England Sevens aiming to end season with a bang at Twickenham

first_imgEngland are determined to end a disappointing HSBC Sevens World Series season with a bang on home soil.Ben Ryan’s men have under performed for the majority of the campaign despite winning in New Zealand, but have the chance to make up for it at Twickenham this weekend.And with a World Cup on the horizon, key try-scorer Sam Edgerley believes England have plenty to prove.Having claimed third place in Scotland last week, the 21-year-old is confident of going out on a high in London.“It has been a tough season for us, but we have been working really hard over these last few weeks to put it right,” said the former Esher man, speaking at Wellington College, where he passed on tips to the winners of the Rosslyn Park HSBC National School Sevens competition.“We really want to show our fans at Twickenham that we are great players and we are a great side.“We are going to do everything in our power to put on a performance for everyone at Twickenham.“We have got the World Cup coming up as well so it is important for us to get momentum going into that“Twickenham for me is my favourite tournament with the home crowd and all our family and friends there, and we want to do everyone proud.“We are going to go all guns blazing but that momentum going into the World Cup is really important.”For more information on the Rosslyn Park HSBC National Schools Sevens visit: www.rpn7s.co.uk and the HSBC Sevens World Series at www.irbsevens.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 Follow West London Sport on TwitterFind us on Facebooklast_img read more

How ready is Garoppolo for 49ers offseason program?

first_imgCLICK HERE if you are having a problem viewing the photos on a mobile deviceSANTA CLARA – How does Jimmy look? Is he back? Any limp? Knee all good? So, Super Bowl a possibility?The start of the 49ers offseason program begs questions linked to their 2019 fate: quarterback Jimmy Garoppolo’s comeback from knee reconstruction.Teammates reconvene Monday for roughly two months of offseason conditioning, practicing, programming and bonding – voluntarily, of course, until a June 11-13 minicamp. …last_img read more

Nature Values Independent Science Journalism

first_imgAre independent science reporters less credible than the big players? Given Big Media’s awful track record, the journal editors welcome alternatives.The editors of Nature had nothing to lose for blasting science reporters. According to an infographic produced by the American Council on Science and Health and Real Clear Science showing the “Best and Worst Science News Sites,” the venerable science journal (also serving as a news site) came out on top. They ranked best of publishers that “almost always” provide “evidence-based reporting” in their coverage.In their March 7 editorial, “Science journalism can be evidence-based, compelling — and wrong,” Nature‘s editors say, “A ranking of the best science-news outlets misjudges the relationship between research and reporting.” First, they share some nasty quotes from the creators:There has been much gnashing of teeth in the science-journalism community this week, with the release of an infographic that claims to rate the best and worst sites for scientific news. According to the American Council on Science and Health, which helped to prepare the ranking, the field is in a shoddy state. “If journalism as a whole is bad (and it is),” says the council, “science journalism is even worse. Not only is it susceptible to the same sorts of biases that afflict regular journalism, but it is uniquely vulnerable to outrageous sensationalism”.News aggregator RealClearScience, which also worked on the analysis, goes further: “Much of science reporting is a morass of ideologically driven junk science, hyped research, or thick, technical jargon that almost no one can understand”.The editors gloat a little, but then question the basis of the ranking. It’s hard to compare sites with different audiences, they note. And it’s “unfair to damn all who work on a publication because of some stories that do not meet the grade.” The internet has also “spread the brand and the content so much thinner.”Next, they call into question what “evidence-based” means. Can peer review satisfy that requirement? Watch as they undermine this esteemed icon of reliability:The judges’ criterion of evidence-based news is arguably problematic, as well. Many journalists could reasonably point to the reproducibility crisis in some scientific fields and ask — as funders and critics are increasingly asking — just how reliable some of that evidence truly is. Mainstream science reporters have typically taken peer review as an official stamp of approval from the research community that a published finding is sufficiently robust to share with their readers. Yet this kind of evidence-based reporting is only as reliable as the evidence it reports on. And many scientists would complain (even if only among themselves) that some published studies, especially those that draw press attention, are themselves vulnerable to bias and sensationalism.Whoa! That’s the crash of an idol falling. What to do? Here’s where the editorial gets really interesting. Is there any room for the independent, non-institutional reporter?This is one reason why the rise of the scientist (and non-scientist) as blogger, along with other forms of post-publication review, has been so valuable. Many scientists know about the problems with some fields of research. Many journalists do, too — articles on questionable practices from statistical fishing to under-powered studies are an increasing presence in most of the publications in the infographic. The relationship between science and media reporting is far from simple, and both sides should remember this.Creation-Evolution Headlines scampers about like a small mammal under the feet of dinosaurs. It doesn’t even appear on the infographic. Even if it did, we all know what would happen. Because we dare to question the secular Darwinian worldview, Big Science and Big Media (including the creators of the infographic) would undoubtedly imprison CEH in the bottom right corner under “Pure Garbage”. We would be castigated for “ideologically driven or poor reporting”— why? Because that is the standard punishment for Darwin doubters. (At least we would have nearby inmates in the Huffington Post and Newsweek).But notice what the editors said. Big Science lacks reliability. Big Media is gullible to the illusion of credibility offered by peer review. “Evidence-based reporting” is only reliable as the evidence it reports on. In this morass of bias, sensationalism, and the reproducibility crisis, who offers something of value? The answer, according to the world’s leading science journal—whose ‘evidence’ often comes under our microscope—is “the scientist (and non-scientist) as blogger, along with other forms of post-publication review”.Thank you for reading our ‘valuable’ contributions.Nature didn’t even mention the built-in bias of academia’s press releases, where employees in the Public Relations offices of universities and institutions write glowing reports of their scientists’ work to make them look good. Most of the Big Media sites on the infographic pick up these press releases and regurgitate them uncritically on their websites. Very few if any reporters have the guts to question what these press releases claim. We do.(Visited 63 times, 1 visits today)FacebookTwitterPinterestSave分享0last_img read more

