Wanyama was sidelined for four months last season and the development is another blow for the White Hart Lane club’s engine room.Pochettino is already missing World Cup pair Eric Dier and Mousa Dembele, while Harry Winks and Josh Onomah are also sidelined.“Victor is back in London because he needs to see the doctor there and assess in the next few days and see what happened,” Pochettino said.Sissoko was removed in the first-half of a match which saw a spirited Spurs come from 2-0 down with goals from Son Heung-min and Georges-Kevin N’Koudou to force a draw against a similarly under strength La Liga side.‘We’ll assess tomorrow, the next few days to see what happened,’ the Argentine said. ‘We hope it’s a minor injury but he feels his hamstring.’Tottenham are yet to make a signing in this transfer window but Pochettino remains relaxed about the situation.‘I think we’re going to, sure, see what happens in the next few days,’ he said. ‘If you say we need to sign there, maybe, but with or without injuries that was our target after we finished last season – to add some players with qualities that can help us achieve all that we want. With or without, I think we are going to.‘Of course (I’m relaxed),’ he added. ‘After many years in football, I think nothing’s going to change if you have different moods or humour. You need to be relaxed, working hard.My focus is trying to help the team and develop the way we want to play and arrive in the best condition to start the season. Nothing’s going to change if I changed my behaviour or the way I act.’-By Daily Mail0Shares0000(Visited 1 times, 1 visits today) 0Shares0000Wanyama was sidelined for four months last season and the development is another blow for the White Hart Lane club’s engine room.LONDON, United Kingdom, Jul 30 – Harambee Stars and Tottenham Hotspur midfielder Victor Wanyama has gone back to London with a recurrence of a troublesome knee problem as Tottenham’s midfield injury crisis deepens.Manager Mauricio Pochettino, who believes transfer activity may happen in the coming days, revealed that the Kenyan has flown back from Spurs’s US tour following a 5-3 penalty shootout defeat by Barcelona which saw Moussa Sissoko limp off with what appeared to be a hamstring issue.
The tragic death of toddler Joshua Coyle could have happened to any one of us, local priest Fr Eamon Kelly has said.Tragic Joshua Coyle who was killed on Friday.The parish priest of St Eunan’s Cathedral in Letterkenny was speaking in the aftermath of the freak accident which has plunged the town into mourning.The 22 month old died after he was struck by a van at his home at Crieve Glebe near Bomany on Friday evening. Fr Kelly said “It’s an awful tragedy and an awful accident to happen….so simple the way it happened.“The whole community is just stunned; talking to people in the town, they’re just in shock. I suppose every one of us knows it could have been any of our families.”Parish priest of St.Eunan’s Cathedral, Fr Kelly added that people should remember such an accident can so easily happen.“Any of us who have wee nieces or nephews or brothers and sisters, we all know how simple and easy it is – they run out and can be so excited. “The wee boy just didn’t have a chance,” he added.A post mortem took place on beautiful Joshua’s remains yesterday.His parents Alex Coyle and Suzanna Mangan are today preparing to say a final goodbye to the little boy who lit up their lives. TRAGIC JOSHUA – ‘IT COULD HAVE BEEN ANY OF US,’ SAYS FR EAMON KELLY was last modified: September 29th, 2014 by StephenShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:deathdonegalFr Eamon KellyJoshua Coyleletterkennyvan
CLICK HERE if you are having a problem viewing the photos or video on a mobile deviceSANTA CLARA — Niners fans have been looking towards the NFL Draft since Jimmy Garoppolo tore his ACL in September. It’s understandable: In this lost season, the reward of a high draft pick can make losing tolerable.But that doesn’t mean that winning shouldn’t be celebrated. The 49ers beat the Seahawks for the first time since 2013 Sunday, with Robbie Gould’s 36-yard field goal in overtime deciding …
The myth of the brutish, subhuman Neandertal is apparently almost dead. Science1 Oct. 1 showed a picture of him in a business suit in an article entitled, “Dressed for Success: Neandertal Culture Wins Respect.” Michael Balter writes, “respect is growing for Neandertals” as evidence mounts that they made jewelry, wore clothing, and survived a variety of harsh climates by their wits. Balter reports that most of a hundred archaeologists and anthropologists gathered at Gibraltar last month agreed that Neandertals were “complex hominids doing complex things.” They may not have had the better needles of their “modern human” neighbors, but their sharp, pointed bone awls could have easily pierced animal hides to make clothing. And clothes they needed: new studies show that their stout, muscular bodies would not have provided much protection from their low-temperature habitats, as previously assumed. Several at the meeting argued that Neandertals were also culturally the equals of the other humans. Radiocarbon dates that had been used to separate the two groups have lately been called into question (for example, see 07/08/2004 headline). Some are now arguing that Neandertals independently developed culture, art and tools without borrowing the technology from their presumably more advanced newcomers. Leslie Aiello (University College, London) summed up the revisions: “The Neandertals had big brains, and they must have been using them for something.” The gap is closing, but we haven’t fully closed it yet.”1Michael Balter, “Paleoanthropology: Dressed for Success: Neandertal Culture Wins Respect,” Science, Vol 306, Issue 5693, 40-41, 1 October 2004, [DOI: 10.1126/science.306.5693.40].If it were not for evolution-inebriated Charlie worshipers wanting to force scattered fossils and artifacts into a timeline of progress, this whole mess would not have lasted so long. It’s time to conclude the old brutish-Neandertal story they told us for over 100 years was just another mistake in the long tradition of Darwin Party mistakes. For that matter, the entire suite of early-man tales we were taught in the textbooks is now in the trash (see 02/15/2002 and 09/23/2004 headlines). The evolutionary hall of shame would make for an interesting museum: show all the supposed human ancestors that were either hoaxes or misinterpretations (better buy plenty of floor space) and let viewers learn lessons from real, observable history. Joachim Neander himself would feel vindicated (see 10/26/2001 headline).(Visited 10 times, 1 visits today)FacebookTwitterPinterestSave分享0
