Reno supporters demand better – Graham

first_imgWESTERN BUREAU:Struggling FC Reno will have to find a way to avoid relegation, says the club’s head coach, Michael Graham, after watching his team give up a one-goal lead to title chasing Humble Lion in Sunday’s 1-1 draw in the Red Stripe Premier League.”I am a little disappointed because at 1-0 up and playing well in the first half, we came out flat in the second-half and allowed Humble Lion too much time on the ball and a goal we were dreading happened,” stated Graham.Reno are precariously perched just above the relegation zone with 31 points in 10th place, but have breathing room between themselves and red zone teams Rivoli United (23) and Waterhouse FC (22).That, however, is no comfort to the ambitious Graham, who believes winning a paltry seven matches out of 27 is not good enough for the three-time League winners.According to Graham, the club’s rich history and the passionate diehard supporters demand more from their players.”We know where we are letting down the fans. We have an all-round decent squad of players, but for some reason, we cannot get the ball into the net. We tend to create plenty chances in match situations and score few.”That is why we are not doing as well as we would like, and it’s hurting the club’s prospects going forward,” reasoned Graham.Roshane Sharpe has taken on the club’s goal-getter role, netting his sixth goal of the season in Sunday’s match against Humble Lion at Frome Sports Complex.biggest headacheHowever, it’s in defence that Graham has the biggest headache. Reno have conceded 40 goals in all this season, making them the league’s second-worst defensive team behind ninth-placed Boys’ Town FC (43).”We realised that we are not doing a good job in defence, even though we have who I consider good players in there. We are not scoring enough, and on the other hand, we are conceding too many,” Graham said.”That is a recipe for disaster, and the club can do without that at the moment. However, we still have some critical matches ahead of us, so we must give our all to put ourselves at least mid-pack at the end of season,” added Graham.last_img read more

Mack shuts out Arcata in Big 5 clash

first_imgMcKenzie Gonsalves threw a complete-game shutout and the McKinelyville High softball team beat its Big 5 Conference rival Arcata 4-0 in the first of a 3-game series, Thursday afternoon at Arcata High.Gonsalves struck out six and walked two during her time on the mound, giving up no runs on three hits. Gonsalves also went 2-for-2 with two RBIs at the plate, scoring Lexi White on a single in the second inning and Jaycee Morais in the third off a sac-fly RBI.White had one hit in the win and …last_img read more

Warriors refute report that Stephen Curry is likely to miss entire season

first_imgMINNESOTA — Warriors guard Stephen Curry has not been ruled out for the season, a source told Bay Area News Group Friday, refuting an earlier report that Curry is likely to miss the entire season with a broken hand.Bleacher Report’s Ric Bucher wrote Friday that “a team source says the fracture was worse than originally thought, and it’s unlikely that he plays again this season.” The Warriors’ expectation is for Curry to be re-evaluated in February, as originally intended, and decide on next …last_img read more