Waze Mapped As The Billion-Dollar Treasure

first_imgCloud Hosting for WordPress: Why Everyone is Mo… Top Reasons to Go With Managed WordPress Hosting Serverless Backups: Viable Data Protection for … Related Posts How Intelligent Data Addresses the Chasm in Cloudcenter_img readwrite Tags:#Facebook#Google#now#Waze Reports are coming out today that Israeli mapping company Waze is now being eyed as an acquisition target by Google, for the tune of $1 billion. This, just days after similar reports that Facebook was looking at picking up Waze for a similar price tag, and reports earlier this spring that Apple was in the hunt too, definitely puts Waze in the cat-bird seat.Why the sudden interest? For Google, it could be a simple absorb-the-competition play, or a chance to acquire Waze’s social media features for it’s own Google Maps. Whatever the reason, Waze is going to be on everyone’s map now.(See also Facebook Rumored To Purchase Traffic App Waze For $1 Billion.)last_img read more

The Cameras and Lenses Behind 2018’s Oscar-Nominated Films

first_imgThe PostImage: Janusz Kaminski on set via Niko Tavernise / Twentieth Century Fox.Oscar Nominations: 2 — Best Picture, Best ActressDirector: Steven SpielbergDirector of Photography: Janusz KaminskiCamera: Panavision Panaflex Millennium XL2Lenses: Panavision Primo, PVintage, PCZ LensesRecording Format: 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219)With now over 20 projects between Steven Spielberg and cinematographer Janusz Kaminski, the DP shared with Deadline that he “wanted to make it feel like someone else shot [The Post]”:The first thoughts were, ‘Man, we’re spending a lot of time inside. People are talking and talking. How do we make this more visual?’ It was very clear that theWashington Post floor had to be more vibrant, not just because it makes a better movie, but because the reality of that the floor was that there was a constant exchange of information, constant phone calls.As filmmakers, we had to reflect that energy in the way we photographed the movie, knowing that the camera was going to move a lot. I had to create an environment where the actors were not inhibited by the lighting equipment within the frame, so they could go wherever they wanted and the camera would follow them.There was no compromise in my lighting; I just had to accommodate that particular need. So the choice was very clear: I’m going to put our own fluorescents into the set, and light from the top. Anytime I had a chance, I hid a little bit of lights so I could introduce more direct light onto the face, because top light tends to create a deeper shadow, and that’s often not right for the story. When you’re not able to see the character’s eyes, it feels like they’re hiding something. All the characters in the movie are very transparent, particularly the journalists. You want to see their eyes.Image: The Post set via Amblin Entertainment / Kobal / Shutterstock.Regarding his choice of gear:In America, we always shoot using Panavision equipment — it’s the best equipment there is. Because it was a slightly period movie and I didn’t want the images to be overly sharp and crispy, I used an older set of Zeiss lenses, with different color and light reproduction. I used 200 SA Kodak for all my Washington Post interiors, and for the rest of the movie, I used 500 SA Kodak, which has a little more grain.We used finer-grain film at the Washington Post office to make it feel more crispy and more immediate. The rest of the film, I didn’t mind a little grain. It was a very familiar environment — traditional equipment, traditional lights. It was an old-school movie set.Read the entire interview over at Deadline. For more on the relationship between Spielberg and Kaminkski, I suggest checking out 8 Cinematographers Behind Famous Directors and HBO’s New Documentary “Spielberg” Is a Must-See for Aspiring Directors.The 2018 Academy Awards will be presented on March 4th. Congratulations to all the Oscar nominees! Image: Set of Blade Runner 2049 via ARRI.We previously took a hard look at Roger Deakins‘s work on Blade Runner 2049. Our friends at ARRI provided some stellar set photos and gave us insight into the lighting rigs set up by gaffer Bill O’Leary.Roger achieved most of the look in-camera. For the lighting, we used soft sources and lots of gels on the lampheads to create the different color atmospheres. We went through almost 1,400 rolls of gel by the time we had finished shooting!Image: Set of Blade Runner 2049 via ARRI.The lighting rigs on Blade Runner 2049 were absolutely massive. One of the main set pieces featured a light ring with 256 ARRI 300-watt fresnels, and another used 100 SkyPanels.I always wanted to light the two scenes on that set quite differently. The first lighting design was something I had thought out well before the idea of the pool was finally locked in. This was based on the idea of sunlight coming through skylights in the roof and was similar in a way to the initial wide shot that introduces the Records Library. Of course, the addition of the element of water helped me create a second, quite-different look for that ‘interrogation’ scene. But the caustics were just a background to the actual character lighting, which was also something I had been thinking about for some time. It seemed a natural extension of the theme of moving light. —Roger DeakinsYou can read the whole Blade Runner 2049 cinematography piece here. The film’s sound design and VFX were also well received. I’d also suggest checking out The Secrets Behind the