Northstar Vermont Yankee,Citing the need for the United States Nuclear Regulatory Commission (NRC) to evaluate environmental risks associated with long-term onsite storage of spent nuclear fuel at locations such as the Vermont Yankee Nuclear Power Station, Attorney General William Sorrell joined New York and Connecticut today in the filing of a lawsuit against the NRC in the US Court of Appeals for the DC Circuit.The lawsuit challenges two decisions by the NRC ‘ the ‘Temporary Storage Rule’ and its accompanying ‘Waste Confidence Decision Update.’‘The public has a right to know how long-term storage of spent nuclear fuel will affect the environment, particularly when it is occurring at nuclear power plants that were never designed to be long-term storage facilities of spent nuclear fuel,’ said Attorney General Sorrell. ‘Calling this a ‘temporary’ storage rule does not reflect reality when the rule allows spent nuclear fuel to be stored within Vermont’s borders for several generations to come,” he added.The NRC rules claim that there would be ‘no significant impact’ on the environment, despite allowing spent nuclear fuel to be stored onsite at power plants such as the Vermont Yankee Nuclear Power Station for as long as 60 years after the plants cease operating. The NRC rules assert that the environmental analysis is unnecessary because the NRC is confident that spent nuclear fuel can be stored safely at Vermont Yankee until 2072 (60 years from the end of the current license), or, if the plant is relicensed, until 2092. The lawsuit challenges the enactment of these rules.Governor Peter Shumlin voiced his support for today’s action: ‘The continued storage of spent nuclear fuel on the banks of the Connecticut River, without any real plan for long-term disposal, is unacceptable. We strongly disagree with the Nuclear Regulatory Commission’s process and rule regarding nuclear waste management and fully support the Attorney General’s efforts on behalf of Vermonters.’The suit asks the court to vacate the new rules and send the matter back to the NRC for a site-specific analysis of potential environmental impacts associated with onsite storage of spent nuclear fuel. Source: Vermont Attorney General. 2.15.2011
Tags: County Secretary, Kent, Sarah McDonald 14 Dec 2017 Sarah gives men’s golf a new look in Kent It’s all change in Kent where the very traditional men’s County Golf Union is set to give the sport a modernising shake-up in the New Year.They’ve just appointed Sarah McDonald (pictured) as their first female county secretary – and reorganised her job so that the union can be more supportive of the 85 clubs it represents.Kent county chairman Peter Long commented: “It’s going to be quite different. We are trying to get away from the old style approach and the view that golf is just a male led club – it isn’t.”The union has also set out to appoint a golf manager to look after all the county’s tournaments and playing activities and support golf development. This will allow Sarah to spend more time working directly with clubs.It’s all part of sending a message to clubs that the county union is a forward-thinking organisation which is responding to their needs. “We are changing the way we deal with clubs and with our members,” added Peter.Sarah is already a familiar face within the Kent golfing community. She’s a seven-handicap member at Wildernesse and Littlestone golf clubs, plays for the county women’s second team and was the secretary of the County Ladies’ Association for six years.She’s happy to be breaking new ground, commenting: “This job appealed as a way to help move golf forward.”Sarah will be working closely with Charles Molony, England Golf’s Club Support Officer for Kent, and she added: “I want to listen to clubs, find out what they want from the county and work with them to help them achieve their aims.”They’ll find they are dealing with a woman who has a passion for the sport. “I like the fact that golf is for everyone, for people of all abilities and ages,” she said, enthusing about initiatives which encourage more people to play, such as nine-hole golf and gender neutral tees.Sarah starts her new role at the beginning of January.
