A meeting is to be held to save the Ramelton Christmas lights.It was announced this week that the town’s famous festive lights will not be put up.However, a meeting to save the lights will be held in the town’s community centre this Monday, November 18th at 8pm. All interested are invited to attend the meeting.Meeting to save Ramelton’s Christmas lights was last modified: November 15th, 2019 by Staff WriterShare 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)
12 May 2009South African President Jacob Zuma’s new Cabinet appointments, along with a restructuring of government departments and the creation of a National Planning Commission to co-ordinate their work, have won widespread praise from business – and a wait-and-see response from international rating agencies.The markets have been reassured by the retention of former Finance Minister Trevor Manuel, whose moves into the Presidency as minister in charge of the new National Planning Commission has been taken by many as a promotion.Investors will also take comfort from the appointment of Pravin Gordhan as Manuel’s successor in the National Treasury. Gordhan became commissioner of the South African Revenue Service in 1999, and has been widely credited with the institution’s turnaround since then, raising state revenue well beyond targets and coming down hard on private and corporate tax dodgers.“With Pravin Gordhan in the ministry of finance and Trevor Manuel assuming responsibility for the National Planning Commission, we believe that concerns around rapid, radical economic policy changes are put to rest,” SA Chamber of Commerce and Industry CEO Neren Rau said on Monday.Brait economist Colen Garrow also welcomed Manuel’s new appointment, as well as Barbara Hogan’s move from the Department of Health – where she revolutionised the government’s approach to HIV/Aids treatment and care – to the Department of Public Enterprises.“Hogan is very switched on over economic and financial affairs,” Garrow told Business Report on Monday. “This is a good move.”Another significant change announced by Zuma on Sunday was the establishment of a new Department of Economic Development, headed by new minister Ebrahim Patel, to focus on economic policymaking, while keeping the implementation function with the Department of Trade and Industry, under Rob Davies.Davies’ promotion from deputy minister of trade and industry was welcomed by Business Unity South Africa CEO Jerry Vilakazi, who said that Zuma’s new Cabinet overall was a “very good combination of experience and change.”Rau agreed, saying the “assignment of strong leadership to various departments which were historically weak in terms of delivery demonstrates that delivery was not just campaign speak but is proving to be a hallmark of the Zuma administration in its early days.”Rau said it was clear that Zuma and his advisers had taken a “considered and critical” view of the structure of government, its weaknesses, and how it could be strengthened in the interests of better service delivery.Zuma told journalists on Sunday that the creation of the National Planning Commission followed extensive research on how governments in other parts of the world planned and monitored their performance.Rau said the principles underlying the establishment of the commission and the restructuring of various departments “seem to be grounded in sound management principles and, if appropriately implemented, should be successful in meeting the current and emerging challenges facing our nation.”Meanwhile, Business Day reported on Tuesday that international rating agencies were giving South Africa’s new Cabinet the benefit of the doubt on possible economic policy shifts.“I think policy will remain pragmatic,” Fitch Ratings sovereign director Veronica Kalema told Business Day. “The key thing for South Africa is to manage the fallout from the global recession, which means that options [for increasing state spending] are fairly limited.”Kalema said Fitch was sheduled to visit the country soon to assess the situation, and would be meeting with the new ministers to “get a better idea of who is calling the shots … but in general, we don’t think policy will change much.”SAinfo reporterWould you like to use this article in your publication or on your website? See: Using SAinfo material
Take the Cape Town open-top bus tour, ride the Table Mountain Cableway and explore the Two Oceans Aquarium – at reduced rates, without having to queue, in the space of one amazing day! That’s the Cape Town Go Card offer. Join us as we check it out!Click arrow to play video.Published on SouthAfrica.info on 10 March 2010.
