AddThis Sharing ButtonsShare to FacebookFacebookShare to TwitterTwitterShare to MoreAddThis ALPENA, Mich.—These deep water divers work for the National Centers for Coastal Ocean Science. They swim through our lakes capturing images and sounds. Those define the characteristics of the lake bottom wild life. When diving down in our lakes the ecologists use maps to identify different habitats. Each color represents different sub states to determine which habitat is living in the lake beds.This project will collect new lakebed data using acoustic mapping technologies, develop lakebed maps tailored to sanctuary management objectives, assess data gaps in existing mapping information and identify priorities for future mapping and monitoring.Charles Menza says once the research is gathered they will be able to track new invasive muscle distributions and fish habitats. The sanctuary, scientists and communities will benefit from this information to effectively manage our Great Lakes. This work will add to the 16% of the lakebed surveyed within the Thunder Bay National Marine Sanctuary with sufficient details. While there is still more work to process the new imagery, Ayman Mabrouk, a diver from the National Centers for Coastal Ocean Science, says he plans to finish this project by April of next year.Want to see more local news? Visit WBKB 11 News Website.Stay in touch with us anytime, anywhere.AddThis Sharing ButtonsShare to FacebookFacebookShare to TwitterTwitterShare to MoreAddThisContinue ReadingPrevious Trainer gives tips to stay fit this winterNext Besser Foundation awards local grants to further community impact
Surrey’s Christine Griffith recovered from a cancer operation to partner her daughter, Charlotte, to a special victory in the annual Mothers and Daughters Tournament at Royal Mid Surrey in Richmond. Christine, a former professional, had made it her goal to compete again in the 27-hole medal foursomes after she had surgery last December. Last year, she and Charlotte, 18, missed out on the title by just one shot. With very little practice, Christine played inspirational golf with her daughter, and the Walton Heath pairing returned a two-over-par 73 in their morning round. It gave them a five-shot lead over the holders, Elaine and Charlotte Barrow, aged 15, from Brockenhurst Manor, Hampshire. The wind picked up for their remaining nine holes and they felt they had squandered too many shots as they returned a six-over par score. But the other contenders suffered the same frustrations and the Griffiths took the title by a comfortable five shots from their Walton Heath friends, Alison and Nicola Taylor. Afterwards, Charlotte – who plays off three and is the 2011 Surrey girls’ champion – confessed she was “over-the-moon just to be playing” with her mum. She declared that this special victory with her mother was her greatest achievement since taking up golf at the age of 10. The pair are pictured with their trophies. The handicap prize was won by former England international Tara Watters, who plays off plus-one, and her mother, Mona, who is a 23-handicapper. They are members at Muswell Hill. Leading final scores 114 Christine & Charlotte Griffith (Walton Heath) 73 41 119 Alison & Nicola Taylor (Walton Heath) 7940 120 Elaine & Charlotte Barrow (Brockenhurst Manor) 78 42 121 Mona & Tara Watters (Muswell Hill) 79 42; Jane & Becky Scott (Alresford ) 82 39 122 Bea & Carly Cummins (Parkstone / Burhill) 79 43 126 Judy Kendall & Vicky MacDonald (Wentworth / Worplesdon) 81 45 128 Elsie Provan & Sarah Saggers (East Herts / Ipswich) 85 43 129 Louella & Lorna Hitchcock (Chigwell) 88 41; Jill Thornhill & Caroline Weeks (Walton Heath) 84&45 130 Laura & Rebecca Webb (East Berkshire) 81 49 132 Sue & Annie Stradling (Worplesdon / The Berkshire) 84 47; Shirley Donald & Kate Rowe (West Sussex) 85&46 133 Priscilla Petch & Sarah Knollys (Sunningdale) 91 42; Vi Dolton & Diane Holt (Basingstoke) 89 44; Karen & Madelaine Kuhler (Walton Heath) 90 43 134 Barbara & Sam Round (Tadmarton Heath / Cotswold Hills) 84 50; Evelyn & Martha Lewis (St. George’s Hill) 88 46; Caroline Keene & Gill Loughrey (Rodway Hill / Wrag Barn) 89 45 135 Linda & Hannah Sneath (Puttenham) 91 44 Image copyright Sally Phips Hornby 23 Apr 2012 Surrey pair score Ôspecial’ Mothers and Daughters win