3 Ways to Achieve Smoother Results in the Edit Room

first_imgSince FCPX shook up the post-production world a few years ago, many editors have been heavily focused on the ‘NLE Wars’, trying to choose the best software for their needs. Now that the dust has settled, let’s look at some fundamental editing techniques that are relevant no matter what system you’re editing on.Picking the right takes and creating a basic assembly edit is an art of it’s own, undoubtably. But when it comes time to actually create a presentable rough cut or fine cut of your film, small nuances in the editorial process can hugely change the perception of your film by the viewer. For instance if there is a slight continuity error between two shots, the viewer may not notice that error outright, but they will feel it. Assuming that particular edit was clunky and obvious, the viewer will subconsciously be removed from the film as they start to see the edits.1. Edit Between Camera MovesThis first point specifically applies to scenes comprised of moving footage – whether it be handheld, Steadicam, jib, etc. You need to be really careful when editing between two shots or takes in a scene that have any sort of camera movement to them, as choosing the wrong edit point can result in some pretty nasty results. To illustrate this example, imagine a scenario where you cut from a handheld shot that was panning from right to left to a different handheld shot (from another angle) that is tilting up. In most circumstances, this edit would look very jarring and would be unpleasant to watch. There may be some scenarios where it could work or where you are going for a more disconnected type of aesthetic, but in most cases it just wouldn’t look good.The better option would be to cut from the right/left panning shot to another right/left shot that then slows down and tilts up (continuity of camera movement). If you don’t have the footage to do this with, you might be able to at least sit on the first shot a little bit longer until there is some sort of vertical movement (even if it’s a camera shake) and then cut into the up/down vertical pan then. A difference of a single frame or two could make or break the smoothness of the edit when dealing with moving footage, so always be very cognizant of that and try to find some sort of commonality between the moving shots that you are intercutting.2. Look For Physical Movement In The FramePicking up from the first point above, it is equally important to find fluidity in movement, even when cutting between two static (tripod) shots. No two shots are ever going to match perfectly, unless you are editing footage that was shot in a multi-camera environment, so the key to matching static shots is looking for the movement that the audience is going to be watching. For example, if you are cutting from a closeup to a wide shot and the actor reaches up to brush her hair, you will likely want to make your cut as her hand is reaching through the frame and up to her head. By doing this it will hide any continuity issues or inconsistencies in other parts of the frame. Cut on the action.Let’s say there was someone walking in the background on the tight angle, but they aren’t there on the wide, that won’t be nearly as noticeable when you are cutting on the actor’s physical action as the audience is watching her, not the background. It also goes without saying that you need to be very careful about matching the exact frame where the movement of her arm in one shot is nearly identical to the other, because if you don’t match them perfectly it can feel like a jump cut.3. Use Diverse CoverageOften times on larger scale productions there is a lot of coverage (different angles) being shot of any given scene. This is great for you as an editor because it opens up all sorts of possibilities for crafting the scene in the editing room, but it also needs to be approached with caution as there may be so much coverage that it can lead to strange edits between similar looking shots.A basic setup consists of a wide master shot and closeups for coverage, but in many cases the director and DP may decide to get additional footage by shooting various angles of the closeups and wide shots. This needs to be approached with caution in the editing room as edits typically look most natural and fluid when two shots are cut together that contrast each other well. For instance, a wide shot and closeup are going to look very different from each other and should cut together naturally, whereas a closeup and another closeup from a slightly different angle will not cut as well.A few thoughts:You can cut between two closeups of the same character, but you need the shot to be significantly different.If you cut between a head-on close up and a profile close up, that could work, but if you cut between two closeup angles that are very similar, the shots will not be diverse enough to create a dynamic edit.If you need to get from one closeup to another (and they are taken from a similar angle), try first cutting away to the wide, or a reaction shot from the other character in the scene, and then cut to the new close up.I can not overstate the importance of creating smooth and fluid editing points as a means to connect with your viewer in the most effective way possible. Crafting a story in the edit is obviously critical, but without smooth edits in place the story will never be served well, and the viewer will be taken out of the film and miss many of the story beats that you have worked so hard to integrate into the film.By simply paying attention to each and every edit point that you create, making sure they are all purposeful and smooth, you will be well on your way to creating a polished cut. Always look for movement to cut on between shots (whether it be a camera move, or a physical movement in the frame),never cut between two really similar shots, unless you are going for a veryspecific type of effect.last_img read more

The Leadership Playbook: But They Made President’s Club Last Year

first_imgThe salespeople that you are unhappy with now made President’s Club last year. Up until recently—very recently—they were doing what was required and expected of them. For years, what they are doing now was the right thing to do, and no one ever told them otherwise.While you are busy being unhappy with the fact that your people haven’t changed to meet your new requirements and expectations, they’re busy trying to figure out why everything has to be different now. You were both successful just a year ago doing things the way you had always done them.You Broke the ContractYou are struggling to help your people change because you broke the original contract. Even if you expected more in the past, your acceptance of the prior performance is part of that contract. I’m not talking about a formal, paper contract. I am talking about the real contract, the unspoken agreements that you made with your people.If you don’t believe that your sales force has the right to unilaterally change the contract, then you don’t have an absolute right to unilaterally change the contract either. This means that transformation requires a new contract. This means you need consent.New Terms and New ConditionsIf you need a new contract, you are going to have to explain why the new contract is necessary. You need to share those reasons, and you need to share what is at stake. If you are breaking one contract and replacing it with another, there needs to be a compelling reason why.If the conditions of employment and the requirements of the role need to be modified, you are establishing a new contract. The truth of the matter is that the individual members of your sales force are free to accept or reject the new terms and conditions. I’m not writing about compensation or other pecuniary matters here; I am talking about their deal when it comes to what is expected of them.New terms and new conditions have to be shared, sold, and agreed to.Some Will Refuse a New ContractThere are some who were comfortable with the old contract and have no interest in a new contract. They’d rather leave than change what they’ve always done—and often been rewarded for—in the past. There are some who will pretend to accept the contract, only to violate the letter and the spirit. This is part and parcel of transformations.That said, it is important to remember that you broke the contract and it is your job to win hearts and minds. It also means you need to remember that 1 comes before 2, and that transformation is 1,000 conversations and 10,000 actions. It’s a long game, and you have to play. 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 Nowlast_img read more