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Captured on 35 mm (Kodak Vision2 50D 5201, Vision3 250D 5207, Vision3 500T 5219)Talking to British Cinematographer about previz and production, DP Haris Zambarloukos shared the following:In pre-production, The Third Floor set-up at Raleigh Studios in Manhattan Beach, where we shot most of the VFX sequences, they pre-visualised all the action sequences. Sometimes I would work with them on CG lighting, to give the previz a similar look to what we wanted to achieve, when we came to shoot.Along with the pre-visualised scenes, Wes created a ‘techviz’, where you can see the path of a witness camera in a scene. This meant we could discuss what equipment we’d need on the day, to make a shot work. For example, a shot might start at 40ft in the air, so we knew we’d need a 50ft crane.Captain America: The First AvengerImage via Paramount Pictures/Marvel Studios.Director: Joe JohnstonDirector of Photography: Shelly JohnsonUS Release: July 2011Camera Package:Arri AlexaArriflex 235Arriflex 435Canon EOS 5D Mark IIPanavision Genesis HD CameraPanavision Panaflex Millennium XL2LensesPanavision Primo Lenses, 27: 275 mm and 17.5: 75 MM zoom, 14.5, 17.5, 21m 27, 35, 40, 50, 75,100 and 150 mm Primes.Canon Lenses Captured on 35mm (Kodak Vision2 50D 5201, Vision2 200T 5217, Vision3 500T 5219, Vision 500T 5279)Image via Marvel Studios.Talking to the ASC about the race track shoot, 2nd Unit DP Jonathan Taylor revealed his equipment list included a high-speed camera-tracking vehicle, a Porsche 928 rented from Propulsion in Paris (driven by Jean-François Dubut), mounted with VistaVision cameras from Geo and Procam; an insert car rigged with VistaVision cameras, Arri 435s, and Canon EOS 5D Mark IIs; and a Mercedes SUV-mounted Russian Arm rented from Bickers Action. Additionally, ground cameras were positioned to grab shots of the Rolls speeding by, and even a helicopter, rented from Flying Pictures, was employed for aerial shots. “We had all the toys, and we ran a whole convoy around the track,” Taylor continues. “It was quite a trick to pull the whole thing off.”Equipment-wise, however, the second unit had its hands full:We used a couple of Photo-Sonics cameras for some high-speed crashes with the race cars. We also had a high-speed track alongside and synced with the race cars so we could launch everything at the same time, and run parallel to the cars. [Second-unit key grip] Richard Mall built the track, and we had four cameras on it: a VistaVision, a Phantom, and two Arri 435s.Taylor also incorporated Canon EOS 5D Mark II DSLRs, fitted with Canon lenses, as crash cameras.One of the problems with doing action stuff is finding interesting places to put the camera . . . [we] actually put the 5Ds on the cars we were going to crash. We cut holes for the lenses in small Pelican cases that we painted to match the cars. We got some amazing shots. Of course, it’s not film quality, but for a 12-frame cut in an action piece, it holds up very well.ThorImage via Marvel Studios/British Cinematographer.Director: Kenneth BranaghDirector of Photography: Haris ZambarloukosUS Release: May 2011Camera Package:Arriflex 435Panavision Panaflex Millennium XL2Panavision Panaflex PlatinumPhoto-Sonics 4ERLensesPanavision G-Series, ATZ, AWZ2 and SP Lenses Let’s look at the cameras used to capture the entire Marvel Cinematic Universe. First up, we’ll explore the Phase One films.I was curious about which camera was most used throughout the production process of the Marvel Cinematic Universe (MCU), so I took a deep dive into each of the films to find out.This was quite the journey back through time — and through tons of research — into the production of each film. So let’s sift through each phase: Phase One (2008-2012), Phase Two (2013-2015), and Phase Three (2016-2019). We’ll also look at what the future holds with upcoming Phase Four Marvel films.Here’s what I learned about the camera packages used on each Marvel Phase One film — from Iron Man to The Avengers. (Stay tuned in the following days for the next article in this series.)MCU Phase One: “Avengers assemble!”Iron ManImage via Marvel Studios.Director: Jon FavreauDirector of Photography: Matthew LibatiqueUS Release: May 2008Camera Package:Arriflex 235 (PanARRI)Panavision Panaflex Millennium XLPanavision Panaflex MillenniumLensesPanavision PrimoAngenieux Optimo 4:1 (17-80mm T2.2) and 12:1 (24-290mm T2.8)Cooke 15-40mm T2 Captured on 35 mm (Kodak Vision3 500T 5219), ARRIRAW, HD