client’s time.Your clients always tell you that your price is higher than your competitor’s, that it is too high, that you need to sharpen your pencil, or that what you sell is a commodity. If you in any way feel that your industry has been singled out for special treatment here, let me disabuse you of that belief. Most markets are more mature and more crowded than ever, and more options and more competition tends to lead to greater distribution of companies that create value at different levels, some choosing to compete on price, others on differentiated value. Who you are calling on and how you sell determines your experience here, not your industry. The principle here is knowing who your targets are and how to sell to them.The experience of having buyers take more time and engage more stakeholders in the buying process slow—or derail—your opportunities is not something exclusive to your industry. The fact that people are now looking for internal consensus before they buy is well-documented. The challenge this presents your industry is the same for other industries. The principle here is the need to control the process, and it is something that you know how to do effectively, or it is not.The experience you are having selling now is not different because of your industry. The challenges you are having are universal, and the ability to sell effectively through those challenges is known, documented, and being deployed by salespeople now.
After last year’s mass-copying, toppers scam and allegations of corruption, the Bihar State Education Board (BSEB) claims to have cleaned things up this year. The results for the Bihar Intermediate Board examination, declared on Tuesday, seem to bear this out with 64.75% students failing, almost a mirror image to last year, when just 37.81% failed.According to the BSEB, of 12,40,168 students who appeared for the examination, 7,94,622 students failed. Only 30.11% students passed in the Science stream and 37.13% in Humanities. Commerce results were better, with 73.76% passing. “We’ll analyse the results later,” a BSEB official said.Khusbu Kumari, with 86.02%, was declared the topper in Science; Ganesh Kumar, with 82.06%, was ranked the highest in Humanities, and Priyanshu Jaiswal, 81.06%, led the Commerce stream. They would be rewarded with ₹1 lakh in cash and a laptop by the government, BSEB officials said. Ms. Kumari, though, was not satisfied with her marks and has applied for a re-evaluation.Last year, while 11.55 lakh students appeared for these examinations and 7.18 lakh had passed, the State had hit headlines with mass copying, a fake toppers scam, and allegations of corruption in the BSEB. The fake toppers, their parents, teachers, school owners and several BSEB employees were arrested.“The lower success figures of students this year could be due to the strict measures adopted by the BSEB while conducting the exam and evaluating the answer sheets,” R.K. Mahajan, Principal Secretary of the Education Department, told journalists. BSEB chairperson Anand Kishor said: “Online submission of examination forms, strict conduct, bar coding of answersheets and, finally, computerised tabulation left no room for unfair practices and it could be the reason for the dismal performance of the students.”The BSEB had also formed a WhatsApp group to deal with complaints of cheating at any centre. Mr. Kishor said: “Those who have been declared toppers, we got their results reviewed by a special committee and after we got satisfied thoroughly we declared the results today.” Reacting to the poor results, the Opposition BJP has demanded the resignation of Education Minister Ashok Chaodhary for the poor academic structure. Senior BJP leader Vinod Narayan Jha said: “Only prohibition has been the main focus of the Nitish Kumar government these days, instead of education.”
4 militants killed in Bandipora “We have not recovered any GPS sets; it appears that they were guided till the camp by a local handler,” said a senior CRPF official.“We found food packets, bananas and water bottles, which indicates that the terrorists arrived the previous night.”Heavy stone-peltingThe CRPF said in a statement that a violent mob gathered in the vicinity after the encounter and there was heavy stone throwing.“Due to the worsening law and order situation in the State, bodies of the four terrorists could not be taken to hospital for post mortem and were kept in an army camp nearby.”An official said they would be buried somewhere in the camp. The case is likely to be handed over to the National Investigation Agency (NIA).Home Minister Rajnath Singh said the “heavily armed fidayeen terrorists” came with an intent to breach the CRPF camp.“They were heavily armed with automatic rifles, grenades and incendiary material such as petrol, and were carrying dry rations, which indicate they had planned a prolonged siege and intended to cause extensive damage. The group attempted entry by cutting the wire fencing and shooting at the sentry. The sentries responded with alacrity and returned fire. A heavy exchange took place, during which the terrorists lobbed more than two dozen grenades in an attempt to escape,” Mr. Singh said in a statement.“However, the CRPF, in cooperation with Jammu & Kashmir police, shot all the four terrorists dead,” the Home Minister added.It was around 3.30 a.m. that the armed militants were spotted near the 45 Battalion Headquarters of the CRPF at Sumbal. The Constable on duty responded to the terrorists’ firing from a nearby open orchard.Ammunition recoveredA Srinagar-based police spokesman said four AK rifles, 12 AK magazines, 140 AK rounds, seven UBGL grenades and nine hand grenades were recovered from the encounter site.The killings resulted in a complete shutdown in Sumbal. Four “foreign” terrorists on a suicide mission were killed early on Monday morning when they tried to storm the Central Reserve Police Force (CRPF) camp in Kashmir’s Bandipora district.The encounter lasted more than an hour. CRPF officials said the terrorists carried “petrol cans,” indicating their intention to set the camp on fire.A senior Home Ministry official said that though the identity of the terrorists was yet to be established, it was clear that they had come from across the border and, in all likelihood, belonged to the Lashkar-e-Taiba (LeT).