Sound Design of Blade Runner 2049. Several VFX houses worked on Blade Runner 2049, including Atomic Fiction, whose office we visited in a previous interview and tour.DunkirkImage: Dunkirk set via Warner Bros.Oscar Nominations: 8 — Best Motion Picture, Best Director, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Production DesignDirector: Christopher NolanDirector of Photography: Hoyte Van HoytemaCamera: IMAX MKIV, IMAX MSM 9802, Panavision 65 HR, Panavision Panaflex System 65 StudioLenses: Panavision Sphero 65 (50mm wide angle, 80mm for close-ups), Hasselblad Lenses Recording Format: 65mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219)Image: Set of Dunkirk via Thibault Vandermersch/EPA/Shutterstock.In an interview with British Cinematographer, Van Hoytema shared the following:Chris is a champion of film, so Dunkirk was always going to be a film project . . . To be honest, I am very much with Chris that there is not yet any medium that reaches the depth and quality of film. So if you want to tell a story in a visual way — as a dramatic, close-up, immersive experience of what is in front of you on-set — film is still the No.1 choice.On shooting handheld with an IMAX camera:From an aesthetic point-of-view I thought it was an inspired choice. Our ambition was to be in the action all of the time, to portray feelings and evoke the emotions of the people caught up in those dramatic episodes, in a documentary style. There was some crane work — with the camera mounted on a stabilised Edge Head, provided by Performance Filmworks — but it’s very sparse, that style of cinematography can take out of the immediacy of the moment.From a practical point-of-view, the IMAX and the 65mm cameras are big — like a hotel mini-bar — and the 65mm camera is heavier than the IMAX. But the lengths of the filmstocks in the magazines are fairly short — two-minutes for the IMAX, and around eight minutes for the 65mm — and I knew I would only have to shoulder the cameras for short periods of time.Image: Christopher Nolan and Hoyte Van Hoytema via M.S.Gordon/Warner Bros/Kobal/Shutterstock.On the camera and lens package,Large format is not an off-the-shelf affair, especially the lenses, and we worked with Panavision L.A. for a good six weeks to assemble our shooting package. Although Dunkirk was essentially a one-camera shoot, we always had four IMAX cameras ready to go – on-set, hard-mounted to the fighters or on our camera ship — and Chris and I were constantly in motion, leapfrogging between the cameras. We shot the 65mm footage using the 65mm Panaflex System 65 Studio Camera — 65SPFX — which is blimped and is great for shooting sound.As for the lenses, because of our need for clarity, we shot Dunkirk completely spherical. Optically it is so much more pure than Anamorphic, with much less glass and light refraction between the subject and the emulsion. We had two pairs of lenses for the IMAX cameras — a 50mm wide-angle and an 80mm for close-ups.You can read the entire British Cinematographer piece here. Hoyte van Hoytema also sat down with Deadline to talk about Dunkirk, and I suggest giving that podcast a listen.For more on the making of Dunkirk, check out The Power of Sound: Using the Shepard Tone In Filmmaking to dive into the film’s sound design. If you’re interested in recreating the title sequence from Dunkirk, you can also check out our video tutorial here: Create Transparent Titles Inspired by Dunkirk in Premiere Pro and FCPX.MudboundImage: Dee Rees on set of Mudbound via Steve Dietl/Netflix/Kobal/REX/Shutterstock.Oscar Nominations: 4 — Best Cinematography, Best Supporting Actress, Best Adapted Screenplay, Best Original SongDirector: Dee ReesDirector of Photography: Rachel MorrisonCamera: ARRI Alexa MiniLenses: Panavision C and D Series Anamorphics, Vintage Super SpeedsRecording Format: ARRIRAW 3.4KImage: Rachel Morrison shooting Mudbound via Steve Dietl/Netflix/Kobal/REX/Shutterstock.In an interview with IndieWire, Morrison spoke about her work on the film,Both Dee and I set out to shoot Mudbound on film. Everything about this project screamed to be analog. But our budget was so tight that any added cost came at the expense of something else — shooting days, extras, production design assets, etc. We did extensive tests to determine if it was worth it. We tested both anamorphic and spherical 16mm on the Arri 416 (which to this day is still my favorite camera ever designed) as well as anamorphic and spherical lenses on 35mm vs the ARRI Alexa shooting ARRI Raw. We were working with Fotokem locally in New Orleans, and I asked our dailies colorist Illya Laney to add a grain emulation curve to the digital media, match the shots to each other, and then reduce saturation and contrast by about 15-20%.It’s always a challenge to shoot a period film and not have it look like you hit the tea stain button in post. We wanted to create a world that was true to the time, but felt raw and real and not overstylized in a way that the audience can sense the theatricality.Image: Dee Rees on set of Mudbound via Steve Dietl/Netflix/Kobal/REX/Shutterstock.We chose older lenses, a mix of Panavision C and D Series anamorphics as well as Vintage Super Speeds from the ’60s and ’70s that had inherently reduced contrast and many optical aberrations.  We decided to embrace the aspherical softening around the edges because we felt that even on a subconscious level, this would help the imagery feel more like the FSA photography of the era.We wanted the lighting to be naturalistic, largely motivated by sun and moon once the McCallan family have left the creature comforts of the city and settled into rural life.  