Video, CodexImage via Marvel Studios.In a conversation with ARRI, DP Seamus McGarvey spoke about avoiding a comic book look:Joss and I were keen on having a very visceral and naturalistic quality to the image . . . We wanted this to feel immersive and did not want a ‘comic book look’ that might distance an audience with the engagement of the film. We moved the camera a lot on Steadicam, cranes, and on dollies to create kinetic images; and we chose angles that were dramatic, like low angles for heroic imagery.For more on The Avengers production, check out 6 Filmmaking Takeaways from the Set of The Avengers and Avengers Assembled: Editing a Blockbuster.Update: A previous version of this post mentioned a portion of The Avengers was shot on an iPhone. This has been refuted by McGarvey.This concludes the first phase of the Marvel Cinematic Universe. For more installments, and a summary of the cameras most often used on Marvel films, check out Parts Two, and Three.The Cameras and Lenses Behind the Marvel Cinematic Universe: Phase TwoThe Cameras and Lenses Behind the Marvel Cinematic Universe: Phase Three Captured on 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219), SxS Pro, HD VideoIn his conversation with British Cinematographer, Shelly Johnson shared the following:Joe and I agreed to bend the period look slightly to accommodate a comic book superhero who wears a costume, face mask, and carries a large shield . . . We figured we could take certain liberties. On the other hand, Joe and I wanted a realistic look, so we had to strike a balance. Our research included studying visual components that we would integrate into the storytelling that are true to the period, as well as where we could stretch realism in compelling ways.The AvengersImage via Marvel Studios.Director: Joss WhedonDirector of Photography: Seamus McGarveyUS Release: May 2012Camera Package:Arri AlexaArriflex 435Canon EOS 5D Mark IICanon EOS 7DLensesPanavision Primo, Primo Zoom (PCZ), Frazier LensesCanon EF Lenses Captured on 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218)In a conversation with the ASC, Libatique shared the following:Cinematography typically takes on the character of the lead performer, and Robert is so improvisational the photography became the same way. Working with [Favreau] was really about giving the actors the freedom to become their characters. We ended up doing a lot of rigging on a large scale, so we could be ready for anything. And once we started shooting, I started improvising.The Incredible HulkImage via Universal Studios/Marvel Studios.Director: Louis LeterrierDirector of Photography: Peter Menzies Jr.US Release: June 2008Camera Package:Arriflex 235Arriflex 435 ESPanavision Panaflex Millennium XLPanavision Panaflex MillenniumPanavision Panaflex PlatinumPanavision C-Series LensesCaptured on 35 mmIn an interview with Collider, Louis Leterrier talked about the production:For me, it’s really not different. It really is not different. Do you know why? Because most of the budget goes into visual effects, so the actual tools that I had to shoot the movie with were pretty much the same. You know, the actors are a little bit more expensive and the visual effects are a little bit more expensive, but the actual money that I had to shoot my movie with was pretty much the same… You still struggle. You have to finish the day because the producers are like: “Oh you better finish the day or you’re going to get fired.”Image via Universal Studios/Marvel Studios.As for the now-legendary first crossover and appearance of Tony Stark (at the end of the film back in 2008) Leterrier shared the following:I begged Kevin Fiege, the President of Marvel, when I knew that Robert got cast, I was like: ‘We have to do crossovers.’ Crossovers — it’s the future of movie-making. Now that you have this, I was the one to beg them to do crossovers. They said Robert is going to be tough to convince. You know, and all that stuff and everything. So, eventually I got to talk to Robert and we liked each other, and he said, ‘Okay, I’ll come for a . . . I’ve got 5 hours that day.’ Let’s shoot in L.A. We were on the way back from Brazil about to go to the North Pole to shoot the opening sequence, with one day in L.A., actually. Iron Man was doing lots of reshooting. They reshot like two weeks, or something, and they had like half a day where they could give us half a day. So, I just directed Iron Man crew for one day. I brought in William Hurt that day and that was it. It was great. It was fantastic.That may be the understatement of the decade right there: “Crossovers — it’s the future of movie-making.”Iron Man 2Image via Marvel Studios.Director: Jon FavreauDirector of Photography: Matthew LibatiqueUS Release: May 2010Camera Package:Panavision Panaflex Millennium XL2Arriflex 435 AdvancedVistaVisionPhantomPhoto-SonicsCanon EOS 5D Mark II (some shots)LensesPanavision PrimoAngenieux Optimo Lenses, 15-40mm and 28-76mm Looking for more articles on the filmmaking industry? Check these out.Breakout Director Kat Candler on the Best Festivals for First-Time FilmmakersNAB 2019: Our Favorite Releases from This Year’s ShowIndustry Insights: A Conversation with Actor and Director Melanie MayronIndustry Insights: Below the Line Women Speak OutIndustry Insights: The Blasting Company on Animation Scoring
Here are two simple-yet-brilliant examples of how costume design can convey — and even dramatically transform — a character’s arc.Costume design is critical in film and video production. While some characters and scripts don’t call for anything special, the characters still need to look a certain way. A fifteen-year-old girl in 1997 wouldn’t dress the same as a forty-five-year-old man in 1939. Sometimes, costume design is either very overstated (with ridiculous or over-the-top outfits) or terribly overlooked (with characters dressed too similarly or just not representing their personalities or ages).Costume design is necessary because it helps convey who the characters are. So, when a character starts dressing differently, this can be a critical moment in their development — when handled correctly. But your costume design doesn’t have to be crazy complicated to pull this off.True LiesIn James Cameron’s 1994 action-romance-comedy True Lies, Jamie Lee Curtis plays the epitome of a dorky, bored housewife. Throughout the film, her clothes are brown, drab, and frumpy. True, the style in the ’90s was pretty baggy, but her clothes aren’t flattering at all.Compare her fashion to the film’s femme fatale, Juno Skinner (played by Tia Carrere). Juno’s clothes aren’t terribly revealing, but her clothes are tailored to fit her form, which reveals her figure. As Jamie Lee Curtis said, “Juno Skinner is everything Helen Tasker isn’t.”Image via True Lies.However, when Helen gets a secret mission to pose as a prostitute and dance for an arms dealer, she chooses the sexiest outfit she owns. The outfit is ridiculous, with frilly lace collars, sleeves, and accents. It’s like someone dyed a Disney princess’s dress black. But watch the clip and see what happens.When she sees herself, she knows something’s not right. There’s a lot riding on the success of the mission, and she must look the part. By simply removing the excess frill from the dress, suddenly this dorky, childish outfit transforms into a beautiful, sleek dress. This moment is important because it’s about more than just Helen playing a role to fulfill a mission. It’s about Helen embracing her courageous and daring nature — not hiding behind bad fashion and self doubt — and taking charge of her life. By the end of the film, she is no longer this bored, bland housewife who regrets not doing more with her life. Instead, she joins her husband as a daring secret agent, fulfilling her desire for an adventurous, thrilling life.Die HardJohn McClane is a rough-and-tumble New York detective. In many stories, this type of character wears a suit and badge, and carries a gun — much like Indiana Jones almost always wears his hat and jacket, and carries a whip. But Die Hard pushes John McClane to his limits.His costume is simple: dark slacks and a white tank top. While the tank top reveals some battle scars — giving us a glimpse of who John McClane is — it doesn’t convey much else. That is, it wouldn’t convey much else if the rest of the film involved sitting in that room waiting for the party to end. The brilliance of this simple costume is that it acts as a canvas for the trials ahead. In every action scene, every tense and bloody moment, the shirt becomes “painted” by his thrilling and death-defying actions. Eventually, he’s forced to use the tank top to bandage his foot, exposing him almost completely to the enemy.The costume design allows us to see what John McClane is made of. We don’t get an awesome costume or outfit to connect with him visually. We get, at first, something bland and normal. It’s his actions that reshape the costume to reflect the character.Quite possibly the