Three decorated chariots of Lord Balabhadra, Lord Jagannath and Devi Subhadra were tugged along the Grand Road in front of the 12th century temple as lakhs of devotees converged for the annual rath yatra here on Sunday.As the wheels of giant chariots began rolling down, cries of ‘Jai Jagannath’ rent the air. Chariots were towed from Shree Jagannath Temple to the Mausima Temple. The chariots were pulled by hundreds of police personnel with support from devotees after Gajapati Divyasingha Deb, customary king of Puri, conducted ritualistic sweeping on the wooden floor of the chariots.Massive security cover was thrown around Grand Road. On the occasion, hundreds of chariots were pulled by devotees across Odisha. Ahmedabad eventThe 140th rath yatra of Lord Jagannath began in Ahmedabad amid tight security as lakhs of devotees flocked the 15-km journey route to catch a glimpse of the deity.Gujarat Chief Minister Vijay Rupani and Deputy Chief Minister Nitin Patel performed ‘Pahind Vidhi’— a symbolic ritual of cleaning the way for the chariots.The chariots then started the journey from the 400-year-old Jagannath Temple in Jamalpur area.BJP president Amit Shah performed ‘mangal aarti’ to the deities in the temple during the early hours.In Delhi, Union Minister Dharmendra Pradhan and State BJP chief Manoj Tewari took part in the Jagannath Yatra celebrations. Inclement weatherIn West Bengal, the rath yatra was celebrated with much fervour and gaiety at the ISKCON temple in Mayapur in Nadia district.A large number of people, including 1,000 foreign devotees, participated in the yatra braving inclement weather.(With PTI)
The charges were an attempt to “create a crack in the grand alliance” in Bihar. “But it will not happen. The alliance is strong and will continue to be so,” he said.“When I took over as the Deputy Chief Minister, I made clear our policy of zero tolerance on the issue of corruption. Has any charge of corruption been levelled in any of the three departments I hold”, he asked.The RJD would now go to the people’s court and expose the BJP’s “conspiracy” against them, he said.Also Read Rashtriya Janata Dal (RJD) leader and Bihar Deputy Chief Minister Tejaswi Yadav on Wednesday said the corruption charges levelled against him were part of a “political conspiracy” and based on period when he “didn’t even have a moustache.”“I was just 14-15 years old. How could I have indulged in such activities?. It is a political conspiracy against me by the BJP and its leaders Amit Shah and Narendra Modi”, he told reporters after a Cabinet meeting.Also Read Tejaswi Yadav will not resign, affirms RJD Sources said a tense atmosphere prevailed at the Cabinet meeting, which lasted only for 25 minutes. Chief Minister Nitish Kumar maintained a stoic silence and did not speak to journalists.On Tuesday, the JD(U) asked the RJD to make its stand clear on the corruption charges against Mr. Yadav. Those facing graft charges should reveal facts: JD(U)
A major train accident was averted near Meerut on the Meerut-Saharanpur route on Wednesday when the track changing system stopped functioning. The automatic panel changer of the Daurala station, few km from Meerut, stopped working few minutes before the Delhi-Dehradun Express was out to cross the station. This comes weeks after the Utkal Express was derailed on the same route near Khatauli, killing 25 people and injuring more than 154 people after the train was allowed to pass the track when repair work was going on.Local officials said the gate man of Daurala was prompt in informing the station officials about the problem in the track changing system after which the Delhi-Dehradun Super Express was stopped.“Even minutes of delay in informing the officials about the problem in track changing panel could have caused a havoc,” said a senior railway employee at Meerut. The Station Superintendent of Daurala, Dinesh Das, told The Hindu that he quickly informed about the problem to higher officials after which a team of technicians came from Meerut and fixed the track changing system. Senior officials in the Northern Railway said the matter had not come to their cognisance but the local officials would be asked to explain how the automatic track changing system stopped functioning.