As much as I would have loved to shoot everything at magic hour, this film is about the sun beating down and what that does to one’s spirits — and so we embraced harsh lighting conditions when that was called for, but also contrasted the beauty of magic hour and dusk over the fields to illustrate that the endless battle for something greater is fueled by moments of hope and inspiration.We’ve been huge fans of Rachel Morrison’s work, and she also just shot the massive blockbuster Black Panther. You can check out our exclusive interview with production designer Hannah Beachler on creating Wakanda and the amazing sets for the film.The Shape of WaterImage: Set of The Shape of Water via K Hayes/20th Century Fox/Kobal/REX/Shutterstock.Oscar Nominations: 13 — Best Picture, Best Director, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Screenplay, Best Costume Design, Best Production Design, Best Actress, Best Supporting Actor, Best Supporting ActressDirector: Guillermo del ToroDirector of Photography: Dan Laustsen Camera: ARRI Alexa XT Plus, ARRI Alexa MiniLenses: Fujinon Alura Lens, Zeiss Master Prime LensesRecording Format: ARRIRAW 3.4KImage: Set of The Shape of Water via K Hayes/20th Century Fox/Kobal/REX/Shutterstock.In an interview with British Cinematographer, Lausten talked about his rekindled relationship with Guillermo del Toro and how he shot The Shape of Water:‘We shot 3.2K open gate,’ notes Laustsen. ‘The bathroom is shot wet for wet so we used an ALEXA Mini.’ Elisa and the creature falling into the river was shot dry for wet with a lot of smoke, cranes, wires and projectors for caustic lighting. ‘I like Master Primes because you know what you’re getting. We went for wide angles and shot a lot with 25mm and 27mm. We were afraid of the female actors getting too sharp so I shot with a diffusion filter inside of the camera to break up the highlights.’In terms of the film’s colors, Luasten told Filmmaker Magazine thatThat steel blue color we used for The Shape of Water goes all the way back to something we used on Mimic. When I have those steel blue and green colors, I’m always at 3200° Kelvin on the lights and 3200° Kelvin on the camera as well. Then I’ll use gel on the lights to get the exact color I want. Guillermo and I like to shoot at a 1-to-1 ratio, meaning that our dailies look more or less like the final movie is going to look. In the Digital Intermediate (DI) we’ll use some power windows for adjustments, but the overall color is very close to what we shot.Image: Guillermo del Toro on set via S Giraud/20th Century Fox/Kobal/Shutterstock.In terms of his limited budget versus setups similar to Blade Runner 2049:This was a pretty small movie — it’s a $19.5 million budget — so I had to be clever about our budget for lighting and camera. We couldn’t afford to have a bunch of ARRI SkyPanels on set. When you have to move so fast, I think it’s easier to control the light the old-fashioned way — use 3200° Kelvin lights and then put the gels on for the color. It’s a little bit backwards, but it worked for me on this movie.The film was almost entirely single-camera with ARRI/Zeiss Master Primes:I’d say 98 percent single camera. Everything is shot on either a Steadicam, a dolly on dance floor with a jib arm and a hot-head, or on a Technocrane.I just think Master Primes are the best lenses you can buy in the world right now. Guillermo and I want to have 100 percent control over the image, and Master Primes are really good for that. We try to not do anything by accident. We don’t like to work with lenses that are giving us something we didn’t know was coming, like an unexpected lens flare.You can read more of the British Cinematographer interview here and the Filmmaker Magazine interview here. For more on Guillermo del Toro, you may enjoy reading Los Directores: Mexico’s Famous Filmmakers.Darkest HourImage: Darkest Hour set via Jack English/Working Title/Kobal/Shutterstock.Oscar Nominations: 6 — Best Picture, Best Cinematography, Best Production Design, Best Costume Design, Best Makeup, Best ActorDirector: Joe WrightDirector of Photography: Bruno DelbonnelCamera: ARRI Alexa SXT Plus, ARRI Alexa MiniLenses: Cooke S4, Angenieux Optimo LensesRecording Format: ARRIRAW 3.4KOn researching the look for the Darkest Hour, Bruno Delbonnel shared the following with Deadline:The thing is, especially for those kind of periods, what you get is basically black-and-white photography, so you can only guess what the color would be. That’s always the problem with a period piece. It doesn’t mean anything, basically. In 1940, the light was exactly the same as it is [now]. So for me, it’s more about discussing with the production designer and finding the right thing from the ‘40s.Image: Darkest Hour set via Shutterstock. On the camera package:At the very beginning, we wanted to shoot with an Alexa 65 with medium format lenses, but you need so much light just to get enough depth of field that I convinced Joe that we should go with the regular Alexa, with Cooke lenses. Because then, I could work with not such a big amount of light. I like a very big depth of field, and I think the depth of field was interesting. In order to get enough depth of field, I couldn’t shoot with the 65.You can read the entire interview at Deadline.Get OutImage: Get Out set via Justin Lubin / Universal Pictures.Oscar Nominations: 4 — Best Picture, Best Director, Best Screenplay, Best ActorDirector: Jordan PeeleDirector