most overdone, quick-costume-change-arc occurs when the flamboyant friend throws off the lead’s glasses and ruffles their hair, revealing a sexy vixen or a heartthrob. You see it a lot in rom-coms. But, using the more effective examples above, think about how you can incorporate subtle costume changes to convey a shift in a character’s arc. Challenge yourself to find simple-yet-clever ways to change or modify a costume to create a new attitude in one of your leads.Cover image via True Lies (Twentieth Century Fox).Looking for more on film and video production? Check out these articles.FIZ Systems (Focus, Iris, Zoom) and How to Use ThemFuel Your Audience’s Fears with Eerie Royalty-Free MusicFilmmaking Insights: The Hidden Power of Director’s CommentaryDo Studios Release Teasers and Trailers Too Early?From Favreau to Scott – Filmmakers Who Changed Direction in Post
There are many ways that a leader can fail. But if you want to reduce it to two areas that cover most of the territory, those two areas would include 1) failing to make hard, but necessary, decisions, and 2) failing to execute.One of the most powerful questions you can ask yourself is, “When I am no longer here and someone else takes my role, what are the first three decisions they’re going to make that will seem obvious to them and will look like complete negligence on my part?”You can find hundreds of ideas about what leadership requires, but the essence of leadership is moving those in their charge to a better future state. Avoiding making the hard decisions necessary to get to that future state is a recipe for failing as a leader.As a leader, you are required to make decisions that are difficult. You will have to reckon with very real, and very difficult issues without easy answers. You will make some of these decisions without perfect information, and while worrying about whether the decision is correct (something you may not know until you take enough action to be able to assess the decision). They greater danger is more often found in not making the necessary decisions.Equally as dangerous to leaders is a failure to execute on the decisions they make. If something needs to be done, then the accountability must cascade from the leader down to all the people in their charge. A lack of accountability for the execution of the decisions, the day-to-day things that must be done, will derail a leader as fast as anything else.It’s more likely that the decision and strategy are fine and the execution is poor than the other way around. It’s also more likely that as people resist change in an attempt to wait you out. If you want the results you need to deliver a better future state, accountability for execution is the recipe for delivering it.Leadership, in large part, is made up of making tough decisions and executing those decisions. Essential Reading! Get my first book: The Only Sale Guide You’ll Ever Need “The USA Today bestseller by the star sales speaker and author of The Sales Blog that reveals how all salespeople can attain huge sales success through strategies backed by extensive research and experience.” Buy Now
The Congress, meanwhile, is silent on the possible outcome of the meeting as the State leadership has been kept out of the loop on the developments in Delhi. “We are yet to get a clear picture from our high command. Yes, there is still a bit of uncertainty. But we are hopeful that a positive picture will emerge after the meeting between the presidents of both the parties,” a Congress leader said on the condition of anonymity. “We have presented our side to Soniaji and requested her that this opportunity should be taken up. But everything depends on her,” he said.The Congress is reportedly divided on whether to align with the Sena, uneasy with its anti-migrant and Hindutva ideology. Leaders of the Sena, Congress and NCP have drawn up a common minimum programme and sent the draft to their respective top leaders for approval.Meanwhile, Swabhimani Paksha chief and farmers’ leader Raju Shetti, who met Mr. Pawar ahead of the NCP core committee meeting in Pune on Sunday, said his party would support the ‘Maha Shiv Aghadi’ (Congress-NCP-Sena grand coalition). “Our fight is for farmers, and the BJP has time and again proved itself to be against their interests… we will be supporting any coalition which keeps the BJP out of power,” Mr. Shetti said.