One product in the Adobe Production Suite that often gets overlooked is the powerful Encore DVD authoring application. Here are 9 tutorials that will get you up to speed on Encore in no time!Creative Cow contributor and Premiumbeat blogger Andrew Devis recently completed a 9 video tutorial series on creating and authoring DVDs in Adobe Encore. Although video pros are dealing less and less with DVDs, for many clients and consumers it’s still the medium of choice. Knowing how to create and deliver quality (and often complex) DVDs is still essential for post production professionals. In addition to standard DVDs, Encore provides the tools necessary to author Blu-Rays.In this 9 part video series for Creative Cow, Andrew walks you through all stages of Adobe Encore DVD creation, from importing video sequences to creating complex menus and buttons. 3 videos are dedicated to creating Slideshows using Encore – a robust use of that application.Naturally, the more complex the DVD project the more room there is for error. Andrew walks you through how to check your DVD for quality and insure it’s free from common oversights and errors. The last thing you want is to deliver a DVD to a client with tracks disconnected or playback errors – ouch!Adobe Encore is a good solution if you’re looking for a DVD solution in your post production pipeline, especially if you’re already an Adobe diehard or Premiere Pro editor.Check out the first few Adobe Encore tutorial videos below (the full series is on Creative Cow).What do YOU use for your DVD authoring?Are your clients still asking for DVDs? Blu-Rays?Let us know in the comments!
Here’s a quick introduction to the four main types of tools you need to know in order to calibrate footage, sound, and monitors.Whether you’re in the field or the in editing bay, your eyes and ears alone are never enough to accurately judge the fidelity of your images — or sound. In this article, we’re taking a look at the four main types of tools you’ll need to know how to use to properly calibrate your footage, sound, and monitors.First, you need to calibrate all of the cameras and monitors on-set and in the editing studio in order to be certain that all alterations made to the footage aren’t based on improperly calibrated recorders — or monitoring devices.Proper calibration starts before you roll the cameras. Everyone knows how to hold a card in front of the camera for White Balance, but let’s take a look at the three main types of balance cards, and what they do best.Balance CardsImage via ChromLives.WhiteWhite cards are — well — white. Pure white to be exact. When setting the white balance to a white card, the camera (or processing software) should be able to properly calibrate the ambient light of a shot, along the blue-yellow axis of the color wheel. White balancing the image against any color, other than pure white, can alter the accuracy of the colors in the image, introducing headaches to the post pipeline (unless you’re doing it on purpose).Using a pure white card also aides in exposure. If the card is blown out, it’s likely your shot is overexposed. To use a white card, hold it in the key light of the shot, navigate to the manual white balance setting on your camera, aim the crosshair (or indicator) at the card, and set the white balance — it’s that easy.GrayFor exposure, grey cards are the better tool. Gray cards are a specific hue and brightness referred to as neutral gray — or 18% gray. The “18%” or “neutral” refers to the luminance value of the gray, which is essential for a number of important filmmaking tools.The luminance of the average light in an average scene, averaged together, results in a value of 18%. Because of this, camera sensors are tuned to produce proper exposure at 18% gray. The power of the gray card is its utility in dialing in contrast ratios, lighting setups, and other exposure applications.To use gray cards, have someone position the card in important areas of light (in the scene) while you adjust camera settings, meter the light, or otherwise instruct your crew. Through the viewfinder, you know that you are looking at an 18%, neutral grey reference. Therefore, dialing in an accurate look is as simple as adjusting light in a given area, or simply stopping up or down.While contentious on the internet, white balancing on a gray card can skew the final balance of the shot. The inaccuracy might not be immediately obvious. However, when setting the white balance, the camera (or software) is outputting results based on an assumed input of white, or the closest thing to white in the frame. Even though neutral gray won’t skew your color balance significantly, it will affect the output of the pixels on the other side.Color ChartImage via X-Rite.Color Charts are commonly referred to as color chips, passports, or checkers, even though they serve a similar function to the balance cards. Although they are the most expensive of the three (at about $100), a color chart can largely replace gray and white cards, if it also has proper white and grey palettes.Color charts are comprised of 16 color palettes — pure black, pure white, and 18% gray portions — in addition to a number of other various tools, depending on the model.To use a