of Photography: Toby OliverCamera: ARRI Alexa MiniLenses: Angenieux Optimo LensesRecording Format: ARRIRAW 3.4KIn an interview with Filmmaker Magazine, Toby Oliver talked about location scouting for Get Out:I do use Artemis every day when I’m location scouting, and I use it often on set in lieu of a traditional director’s viewfinder, but I didn’t use it for those photoboards because the quality of Artemis’s [photos] is a bit blurry and cruddy when you try to blow them up and print them. So I just used my 7D stills camera. That was a very valuable process for Jordan and I and also the producers, who were there acting out the parts of the characters when we shot the photoboards.Image: Jordan Peele on set via Justin Lubin/Universal Pictures.On shooting in real houses in Alabama:The Sunken Place was the only time we shot on a stage. Well, it wasn’t really a stage. It was a civic center that we treated like a stage. The rest of the movie was shot entirely on location in real houses and real buildings in Mobile. Finding the right house was difficult. Jordan had in mind a specific kind of estate. It couldn’t look too much like it was in the south because the movie is set somewhere on the east coast. Eventually we found a place that was the right balance between being big but not too ostentatious.In regards to choosing the ARRI Alexa Mini:I love the Alexa Mini. It gives you the same image quality as the regular Alexa, but in a smaller package. It’s about half the size and half the weight of the regular Alexa even with all the accessories and things you have to pile onto it. It’s great for working on location if you need to squeeze the camera into a corner. A couple of inches here or there can actually be quite handy. I’ve shot with Alexa Minis on my last three movies. And for Get Out, we shot ProRes 4444 at 3.2K. Because we’re finishing the movie at standard cinema 2K, 3.2K gives you just a little extra room to resize, which is useful in post.You can read the entire interview at Filmmaker Magazine. I also suggest giving a listen to Toby Oliver’s interview on the Go Creative Show, where he talks about blending horror and comedy, shooting with zoom lenses, and the challenges of a limited budget. There is also a wonderful piece on making Get Out over on Vulture that is definitely worth a read.Phantom ThreadImage: Paul Thomas Anderson on set via L Sparham/Focus Features/Kobal/Shutterstock.Oscar Nominations: 6 — Best Picture, Best Director, Best Costumes, Best Original Song, Best Actor, Best Supporting ActressDirector: Paul Thomas AndersonDirector of Photography: Paul Thomas Anderson (uncredited)Camera: Panavision Panaflex Millennium XL2Lenses: Panavision Ultra Speed Z-Series MKII LensesRecording Format: 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)There is no credited cinematographer for Phantom Thread, making it ineligible for an Academy Award for Best Cinematography. This has to do with Paul Thomas Anderson’s collaborative cinematography workflow. On the subject, he told Entertainment Weekly the following;I should really clarify that. That would be disingenuous and just plain wrong to say that I was the director of photography on the film. The situation was that I work with a group of guys on the last few films and smaller side projects. Basically, in England, we were able to sort of work without an official director of photography. The people I would normally work with were unavailable, and it just became a situation where we collaborated — really in the best sense of the word — as a team. I know how to point the camera in a good direction, and I know a few things. But I’m not a director of photography.If you can give credit, Michael Bauman is the gaffer that I’ve worked with for many, many years on a lot of projects. I could veto Mike, I guess, but he held a lot of the keys. There was a camera operator, Colin Anderson, I’ve worked with, and Erik Brown, who was the first assistant cameraman and Jeff Kunkel, who was a grip. It was a real package like that. It was a really easy way of working. You have to be very, very careful because there are way too many good cinematographers that I would not put myself in that class for a second.You can head over to EW to read the entire interview with the director.Lady BirdImage: Sam Levy and Greta Gerwig via Merie Wallace/A24.Oscar Nominations: 5 – Best Picture, Best Director, Best Screenplay, Best Actress, Best Supporting ActressDirector: Greta GerwigDirector of Photography: Sam LevyCamera: ARRI Alexa MiniLenses: PanavisionRecording Format: ARRIRAW 2KIn terms of the overall look of Lady Bird, Sam Levy revealed to IndieWire thatOne way we got at this aesthetic of memory was we were looking at a lot of photos by the French photographer Lise Sarfati, who has all these great portraits of young women from around the 2000s. The photos aren’t at all creepy, it shows they were taken by woman, they are so at ease the way our young cast was with Greta. Through Sarfati’s photos we kept coming back to this idea of ‘plain and luscious,’ that’s what Lady Bird should look like, it shouldn’t be dripping with the visuals.As for the camera package:We shot with the Alexa Mini with old Panavision lenses and, in testing different resolutions, we ended up shooting 2k — ARRI raw 3.6K was too vivid and too sharp. Alexa has native grain, sort of video noise, any sensor emits video noise. Alex brought up, How do we tease out the Alexa video grain? Instead of adding artificial film grain, but embracing the technology we are using, but in more of a