1 Oct 2019 England ward off Wales in tense Home International opener Tags: Senior Women’s Home Internationals England’s Senior Ladies have made a winning start to the Home Internationals series in Ireland.In tough and challenging conditions at County Sligo Golf Club at Rosses Point, England eked out a narrow 4.5 – 3.5 victory over Wales.Honours were even after the three morning foursomes matches – Bromborough’s Caroline Berry and Julie Wheeldon from Wakefield putting a point on the board while the pairing of Helen Lowe (pictured above) and Aileen Greenfield halved their match.The outcome of the day then hinged on five afternoon singles and England prevailed with three precious wins.Worthing’s Paula Carver won by a hole after a tense match with Welsh rival Jane Rees.Lowe – from Scraptoft – repeated that slender winning margin in defeating Julie Thomas.Greenfield’s victory was more resounding as the Pyecombe member polished off Sharon Roberts by a score of 5&4.In the other game, hosts Ireland kicked off their bid to claim a hat-trick of titles with a 5.5-2.5 win over Scotland.Tomorrow, England will face Scotland hoping to win and set up a final day showdown with the host nation.Photograph credit: Leaderboard
Facebook3Tweet0Pin0Submitted by Westport Winery Garden ResortWestport Winery Garden Resort will now be open daily from 8 a.m. to 7 p.m. by adding breakfast to their farm fresh menu. Winery co-founder Kim Roberts said, “Our premise has always been to find out what our customers want and then give it to them. We’re fortunate to have fans that offer great ideas.” For this reason, the winery has developed a menu of unusual and homemade fare for this new element of their enterprise.The new hours of operation begin on Sunday, October 30, with breakfast served daily from 8 a.m. to 11 a.m. “With our wine club pick-up beginning this week it will give a bigger window of time and dining opportunity to the many visitors we expect to see.” Flexibility, affordability, and innovation are hallmarks of this business’s success which is reflected in the breakfast offerings which are available to enjoy in house or to go:Fresh FrittataOnions, broccoli, spinach and tomato sautéed in olive oil then baked to order in an egg cream custard — 9 Beach BennyDungeness crab cake on grilled ham topped with scrambled eggs and tarragon aioli — 13Breakfast SammyHam, scrambled eggs, cheddar (slice or sauce) on a homemade cornmeal biscuit — 6 Lavender Crème Brulée French ToastFrench toast stuffed with crème brulee, grilled, and served with lavender syrup — 9Cornmeal Biscuits & Spicy Sausage GravyFull — 9, Half — 4, Add eggs — 4Big & RichTri-tip steak wrapped in bacon on a bed of steak fries topped with scrambled eggs, cheese sauce and green onions — 19Any Day BrunchCornmeal Biscuit and Freezer Jam, Benedictine Quiche with Tarragon Aioli, Steak Fries, Fresh OJ or Sparkling Mimosa, Coffee or Tea — 18PastryBlueberry-Lemon Scone or Raspberry-Almond Scone or Cornmeal Biscuit — 4Giant Hawaiian Cinnamon RollWith vanilla buttercream, caramel sauce and macadamia nuts — 7Let’s Pretend They’re Granola BarsMaple Bacon Bourbon or Chocolate Caramel Oat — 3Westport Winery Garden Resort won Best Boutique Winery, Best Winery, and Best Wine Shop at the recent Best of the South Sound Awards from South Sound Magazine.The restaurant has become a popular place for Sunday brunch in part because of their ability to make fresh-squeezed orange juice in house. When that incredible juice is added to any one of their four award-winning sparkling wines the best mimosas ensue. Of course, Three-Peckered Goat coffee or decaf Skookumchuck from Raven’s Brew in Olympia make for great morning beverages too. The classic Earl Grey tea and Tazo Green tea are hot choices.It’s the winery’s new Chocolate Caliente that will rock your world. Kim Roberts said, “When I was going to university in Denmark, my friends and I spent Easter break in Barcelona. That’s where I first had what they call chocolate caliente, but to me was more like molten pudding in a cup. It’s definitely a one-cup wonder! Once we decided to add breakfast we had to put it on the menu.” Additionally, it can be made to order with a shot of your favorite spirits.Family-friendly Westport Winery Garden Resort, is located on the corner of Highway 105 and South Arbor Road halfway between Aberdeen and Westport. The resort (including the restaurant, bakery, nursery and gardens) is open daily from 8 a.m. to 7 p.m. Westport Winery TASTING @ Cannon Beach, is located at 255 N. Hemlock. The Oregon tasting room is open daily from 11 a.m. to 6 p.m.Westport Winery was named 2011 Washington Winery to Watch by Wine Press Northwest. They have been voted Best Winery by King 5 Evening Magazine six times. They were named the Best Washington Family Business Silver Medal winners in 2012, received the Grays Harbor Environmental Stewardship Award in 2015, and were name Best Winery, Best Wine Shop, and Best Boutique Winery for 2016 by South Sound Magazine. For more information or reservations call 360-648-2224. Those who wish to hold earlier business, committee, or training meetings are encouraged to contact the winery for special reservations.