MR. OLYMPIA PHIL ‘THE GIFT’ HEATH (Photo by Rossano P. Stewart) Two-time Mr. Olympia champion Phil “The Gift” Heath and eight of the top ten IFBB Professional bodybuilders in the world was in attendance at the Muscle Tech 2013 NPC Pittsburgh Championships Saturday night at Soldiers and Sailors Memorial Hall.Some were expecting thrown chairs, verbal abuse—a nasty stage brawl of Jerry Springer-like proportions. Instead, Heath, Kai Green, Shawn Rhoden, Dexter Jackson, Branch Warren, Dennis Wolf, Jay Cutler and James Flex Lewis signed autographs, took pictures with the fans and showed respect for one another.This is the only show in the world where the top-six from Mr. Olympia all come together to guest pose,” said Heath, the number one ranked bodybuilder in the world. “We come here every year because of Jim Manion,” Heath said.Yes, we can put a man on the moon, map the human genome and weave a toupee for William Shatner, but nobody can figure out a way to beat “The Gift”.Heath is huge, he’s hungry and his greatest gift of all is remaining the King of the Hill. That’s the only thing on his mind.Heath said that his outstanding conditioning and small waist is the reason he spanked the big boys, some of whom has far more experience. “Winning the Mr. Olympia, the Super Bowl of Bodybuilding and doing it back-to-back years, is like no other experience,” said Heath. “I’m only 33 years old. The best is yet to come.”In recent years, we’ve been amazed when a bodybuilder manages to turn pro in his mid-20s, because for a while it definitely seemed as if guys were getting their pro cards’ later and later – sometimes at nearly 40 years old. But “The Gift” earned IFBB Pro status well before he hit 30.Heath grew up in Seattle, and he tried several sports, but by junior high school it was clear that basketball was where he shined.“I always loved basketball but I didn’t have any brothers or sisters to play with and one day I came home from school and my step dad put up a basketball hoop over the garage,” said Heath. “Basketball is a sport that you don’t need anyone else. All you need is a hoop and a ball. I developed a great 3-point jump shot.”He attended Rainer Beach High School and led them to a state basketball title. One of his former teammates, Jamal Crawford, currently plays for the Los Angeles Clippers. Heath attended the University of Denver on a full athletic scholarship.“My senior year in high school we were ranked No. 21 in the country by USA Today,” said Heath. “I was the first basketball player in my high school to receive a division I scholarship and Jamal Crawford was the second. Nate Robinson and Terrence Williams were after us.”It was not until 2002 that Heath pursued bodybuilding and turned Pro in 2005.“I played college basketball for four years at the University of Denver and began to lift weights with some bodybuilders,” said Heath. “I won every amateur contest that I entered and earned my Pro card after competing for only two years.”Bodybuilding has a strange relationship with the mainstream. Everybody in America know—or thinks they know—what bodybuilding is, but only true fans really understand the sport and know who the top bodybuilders are. As professional athletes, bodybuilders receive very little exposure outside of contests, personal appearances and the magazines that support their sport.“I wasn’t an amateur for very long, but part of the reason for my early success was my balancing act. I have things outside of bodybuilding that make me miss it to various degrees. I will never tire of bodybuilding, because I will never let it consume me. I’m exceptionally cultured in terms of music, stimulating friends and family ties, and I read to get a full assessment of what’s going on in the world. My wife also helps keep me balanced, because she’s in a field outside of bodybuilding.At the same time, I’m a bodybuilding historian. I know who my predecessors were, where they came from, some of what their motivations were. It’s good to see the past, so you can study journey, know where it’s leading and have a firmer hand in directing it destination.Don’t be a one-dimensional bodybuilder. Look beyond the protein bars and the weights, as well as beyond the competition. Make sure you have a life in concert with the physical aspect. Stimulate your mind, so your body can grow. We see so many guys limit themselves. As a result, they wind up bitter about the sport, broke because of the sport, and alone because of relationships they cannot maintain. Bodybuilding is fun, but at the end of the day, it’s a responsibility for leading a journey of exploration that can take you to the lowest lows or the highest highs. “My basketball coach use to tell us to “cut their head off” and that’s what I plan to do to my opponents everytime I step on the stage. I think I can do this for ten more years. So my gift to all of you will be all of my competitor heads. One-by-one.”
ARCADIA, Calif. (Jan. 21, 2017)–Idle since winning the Breeders’ Cup Filly & Mare Sprint here on Nov. 5, trainer Ian Kruljac’s Finest City overcame a rail post position and marched to an emphatic 3 ¾ length win in Saturday’s Grade II, $200,000 Santa Monica Stakes at Santa Anita. Ridden for the second time in a row by Mike Smith, Finest City got seven furlongs over a “wet fast” track in 1:21.49.Favored to be named as America’s Eclipse Award Champion Female Sprinter in a special gala this evening at Gulfstream Park, Track Announcer Michael Wrona noted that Finest City was “looking for the first leg of a special double that could culminate in an Eclipse Award tonight,” as Finest City drew clear from a stubborn Fantastic Style a sixteenth from home.“This could be a once-in-a-lifetime day,” said Kruljac, 28, whose father, longtime trainer, Eric Kruljac, is at Gulfstream to accept the Eclipse trophy on behalf of his son, should Finest City win the highly coveted award. “It’s awesome to share it with my father. Hopefully, we’ll get that award today.“We’re just keeping her fresh…The inside post was a big obstacle today and Mike just took it to ’em. She’s got stamina. She’s got everything you’d ever want in the breeding of a race horse.”A 5-year-old Pennsylvania-bred mare by City Zip, Finest City was off at 2-5 in a field of five older fillies and mares and paid $2.80, $2.20 and $2.10. Owned by Seltzer Thoroughbreds, she improved her record to 15-5-4-2, and with the winner’s share of $120,000, increased her earnings to $1,045,594.“Breaking from the one hole in this slop, you gotta get outta there,” said Smith. “She’s never had this kinda dirt in her face and I certainly didn’t want her to get any today. My only concern with being away as long as she has is that we’d probably have to use her from the rail, but I saw she’s been working really well. I knew she’s handled the grass and she’s got a real athletic way of going, so I thought she could probably handle this surface today.”A well beaten fifth as the 1-2 favorite over a similar surface here on Dec. 30, Fantastic Style made her first start today for trainer Doug O’Neill and proved second best after chasing the winner throughout. Off at 7-2 with Rafael Bejarano, she finished a neck in front of Sheer Pleasure and paid $2.80 and $2.40.Ridden by Martin Garcia, Sheer Pleasure was off at 22-1 and paid $3.40 to show.Fractions on the race, which were all set by the winner, were 22.15, 44.26 and 1:08.79.First post time for an eight-race card on Sunday at Santa Anita is at 12:30 p.m. Admission gates open at 10:30 a.m.