handmade way, not unlike how you’d create this multiple photocopies.You can read the entire interview with Sam Levy and Greta Gerwig at IndieWire.Fun fact: the image of Sam Levy and Greta Gerwig above shows Gerwig wearing a name tag that reads, “Greta, Breakfast at Tiffanys.” This was part of a game on set, where each day the crew would wear name tags and write answers to a daily question. Now as to why Breakfast at Tiffany’s? Gerwig reluctantly revealed that this question of the day was their thoughts on the most overrated film classic.Call Me By Your NameImage: Luca Guadagnino on set via Frenesy Film Co / Sony / Kobal / Shutterstock.Oscar Nominations: 4 — Best Picture, Best Adapted Screenplay, Best Original Song, Best ActorDirector: Luca GuadagninoDirector of Photography: Sayombhu MukdeepromCamera: Arricam LTLenses: Cooke 35mm S4 LensRecording Format: 35mm (Kodak Vision3 500T 5219)Shot entirely on one lens, Call Me By Your Name was a challenge for cinematographer Sayombhu Mukdeeprom. In an interview with Deadline, he talked about the challenge,The producer asked me, ‘Should there be some other, wider lens? Just in case?’ I said ‘No, no. I want to tie my hand to this approach, because this is how I work . . . I think if you limit yourself to something, you struggle inside your idea.’In terms of lighting:At the beginning, I was thinking about shooting with all natural light, but the weather conditions did not permit me to do that. At that time, there was historic weather in Italy — it was too hot. I had to adapt my technical approach to that, so I had to order a package of lights. I ended up with 15Ks, down to 2.5. With the lighting approach, I observed the director and the actors. It seems like we should have the idea of what we’re going to do, but it’s not so fixed like that. It always has flexibility. So with observation, I follow them. I adapt to everything that happens in front of the camera.Image: Call Me By Your Name set via Frenesy Film Co / Sony / Kobal / Shutterstock.Talking to IndieWire about the torrential rain in Italy during production, Mukdeeprom revealed thatWe had scheduled 30 days of shooting — five weeks, six day weeks — and we ended up shooting 34, of which 28 there were heavy rains . . . We were freaking out, and we’re reconstructing the light every day.I said to the producer, ‘This is bananas,’ I kept saying ‘You have to be kidding, this is not why I came to Italy. But it became my war.’There are times you don’t have the space or time for a large light, or set up . . . I have learned if I get the contrast right, what colors I can and cannot pull from the image in post. I don’t like working this way, ‘fixing it in post,’ but I’ve learned shooting in Thailand what colors must be present on set when we shoot and which I can find later on.You can read more about the cinematography in these interviews at Deadline and IndieWire.Three Billboards Outside Ebbing, MissouriImage: On set of Three Billboards via M Morton / 20th Century Fox / Kobal / Shutterstock.Oscar Nominations: 7 — Best Picture, Best Film Editing, Best Original Screenplay, Best Original Score, Best Actress, Best Supporting Actor (2)Director: Martin McDonaghDirector of Photography: Ben DavisCamera: Arri Alexa XT PlusLenses: Panavision E-Series and C-Series Anamorphic LensesRecording Format: ARRIRAWTalking with British Cinematographer, Ben Davis spoke about his crew,‘I had a lot of the same crew from Seven Psychopaths,’ states Davis. ‘My AC was William Coe who I adore and is great, Stephen Campanelli was the operator and Ross Dunkerley was the gaffer.’ Panavision supplied two ALEXA XT cameras along with E and C series anamorphic lenses, which have imperfections that help to break down the digital image. One truck of lights was utilized that consisted of a lot of LEDs, 4×4 Cine panels to create moonlight, and a single generator. ‘What you learn as you go on as a DP is to use fewer lights and to put them in the right place.’‘We never did a huge amount of takes,’ states Davis who shot the crime comedy drama in the 2.35:1 aspect ratio. ‘The coverage was what was necessary. For me, the cinematography was purely about delivering the script. When the words are so good there’s a temptation to shoot your actors in the close-ups. We made sure not to do that.’You can read the entire interview at British Cinematographer. I also suggest watching this great behind-the-scenes video of a oner captured from the streets. Dive into the cameras and gear used to capture all of the 2018 Academy Award nominees for Best Picture and Best Cinematography.Top image: Set of The Shape of Water via K Hayes/20th Century Fox/Kobal/REX/Shutterstock.Leading up to the Academy Awards, I always love diving into the production stills and going deep into the tech specs for many of the Oscar nominees. That includes finding out the gear these filmmakers and cinematographers used.Obviously, ARRI continues to lead the pack as the standard cinema camera package — and ARRI just celebrated it’s 100th anniversary. Let’s dive into the cameras and lenses behind 2018’s Oscar-nominated films and see what made the list. (You can find previous nominees here: 2017, 2016.)Blade Runner 2049Image: Blade Runner 2049 set via Sony Pictures. Oscar Nominations: 5 — Best Cinematography, Best Visual Effects, Best Sound Editing, Best Sound Mixing, Best Production Design.Director: Denis VilleneuveDirector of Photography: Roger DeakinsCamera: ARRI Alexa Mini, ARRI Alexa XT StudioLenses: Zeiss Master Prime LensesRecording Format: ARRIRAW 3.4Klast_img read more