(With inputs from Shoumojit Banerjee) The uncertainty over who will form the government in Maharashtra looms large with all eyes now set on the meeting between Congress president Sonia Gandhi and Nationalist Congress Party (NCP) chief Sharad Pawar in Delhi on Monday.Other senior leaders of both parties are likely to reach Delhi on Monday and Tuesday as the talks between the party chiefs are likely to stretch for more than a day. The meeting in Delhi is likely to finalise the fate of the State’s political situation, and whether a Shiv Sena, Congress and NCP government will take shape for the first time.“Our president Sharad Pawarji will meet Congress president Soniaji Gandhi in Delhi on Monday. We held a core committee meeting and decided to plan our next move only after discussions with the Congress, as we fought the election together. Other party leaders will meet on Tuesday, and a decision on forming a government will be announced soon,” the NCP’s chief spokesperson Nawab Malik said.Also Read Maharashtra government formation: Congress decision likely in two days, says Prithviraj Chavan
Kin of Misamis Oriental hero cop to get death benefits, award — PNP Don’t miss out on the latest news and information. Odds even LATEST STORIES CPP denies ‘Ka Diego’ arrest caused ‘mass panic’ among S. Tagalog NPA QC cops nab robbery gang leader, cohort LA Tenorio addresses the PBA hopefuls in last year’s Draft Combine. Photo by Tristan Tamayo/INQUIRER.netBluechip recruits Christian Standhardinger and Kiefer Ravena are expected to go 1-2 in the 2017 PBA Rookie Draft.But for the rest of the field, they can have a chance to boost their stocks and move up the board as they try to impress coaches and scouts in the 2017 PBA Draft Combine set on Monday and Tuesday at Gatorade Hoops Center.ADVERTISEMENT View comments Trending Articles PLAY LIST 00:50Trending Articles00:50Trending Articles01:44Undas tradition: 2 mom’s crusade against trash at cemeteries01:37Protesters burn down Iran consulate in Najaf01:47Panelo casts doubts on Robredo’s drug war ‘discoveries’01:29Police teams find crossbows, bows in HK university01:35Panelo suggests discounted SEA Games tickets for students02:49Robredo: True leaders perform well despite having ‘uninspiring’ boss02:42PH underwater hockey team aims to make waves in SEA Games All 44 applicants are expected to show up as part of their requirement to proceed to the final list.Anthropometry and other performance and skills tests will be gauged in day one, while the neophytes will be divided to six teams, composed of seven to eight players, in a mini-tournament scheduled in day two.FEATURED STORIESSPORTSWATCH: Drones light up sky in final leg of SEA Games torch runSPORTSSEA Games: Philippines picks up 1st win in men’s water poloSPORTSMalditas save PH from shutoutCoaches and scouts from all 12 teams are expected to show up and evaluate the talents in the two-day event to see who they deem picking come draft day.The 2017 PBA Rookie Draft is set on October 29 at Robinsons Place Manila. MOST READ Stronger peso trims PH debt value to P7.9 trillion Kammuri turning to super typhoon less likely but possible — Pagasa Japan ex-PM Nakasone who boosted ties with US dies at 101 Brace for potentially devastating typhoon approaching PH – NDRRMC Typhoon Kammuri accelerates, gains strength en route to PH Read Next
In a controversy ahead of the London Paralympics, two Indian para-athletes — Amit Kumar and Jaideep — have refused to enter the Games Village until their personal coach Naval Singh was allowed to stay with them. A part of the 10-member Indian contingent, discus thrower Amit also claimed that he was not being allowed to participate in the category in which he was ranked number three in the world. “The coach under whom I have been training for six months, who understands my needs, is not being allowed inside the Games Village… I am ranked third in the world, but when I raise the issue (of not being allowed to compete in the category), our association asks me to shut up,” Amit said. Fellow discus thrower Jaideep said, “Only 10 days are left the event. I am not feeling strong mentally as I have not been able to practise under my coach. I have trained under him for eight months.” Reacting to the controversy, the Paralympic Committee of India (PCI) said that the coach, Naval Singh, could only be allowed entry in the morning and he would have to leave by night due to the International Olympic Committee (IOC) rules. With just five days left to the Games, the issue remains unresolved. The London Paralympic Games are scheduled from August 29 to September 9.