Bihar, where state-run girl shelters are under the scanner

first_img How many such homes are there?Social Welfare Minister Manju Verma, whose husband too was accused of visiting the Muzaffarpur shelter home frequently, says there are 110 such shelter and short-stay homes in the State for girls and women, “but we’ve reports of irregularities at only five of them, while the rest are doing well.” However, the 100-page TISS report said officials had pointed out several discrepancies at over a dozen shelter and short-stay homes, including at Motihari, Chhapra, Sasaram, Bhabhua, Vaishali and other places.Will they be probed as well?Department Principal Secretary Atul Prasad said that in view of the TISS report, investigations were going on at all shelter and short-stay homes and suitable action would be taken, if discrepancies were found. If need be, girls and women would be shifted from there and the NGOs given the contract to run the homes would be blacklisted, he said. The Muzaffarpur home has already been sealed and girls have been shifted to shelter homes at Patna, Mokama and Madhubani. The NGO had also been blacklisted, he said.What happens next?The government has recommended a CBI inquiry into the Muzaffarpur case and the names of several bigwigs are expected to surface in the investigation. Mr. Prasad admitted that the TISS social audit report was an eye-opener and said the Department would consider a number of measures to prevent such incidents occurring again. Among some of the suggestions are installation of CCTV cameras and deputing transgenders as security guards at such shelter and short-stay homes. What happened?A social audit report prepared by the Tata Institute of Social Sciences (TISS) found that at a State-run shelter home, Balika Grih, in Muzaffarpur, a north Bihar district, 34 of the 44 girls had been sexually exploited. Following the report of “physical and sexual violence” against girls at the home, the Opposition parties sought a High Court-monitored CBI probe. On Thursday, the State government recommended a CBI inquiry.How did it come about?In June 2017, the Social Welfare Department, which looks after shelter and short-stay homes in the State, asked the TISS to prepare a report on their condition. The report, submitted to the Department on April 26 this year, made startling revelations about “physical and sexual violations of girls,” especially at the Muzaffarpur home. On May 31, the Department filed an FIR at the women’s police station in Muzaffarpur, seeking “suitable action” on the plight of girls as mentioned on page 52 of the TISS report under the caption ‘Grave Concern.’ On June 2, the Muzaffarpur police arrested Brajesh Thakur, the man who was managing the NGO, Sewa Sankalp Evam Vikas Samiti, to which the Department had given a contract to run the home. Subsequently, nine other persons, seven of them women employees at the home, were arrested and sent to jail. A chargesheet was filed on July 26. One accused, Dilip Verma, is absconding.Why does it matter?The Muzaffarpur case has come as a huge embarrassment to the Nitish Kumar-led NDA government as Opposition leaders not only raised the issue strongly in and outside the State legislature but also accused the government of protecting Thakur. A local politician, Thakur is believed to have close relations with several BJP and JD(U) leaders. He had contested the Assembly election in 1995 and 2000 from Kudhani in Muzaffarpur as a candidate of the Bihar People’s Party, then an NDA ally, but lost. He also runs a vernacular newspaper Pratah Kamal from the same building in which the shelter home is located, and was in the State press accreditation committee too. His newspaper, despite having a very low circulation, was empanelled by the government’s Public Relations Department and has been the beneficiary of government advertisements worth crores of rupees.last_img read more