“Initially two CRPF personnel were injured, three others were subsequently martyred in exchange of fire and room interventions. We had to take on the terrorists face to face. They had to clear the rooms one by one. The fourth one died outside the cordon and the fifth personnel died of cardiac arrest,” Mr. Bhatnagar said.One of the buildings which the terrorists took over housed a hospital, a radio signal facility and an administrative block where 11 personnel were present.Home Minister Rajnath Singh, who celebrated New Year with the ITBP jawans posted along the China border, said the sacrifices of the jawans would not go in vain. Mr. Singh said, “Our neighbour, Pakistan, does not stop its activities, but the jawans of our Army, CRPF and Jammu and Kashmir Police are doing their duty very well.”“The operation took more than 30 hours as we suspended it on December 31 night, then we recommenced at daybreak until we were able to locate all the three fidayeens who had entered the campus. Our troops were able to box them and the fidayeens were armed with under barrel grenade launchers and sophisticated weapons,” Mr. Bhatnagar said.Well-trained militantsThe officer said various sources had confirmed that the terrorists belonged to JeM and were “well trained”. Two terrorists — Fardeen Mohibuddin and Manzoor Ahmed Baba — were from Tral and Pulwama districts respectively. The third is said to be from Pakistan-Occupied Kashmir and was identified as Ali Sozal.“The militants opened indiscriminate fire and launched grenades in their attempt to enter the premises,” CRPF spokesman Rajesh Yadav said on Sunday. He lived up to his name: Jawan’s father R.R. Bhatnagar, Director-General, Central Reserve Police Force (CRPF), said on Monday that the three terrorists who stormed the CRPF camp at Lethpora in Pulwama district of Jammu and Kashmir early on Sunday took advantage of the under-construction campus which had “huge structures to hide in”.Mr. Bhatnagar told The Hindu that none of the personnel were caught off-guard and the force took more than 30 hours to end the operation as two of the terrorists had entered the two buildings and the personnel made “room-interventions” to evacuate the people stuck there.“We managed to neutralise all the three fidayeens [suicide squad] who had attacked the campus and also managed to extricate all our people in the two buildings safely. Our men were not caught napping, they were all combat casualties, it was a complex operation,” Mr. Bhatnagar said.The officer said as prior intelligence was available, the CRPF parties were out patrolling and one of the terrorists was cornered near the perimeter wall.Also Read
The Assam government on Monday clarified Aadhaar, the biometric identification number, is not linked to the exercise of updating the National Register of Citizens (NRC).Assam is one of three states where Aadhaar has not been introduced yet. The other two states are Meghalaya and Jammu and Kashmir.Aadhaar in Assam was deferred after several students and social organisations demanded its implementation only after the NRC updating exercise, started in 2013, is over.Also Read The lowdown on Assam’s NRC drive Replying to several questions in the State assembly on behalf of Chief Minister Sarbananda Sonowal, Industries and Commerce Minister Chandra Mohan Patowary said the Unique Identification Authority of India (UIDAI) had abandoned its decision to introduce Aadhaar registration in December last year.“UIDAI instead asked the State government to handle the process of issuing Aadhaar cards. Accordingly, we have decided to set up 1,241 centres for Aadhaar enrolment within March this year,” Mr. Patowary said.He allayed fears that those left out of NRC, updated with the names of only those who have been residing in or entered Assam before the midnight of March 24, 1971, would not be eligible for Aadhaar.“Aadhaar and NRC cannot be cannot. The rules are very clear; they say Aadhaar number shall not confer any right or be proof of citizenship or domicile,” Mr. Patowary said.The first draft of the updated NRC was published at the stroke of midnight on December 31 with the names of 1.9 crore people out of the 3.29 crore total applicants in Assam, recognising them as legal citizens of India.Answering another question related to citizenship, Mr Patowary said there are 899 inmates as on February 8 declared as foreigners across six detention camps in Assam. These people were detected by 100 Foreigners’ Tribunals and are set to be deported.Assam has 6 detention camps were 899 people declared as foreigners are currently lodged for deportation later.Detention campNumber of peopleTezpur detention camp268Goalpara detention camp251Kokrajhar detention camp154Jorhat detention camp111Silchar detention camp85Dinbrugarh detention camp30