You blink about every 4-6 seconds, says David Burr in Current Biology,1 adding to over 17,000 blinks a day. Each time the world goes black for 100 to 150 milliseconds, as the eyelids attenuate the light a hundredfold. Why don’t we see the world like a flickering movie? We generally perceive an uninterrupted stream of visual information. It turns out that there is a synchronized interlock between the blink response and the visual cortex of the brain, such that the brain temporarily suppresses vision during each blink. To find this out, a team of scientists in London, also publishing in Current Biology,2 repeated a 25-year-old ingenious experiment, but this time added functional MRI imaging on the brain. They made the retina see continuous light by shining it up the palate of test subjects wearing lightproof goggles, then watched how the brain reacted during blinks, even though the light seen by the retina (through the mouth) was continuous. Sure enough, the brain anticipated each blink by suppressing the visual cortex during the blink. This means that we don’t see the dark; when we blink, the brain just skips the interruption. See also the summary on EurekAlert.1David Burr, “Vision: In the Blink of an Eye,” Current Biology, Vol 15, R554-R556, 26 July 2005.2Bristow et al., “Blinking Suppresses the Neural Response to Unchanging Retinal Stimulation,” Current Biology, Vol 15, 1296-1300, 26 July 2005.While this feat was evolving, we wonder if it was like the early fighter planes trying to shoot machine guns through the propeller. Until engineers figured out how to synchronize the firing between the propeller blades, how many test pilots shot themselves down? (Uh, whoops….) How many cheetahs in a full gallop had to learn to coordinate their attacks when the lights were on, till they got frustrated and sent their brains back to Tinker Bell’s workshop for an upgrade?(Visited 9 times, 1 visits today)FacebookTwitterPinterestSave分享0
Location:Bavaria, GermanyN 48° 08.157′ E 011° 34.233′ Multi-CacheGC1FPN1by DerPate <> As the name suggests, München-Venedig / Munich-Venice / Monaco-Venezia takes you on a journey that starts at the Marienplatz in Munich and ends at St. Mark’s Square in the heart of Venice. It follows a route which is one of the most popular long-distance hiking routes in Europe, referred to as “Traumpfad München-Venedig”.At each stage, you must find a clue that gives you information about the final coordinates of the cache. Make sure to be thorough, as it would be a shame to walk this far and then not find the actual cache!The hike takes you from the Bavarian lowlands across the Alps, through Austria, and into Italy. Along the way, you will experience the beauty of the Alps in all its facets, from lush rolling hills to breathtaking mountain passes and traditional lodges. Stage 16 on the way to Boèhütte is when you reach the highest point of the hike (1804 mi / 2904 m). Stage 22 is the most challenging part of the trek which requires climbing experience to cross the Klettersteig (equipment can be rented on site). But for those who feel less adventurous, there is a bus that will take you to Rif. 7° Alpini, the start of the next stage.From here on out, your journey takes you into the countryside of northern Italy. The remaining stages of the Multi let you focus on enjoying the landscape, fed by the Mediterranean Sea. This is only a glimpse of the sights leading up to your arrival in picturesque Venice and your well earned reward of finding the cache. In the 10 years since publication, this regular-sized cache has amassed 105 finds, 96 Favorite points, and nearly 2,000 images! Would you make the journey? Difficulty:2Terrain:4 Continue to explore some of the most amazing geocaches around the world.Check out all of the Geocaches of the Week on the Geocaching blog. If you would like to nominate a Geocache of the Week, fill out this form.Share with your Friends:More Geocaching comes in many forms and shapes. Sometimes it is a quick park and grab, sometimes it is a nice hike through the forest, and sometimes it comes in the form of a 28 stage Multi-Cache that takes you on a trek across three countries. If the line “But I would walk 500 miles, and I would walk 500 more” appeals to you, this is the cache for you (though the actual distance is “only” 350 mi / 563 km). SharePrint RelatedDeath in Venice — Geocache of the WeekMarch 1, 2017In “Community”350 miles, all for a smiley. — Munich – Venice (GC1FPN1) — Geocache of the WeekJune 12, 2013In “Community”Line of Sight — In the Distance (GC4JZTK) — Geocache of the WeekMarch 19, 2015In “Geocache of the Week”