The Elders Ask G20 Get Behind Global Climate Fund

first_imgThe G20 Heads of State meeting this weekend in Brisbane, Australia, and recent announcements by China and the United States, present excellent opportunities for world leaders to advance global financial measures that are essential to avert catastrophic climate change, The Elders said today.While noting that a phase-out of fossil fuel subsidies is on the agenda for the meeting, they call on G20 leaders to hold a more ambitious discussion. The Elders urge governments of other wealthy nations to follow suit and “shoulder their fair share of the burden,” to mobilise capital flows for the Green Climate Fund and meet the overall target of $100 billion per year by 2020 for climate mitigation.They also ask leaders to work towards a binding international agreement on pricing carbon emissions. A “credible and predictable” carbon price will encourage investment in climate mitigation and accelerate the development of alternative energy sources.In letters sent last week to each G20 head of state or government, the Elders stress the urgent economic argument for governments to act decisively on climate. “We understand the economic focus of the G20,” they write. “Nevertheless, the risks of climate change are pressing and, if left unaddressed, will certainly affect the stability of nations and increase the pressures on global finances.”Following the climate summit convened by UN Secretary-General Ban Ki-moon in September, the Elders highlight the power of the G20 to rouse further political momentum for governments to reach a fair, robust and binding multilateral agreement on climate change at the COP21, in Paris in December 2015.“Powerfully representative, yet of a size able to generate consensus,” the Elders write, “[the G20] can promote the necessary decisive and speedy action on climate change, as it has done in the past in response to the global financial crisis.”They add: “The world is watching and looking for visionary leadership on climate change – and will rightly be holding the G20 representatives to account.”last_img read more