Three persons, including two women, were found hacked to death in a jungle in Bhondsi’s Ghamroj village, around 20 km from Gurugram city, on Tuesday.The post-mortem on the deceased has revealed that the women were raped before their murder. All three bodies have multiple injuries around the neck caused by a sharp-edged weapon and two of the victims have some superficial injuries on the arms and head.“The three seem to have been murdered on Monday afternoon. The two women were raped before being killed, but no marks of brutality were seen on the bodies,” said Deepak Mathur, who conducted the post-mortem.Attacked in jungleTwo couples, in their mid-30s, had gone to collect sticks from the jungle for fuel on Monday morning when they went missing. While three of them are dead, the husband of one of the deceased woman is missing. He is the main suspect in the case, the police said.Both the couples belonged to Madhya Pradesh and the two men worked as masons. “While the couple, who are now dead, had come to stay in the village a fortnight ago, the other couple had been staying on rent, along with their relatives, for the past five years,” said Om Prakash, a villager.He said that the two couples had gone to the jungle around 10 a.m. “The relatives of one of the couples came to me late at night after the four did not return home. I made a call to the PCR informing the police about the missing couples,” said Mr. Prakash.Bodies found in morning A police team, along with a bunch of villagers, went out to look for the couples on Tuesday around 8 a.m. and discovered their bodies. “While the bodies of the women were found together, the man was found dead at some distance,” said Mr. Prakash.Station House Officer, Bhondsi, Umesh Kumar said that a murder case has been registered against unknown persons and efforts are on to trace the missing man.He refused to comment on the post-mortem findings saying that he was yet to receive the copy of the report.The villagers claimed that the two couples were on friendly terms and stayed in adjoining rooms.The bodies were handed over to the families after the post-mortem for the last rites to be performed.
The National Human Rights Commission (NHRC) on Tuesday sent a notice to the Gujarat government over the beating to death of a Dalit ragpicker in Rajkot district on May 20. Taking suo motu cognisance of a media report, the NHRC issued a notice to the Chief Secretary asking for a detailed report on the incident as well as on the steps taken to provide relief for the affected. A 40-year-old Dalit ragpicker was allegedly beaten to death in Shapar village over the issue of picking up scrap materials. The victim, his wife and an acquaintance were picking up rags near a factory when five unidentified people from the factory got into an argument and beat the three. After the attack, the two women left, while the man was held. When the women returned with some people, they found the man on the ground. They took him to a hospital, where he was declared dead on arrival. A case of murder has been registered. The NHRC observed that the media report, if true, raised serious issues of violation of the human rights of the victims.
Goa Chief Minister Manohar Parrikar, who returned to Goa from a U.S. hospital on Thursday, began his day on Friday with a visit to the Shri Mahalaxmi temple in Panaji, his assembly constituency.In a video message, he sought blessings from the people of Goa. “Thanks to your support and prayers, I have returned to work after treatment. I ask for your blessings and I want to assure you that I will work for the development and the good of Goa,” a weak-looking Mr. Parrikar said in the message sent out soon after assuming work at the State Secretariat. Mr. Parrikar was being treated for a pancreas-related ailment.
Gujarat’s flood situation remained grim as more than 50 villages were still cut off while over 100 roads were closed for traffic as water logging persisted owing to to continued rains in Amreli, Jamnagar, Junagadh, Dwarka, Porbandar and Somnath districts in Saurashtra.So far 32 people had died in rain related incidents as per the state emergency control room details.Meanwhile, due to flooding and water logging in villages in Saurashtra, farmers had suffered massive damage in their fields, which were under water for several days, washing recently sown crops like cotton and groundnut, both staple crops in Saurashtra.In South Gujarat also, many villages were still inaccessible because of water logging after incessant rains in Valsad, Navsari, Surat and Dangs districts in the region.The state government on Wednesday announced that the authorities would carry out survey to assess the damage caused by the floods once the waters receded in the fields and subsequently the government would decide if the farmers should be compensated for the damages.On Wednesday also, Porbandar, Keshod, Somnath, Khambhalia and many other places experienced saw heavy rainfall, leading to swelling rivers and water bodies. As per the state government release, most of rivers in Bhavnagar, Jamnagar, Rajkot and Somnath were overflowing while 11 dams and reservoirs had been put on alert as they were on the verge of overflowing.Meanwhile, BJP President Amit Shah had asked all BJP MPs and MLAs to visit their constituencies and help in rescue and relief works.The opposition party members demanded a package for farmers in Saurashtra and South Gujarat. According to leader of opposition Paresh Dhanani, crops had been washed away and the farmers should be compensated.