2007 proved to be another year of consolidation. In the area of Business Intelligence, SAP acquired Business Objects, IBM bought Cognos, and Oracle got Hyperion. There were also at least 20 security-related companies that were purchased, including Verizon’s purchase of Cybertrust, IBM buying WatchFire, and Google buying Postini. In collaboration, Cisco bought WebEx and Microsoft acquired TellMe.The acquisitions in 2007 followup large numbers of purchases in 2006 and 2005. This first decade of the 2000’s is shaping up to be one of software consolidation.Acquisitions are a quick way to inorganic growth and help companies fill gaps in their software lineup, increase their customer base, gain a foothold in new and different markets, and achieve economies of scale. There’s no doubt that major software companies will continue their buying spree into 2008 — with likely buyers including Microsoft, Oracle, CA, IBM, HP, EMC, Cisco, and Sun.But the problem is that the list of potential companies that can be acquired is getting smaller, and many of the attractive companies in the low multi-billion dollar range have already been snapped up, leaving a split between many very small software companies and those much bigger companies that typically are the buyers. But there are some exceptions. In the area of Business Intelligence, SAS, MicroStrategy and Teradata remain as independent players. Other potential acquisition candidates include Informatica, a data integration and warehousing company, and i2, a supply-chain management company.Multi-million dollar purchases may seem like a big deal, but to an Oracle, it is the larger acquisitions, while riskier, that can provide the quickest fix for them to be able to enter new markets and sign up new customers. Achieving robust inorganic growth that can have a visible effect on the bottom line of an Oracle can’t easily be done with acquiring many small companies. And organic growth usually comes at a much slower and more deliberate speed, and usually is not as impressive to the markets. This increases the chance for mega-mergers in 2008. Deals like Microsoft buying SAP, Oracle snagging BEA, or Apple buying Sun are becoming ever more likely.
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.
CPP denies ‘Ka Diego’ arrest caused ‘mass panic’ among S. Tagalog NPA Typhoon Kammuri accelerates, gains strength en route to PH “I just got fined,” Kidd said Tuesday night. “That’s one way. The other way is by expressing to the officials and I did that the whole night. The different crews that we’ve had have been awful.”FEATURED STORIESSPORTSWATCH: Drones light up sky in final leg of SEA Games torch runSPORTSSEA Games: Philippines picks up 1st win in men’s water poloSPORTSMalditas save PH from shutout Wall, Beal star as Wizards beat Lakers; Ball’s shooting woes continue Japan ex-PM Nakasone who boosted ties with US dies at 101 View comments Head coach Jason Kidd of the Milwaukee Bucks looks on from the bench while playing the Cleveland Cavaliers at Quicken Loans Arena on November 7, 2017 in Cleveland, Ohio. Cleveland won the game 124-119. Gregory Shamus/Getty Images/AFPNEW YORK — Milwaukee Bucks coach Jason Kidd was fined $15,000 by the NBA on Thursday for public criticism of the officiating in a loss at Cleveland.Kidd made the comments after the 124-119 loss Tuesday night. Milwaukee was called for 31 personal fouls to 18 for Cleveland, and the Cavs attempted 38 free throws. Kidd pointed out that over the past three games, opponents have tried 95 free throws to 40 for Milwaukee.ADVERTISEMENT Don’t miss out on the latest news and information. QC cops nab robbery gang leader, cohort Giannis Antetokounmpo powers Bucks in bounce back win over Celtics PLAY LIST 02:29Giannis Antetokounmpo powers Bucks in bounce back win over Celtics00:50Trending Articles01:48NBA: Kawhi, George seek more for Clippers than beating Lakers01:37Protesters burn down Iran consulate in Najaf01:47Panelo casts doubts on Robredo’s drug war ‘discoveries’01:29Police teams find crossbows, bows in HK university01:35Panelo suggests discounted SEA Games tickets for students02:49Robredo: True leaders perform well despite having ‘uninspiring’ boss02:42PH underwater hockey team aims to make waves in SEA Games Read Next Brace for potentially devastating typhoon approaching PH – NDRRMC LATEST STORIES Kammuri turning to super typhoon less likely but possible — Pagasa MOST READ Stronger peso trims PH debt value to P7.9 trillion John Lloyd Cruz a dashing guest at Vhong Navarro’s wedding