color chip most effectively, roll with it positioned in the key light of the shot (for a few seconds). If someone’s holding it, have them rotate it from left to right a few times, making sure to get multiple frames without any glare on the chip.With each lighting setup, if you capture a few seconds of footage of the chart in the key light, you can save dozens (if not hundreds) of hours in the post-production process. The DIT, or colorist, loads the footage into DaVinci Resolve by simply lining up the boxes on the color chart with an overlay. Then, Resolve automatically matches the colors in the chart (in the footage) with their known values. This essentially bypasses the tedious correction phase of the grading workflow, while ensuring highly accurate colors.Test ToneOne of the simplest and most useful calibration tools is the Audio Tone Generator. Although there are a myriad of tones for specific sound applications, the most commonly used for calibration in video production is 1000 Hz at -20 dB.Tone calibrates the recording and playback devices to a standard loudness rating that ensures consistent sound levels, regardless of the final playback device.To use reference tone, simply play it (or otherwise generate it) and raise the levels until they reach the desired level on the meters. This is usually 0 dB, but different generators and programs have different target thresholds. Premiere, for instance, generates its bars at -12 dB. Regardless of where you set your levels, the point remains the same — tone ensures that your playback devices are set with enough headroom in the mix to not clip and cause uncomfortable crackling in the speakers during playback.SMPTE Color BarsColor bars are one of the most easily recognizable calibration tools through their widespread use in televisions, cameras, and other recording and playback devices — since 1956. Though modern color bars have added a few features, their form and function have largely remained the same for 63 years.Color Bars break down into three vertical sections, but all of these sections are used for calibrating color, contrast, and brightness. While the color bars are simple enough to understand, there are a few sections of the bars that might not be intuitive without prior experience calibrating with bars.PLUGE BarsThe three, small rectangular stripes below the red bar are referred to as the “PLUGE” bars. PLUGE is short for Picture Line-Up Generating Equipment, and you use them in conjunction with the white square in the bottom portion of the bars to properly adjust the shadows and black levels of very low exposure levels on the screen.-I and +QThe other portions of the bars worth mentioning are the dark blue and purple squares in the bottom left of the pattern. You use these blocks to decode the color portion of a video being broadcast for television using NTSC (North and Central America, Japan). -I is an abbreviation of “-In-Phase,” while +Q means “Quadrature.” For most people using color bars, these portions can be skipped.Here is a video showing the full process of calibrating a monitor using SMPTE Color Bars from Lynda:If you prefer a written walkthrough, PremiumBeat’s Rachel Klein has a fantastically detailed article on calibrating monitors using color bars. We’ll list the steps here as well:Generate or load Color BarsDim the lights and make sure there are no reflections on your monitorSet “Contrast” or “Picture” to the middleBring “Chroma” or “Color” to zeroAdjust “Brightness” until the middle PLUGE bar just barely disappears (the far right PLUGE bar should just barely be visible)Bring “Contrast” or “Picture” up to 100, then lower until the white square in the bottom right just begins to be affectedBring “Chroma” or “Color” back up until the colors no longer bleed, and the edges between rectangles are clearly definedAdjust “Hue” until the yellow bar is lemony and the magenta bar is pure magenta (not skewing red or purple)With a basic understanding and application of these four tools, you can rest soundly after a long shoot, knowing that when you load your picture and sound into your editing program in the morning — everything will look and sound just the way you wanted.Cover image via antb.Looking for more articles on film and video production? Check these out.How to Perfectly Position Your Content in Premiere Pro 2019The Essential Guide to Finding Deals on Video Production GearMulti-Camera Direction Tips for Properly Shooting Live EventsThe 6 Best Filmmaking Cameras Under $1,000How to Use These 4 Free Animated Texts in Your Videos
I recently heard a story about a company that sues their clients when they attempt to terminate the relationship. It doesn’t matter if this company isn’t performing up to their client’s expectations or needs. This company doesn’t care that they’re not creating the value their clients need from them. If they leave early, they get sued.When I heard this story, I was incredulous. I mean, if a company sued a client for breaking the contract once, I’d assume it was under some rare circumstances. But I was wrong. This company routinely sues their clients, and their existing clients won’t consider changing firms until their contract with this firm expires.I can’t imagine signing a contract with this company knowing that this is their practice. If I were their competitor, I’d use all of the clients they sued as my references.Everyone has a contractual relationship. But if the contract is the basis of your clients doing business with you, then you are failing as a sales organization (and you are failing a business).A contractual relationship is a very weak form of relationships. The strongest relationship you can have is one built on caring and creating value. Those are the relationships that stand the test of time. They’re also the relationships that withstand competitive threats.If your client does business with you only because you have a contract, your relationship isn’t worth the paper it’s written on.