International School calls flag controversy a Mistake

first_imgFacebook Twitter Google+LinkedInPinterestWhatsAppProvidenciales, 10 Sept 2015 – They are calling it an honest mistake, school administrators at the International School of Providenciales say it was an admitted oversight by officials which led to the Turks and Caicos flag being flown below eight other flags in total and more specifically the Canadian and Sweden flag on the school’s premises recently. This in light of outrage by residents who called the act disrespectful after a picture surfaced on Facebook.It was leader of the Progressive Democratic Alliance, Oswald Skippings who first brought the grievance to light as he shared the photo and his thoughts with followers on social media saying, “This display of flags is obviously a total disregard for our sovereignty.” Residents who felt the act degraded the Turks and Caicos flag also shared similar sentiments.Amidst the controversy, school officials say they have repositioned the TCI flag. Administrators say the flags represent the nationalities of their students and are sometimes raised by the school children, as was the case in this instance.On the school grounds today, the TCI flag could be seen visibly flying high, on its own pole. Turks and Caicos flag protocols states that the TCI flag must be flown above the flags of other countries. Facebook Twitter Google+LinkedInPinterestWhatsApp Related Items:tci flag, turks and caicos international schoollast_img read more

Honest opinions at Grand Turk Public Press Conference

first_imgFacebook Twitter Google+LinkedInPinterestWhatsApp Recommended for you Beaches puts former Premier on blast about controversial pier Minister of Works puts government buildings reconstruction post hurricanes at $8.6m Cruise figures forecast to drop, says Tourism Director Facebook Twitter Google+LinkedInPinterestWhatsAppProvidenciales, 10 Sept 2015 – At least one Grand Turk attendee expressed that she believes the government has fallen short when it comes to healthcare, job opportunities for the indigenous people and upkeep of the infrastructure. Frank exchanges are a signature part of the recent Public Press Conferences being hosted by the Rufus Ewing Administration; last night was Grand Turk’s turn.The Premier was challenged by numbers published from the Country Poverty Assessment, which revealed that Haitians were with nearly 11,000 people in TCI while the British Overseas Territory citizen, and native people together were put at just over 12,000. Applause supported the woman’s position that any new immigration laws must protect and advance Turks and Caicos Islanders first.The PNP government is accused of rushing the legislation due to be debated in the House of Assembly next week. Related Items:grand turk, premier rufus ewing, public conferencelast_img read more

Evacuees returning home Assistance extended

first_img Related Items:#magneticmedianews Facebook Twitter Google+LinkedInPinterestWhatsApp Electricity Cost of Service Study among the big agenda items at September 11 Cabinet meeting ALERT # 2 ON POTENTIAL TROPICAL CYCLONE NINE ISSUED BY THE BAHAMAS DEPARTMENT OF METEOROLOGY THURSDAY 12TH SEPTEMBER, 2019 AT 9 PM EDT Recommended for you Facebook Twitter Google+LinkedInPinterestWhatsAppBahamas, September 14, 2017 – Nassau – Deputy Permanent Secretary of the National Emergency Management Agency (NEMA), Chrystal Glinton updated the public from the NEMA office on Wednesday afternoon, September 13, 2017 on the circumstances of Hurricane Irma evacuees from Acklins, Crooked Island, Mayaguana Ragged Island, Inagua, and Bimini.She said some of those persons from Salina Point, Acklins, returned yesterday to help with post-hurricane clean-up. Today, persons returned to Crooked Island and Mayaguana. Tomorrow, they will return to Mayaguana and Acklins, and on Friday, persons will return to Acklins and Bimini.Ms. Glinton remarked that it is difficult for evacuees to mentally process the rapidly changing circumstances of a sudden evacuation and so the Psychology Association will assist them by through Disaster Mental Health sessions.In addition, she noted, the Prime Minister has initiated an exigency order so that persons from affected islands may purchase items duty/VAT free locally and abroad. The order will last for 90 days for some islands, and 100 days for others. The Luxury of Grace Bay in Down Town Provolast_img read more