Justin Azevedo’s shorthanded goal snapped a 3-3 tie to power the Manchester Monarchs to a 6-3 victory over the hometown Senators in AHL Calder Cup playoff action Tuesday night in Binghamton.The win gives the Monarchs a commanding 3-1 lead in the best-of-seven Eastern Conference playoff.Game five is Wednesday in Binghamton.After Ryan Potulny pulled the Ottawa Senators farm team even with a goal seven minutes into the third period, Manchester exploded for three goals in the next four minutes to put a dagger into the Baby Sens playoff hopes.Six different Monarchs shared in the scoring.Nelson native Geoff Kinrade, a defenceman in his second season with Binghamton, finished the game a plus one with no points. Binghamton finished the game out shooting the Monarchs 38-26, including 16-10 in the third period.
Arguably the biggest talking point of Liverpool’s draw with Everton at the weekend was not Phil Jagielka’s stunning injury-time equaliser, but the true importance of Daniel Sturridge to the Redmen’s attack.The striker has not featured since the 3-0 victory over Tottenham at the end of August, during which time Liverpool have lost twice and drawn once in the Premier League, scoring just two goals.While he just missed out on making the squad for the Merseyside derby, Sturridge looked likely to play some part in Liverpool’s Champions League clash away to Basel on Wednesday – live on talkSPORT from 7pm – but unfortunately for the Redmen, neither he nor defender Mamadou Sakho have traveled to Switzerland.The striker was reportedly called to attend an extra training session over the weekend, with boss Brendan Rodgers wanting to reassess whether his star man is ready to make his long-awaited comeback.However, with the England man judged not to be ready for a return to full action, Rodgers once again faces a conundrum to get his side firing on all cylinders again.With Mario Balotelli commanding a starting spot and Raheem Sterling and Adam Lallana starting to his their own strides, how will Rodgers line-up his Liverpool side for yet another key fixture?Below is how Liverpool could possible line-up: 1 Liverpool have missed Daniel Sturridge 1 Despite Liverpool’s questionable defending at times this season, there will be little disruption of the Reds’ backline, with Rodgers somewhat limited in his options.Mamadou Sakho appears to have fallen out of favour, so we believe Martin Skrtel and Dejan Lovren will resume their partnership against Basel, with Kolo Toure likely to start from the bench.While Rodgers may be tempted to revert back to his diamond formation in order to accommodate his attacking options, we think he may stick with the central partnership that has formed between Steven Gerrard and Jordan Henderson.Naturally, players’ positions and roles alter with the ebb and flow of a match, but for the purposes of putting it on paper, we think it may look something like this. Although Liverpool failed to take maximum points against Everton, Gerrard and Henderson played well together, and it would be counter-productive to disrupt that.Ahead of them is another point of contention. Raheem Sterling is close to being undroppable, so we expect him to start, with Adam Lallana alongside him. Although Philippe Coutinho offered more creativity when introduced at the weekend, Lallana is starting to string together a handful of matches, something that is important for a player who missed a fair chunk of the start to the season.With Sturridge left back on Merseyside for such a key fixture, the onus will be on Balotelli to lead the line once again. The Italian needs support though, so we think it will therefore come in the form of outcast Fabio Borini, who has played with his compatriot already this season.Liverpool fans, how do you think you’ll line-up against Basel? Comment below…Basel v Liverpool is LIVE on talkSPORT on Wednesday, 1 October from 7pm. Click here for coverage.
The 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 3.4K
We live in interesting times. Centuries after Gutenberg, we now have a toolkit that allows anyone with Internet connectivity to produce content for the masses. There are no barriers, and on balance, this is a very good thing. With a bit of effort and some hustle, you can get attention, and attention is important if you have something of value to offer.The same tools that enable the communication of value also allow for the communication of things that lack value, things that instead only titillate. These tools are as powerful for the attention-seeker as they are for someone with a valuable contribution to make. And therein lies the difference: the value creator contributes something of value while the attention-seeker contributes something only designed to draw attention to themselves.There is a difference between what Seth Godin does and what Kim Kardashian does. Only one of them is going to be remembered for what they have contributed. Seth is only famous because of his great contribution. Kardashian is famous only for her ability to do anything necessary to draw attention to herself.For the creator, the question here is about your legacy. What do you want to be known for? What do you want your contribution to be? When people look back on the body of work you have created, how do you want them to be moved? Get the Free eBook! Learn how to sell without a sales manager. Download my free eBook! You need to make sales. You need help now. We’ve got you covered. This eBook will help you Seize Your Sales Destiny, with or without a manager. Download Now
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 Provo