Resource Discovery: Power and Control Wheel Models

first_imgBy Christina Herron, MSUnderstanding the patterns and dynamics of a domestic violence relationship can be challenging. One resource that may be helpful to service providers and mental health clinicians is the Power and Control Wheel. Power and Control wheels are tools used to help individuals explain and understand the different tactics an abusive partner can use to control and manipulate a relationship.The National Center on Domestic and Sexual Violence has created a resource page titled, “Wheels Adapted from the Power and Control Wheel Model,” with different variations of the Power and Control Wheel. There are approximately 70 Power and Control Wheels that range in topics from domestic violence, abuse later in life, child abuse, bullying, advocacy empowerment wheel, equality wheel, police perpetrated domestic violence, immigrant power and control, alcohol and other drug abuse, etc.  Be sure to check out all of the useful resources this website as to offer.Below is a Power and Control Wheels that could be useful for your work with Military personnel and families.Military Power and Control Wheel by National Center on Domestic and Sexual ViolenceThis post was written by Christina Herron, MS, a member of the MFLN Family Development (FD) team which aims to support the development of professionals working with military families. Find out more about the Military Families Learning Network FD concentration on our website, on Facebook, on Twitter, YouTube, and on LinkedIn.last_img read more

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New Medical Treatment for Gastroporesis

first_imgAugust is National Gastroparesis Awareness Month! (healthline.com).What is it?Gastroparesis is a condition in which the motility in your stomach is slowed down or stopped, preventing the stomach from emptying properly, (mayoclinic.org).What changes should you make to your diet? Eat smaller meals more frequentlyChew food thoroughlyLow-fat foodsSoups/pureed foodsDrink lots of waterExercise gently after you eat (aka walk)Avoid carbonated drinks, alcohol, and smokingAvoid laying down after a meal (mayoclinic.org)Recommended foods:Starches – white bread, plain bagels, pancakes, white crackers, rice, and crackersProtein – lean beef, veal, and pork, chicken or turkey (no skin), crab, lobster, shrimp and oysters, tuna (in water), eggs, tofuF/V – carrots, beets, and mushrooms (cooked), fruit juices, applesauce, bananas, peaches and pears (canned)Dairy – milk, yogurt, custard, and pudding Are there medications to help? Metoclopramide (Reglan) – used to treat conditions of the stomach and intestines, for short-term use. For gastroparesis, it can help with symptoms of nausea and vomiting (webmd.com)Domperidone – medicine that increases the movements or contractions of the stomach and bowel, used to treat nausea and vomiting (mayoclinic.org)New research/medicine for gastroparesis:If patients do not respond to diet changes and medication for gastroparesis they can opt to do a surgical procedure called gastric electrical stimulation for severe cases of gastroparesis. This, in addition, can help diabetic gastroparesis patients by helping to maintain normal blood glucose levels. The implantable pulse generator and two intramuscular electrodes, which are inserted into the muscular layer of the stomach (Kadirkamanathan, S.S., Wingate, D.S., Epstein, O., Winsler, M., MacPherson, M., Fullarlon, G., 2004) help to activate the vagal afferent pathways to influence the central control mechanisms for nausea and vomiting (Wo, JM., Nowak, TV., Waseem S., Ward, MP, 2016).Resources:Drugs & Medications. Webmd.com. https://www.webmd.com/drugs/2/drug-8679/metoclopramide-oral/details. Published 2018. Accessed July 24, 2018.Gastroparesis – Diagnosis and treatment – Mayo Clinic. Mayoclinic.org. https://www.mayoclinic.org/diseases-conditions/gastroparesis/diagnosis-treatment/drc-20355792. Published 2018. Accessed July 24, 2018.Gastroparesis Diet: Foods to Avoid, Foods to Eat, and Recipes. Healthline. https://www.healthline.com/health/gastroparesis/gastroparesis-diet#foods-to-eat. Published 2018. Accessed July 24, 2018.Healthline: Medical information and health advice you can trust. Healthline.com. https://www.healthline.com/. Published 2018. Accessed July 24, 2018.Kadirkamanathan S, Wingate D, Epstein O, Winsler M, MacPherson M, Fullarlon G. GASTRIC ELECTRICAL STIMULATION (GES) FOR SEVERE GASTROPARESIS–INTERIM RESULTS FROM A UK REGISTRY. Gut [serial online]. April 2, 2004;53:A29. Available from: Complementary Index, Ipswich, MA. Accessed July 24, 2018.Wo J, Nowak T, Waseem S, Ward M. Gastric Electrical Stimulation for Gastroparesis and Chronic Unexplained Nausea and Vomiting. Curr Treat Options Gastroenterol. 2016;14(4):386-400. doi:10.1007/s11938-016-0103-1last_img read more

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20 Pieces of Film Gear You Can Print With a 3D Printer

first_imgCreated by: Tom Porter (mandy2tom)Photo by: Tom Porter (mandy2tom)When it comes to video editing, organization is key. Using this nifty SD card holder, you can place all of your cards in a single place at your editing bay. After you get done dumping a card, you can flip it around in the case to signify that you’re done with it.15. Lens Hood Photo by: Joey R. (3dHobbies)Created by: Joey R. (3dHobbies)While you will definitely not want to 3D print a rail system, you can 3D print a slider and slider mount if you’re looking for a low-cost DIY slider solution. This model was created for a GoPro, but you could use any small camera in its place.19. Custom Film Slate Photo by: Steven LuscherCreated by: Steven LuscherEvery indie filmmaker should own at least one glidecam. They are typically easy to use and can produce some incredible results. This simple 3D-printable rig uses a pole, counterweight, and 3D-printed gimbal to balance a camera for long tracking shots.18. Slider Created by: mars CubedPhoto by: mars CubedA microphone shock absorber is crucial if you want to get pro boom audio. Using this fun design created by mars Cubed, you can create a decent shock absorber. You’ll just need to purchase the rubber bands separately.13. Lens Caps Created by: Tony BoernerPhoto by: Tony BoernerWhile a zip-tie follow focus rig will do in some situations, it certainly isn’t perfect. A much better approach would be to use this zip-tie/3D-printed-lever combination. The arms have teeth that can grab onto the rubber gear rings on your lens.3. Gear Rings Created by:  Caleb Barrett (bipedal)Photo by: Jonathan Stephens (sirbrialliance)If you do a lot of field recording, then you know that a pistol grip is a great accessory for recording on-location audio. This simple grip features an adjustable head, allowing you to tilt the grip however you see fit.6. 360 VR Rig Created by: Ana Marazzi (amamarazzixd)Photo by: Ana Marazzi (amamarazzixd)Want to make your next big film look super-legit? Just 3D print a custom clapboard with the name of your production embossed in plastic. After you print out this 3D model, you can simply apply some adhesive white board to make it easy to use on a video or film set.20. Portable Audio Recorder Mic Stand Adapter Created by: Alex Forey (alfo)Photo by: Alex Forey (alfo)If you want to create your own version of an EVF, you can print out a tube to block incoming light. While the example above uses white, I personally recommend using black, as it won’t distort your light quality when looking through the eyepiece. You’ll also probably want to purchase an eyepiece separately if you want a more comfortable EVF.11. Umbrella Holder and Hot Shoe Adapter Created by: Tyler Winegarner (photoresistor)Photo by: Tyler Winegarner (photoresistor)Blackmagic cameras are notorious for having difficult-to-discern screens. Fortunately, 3D printing a screen hood offers a solution for users of the Blackmagic Pocket Camera. In fact, no matter what camera you’re using, there’s probably a printable screen hood out there that will meet your needs. Just look around!10. EVF Cover Created by: dtLABPhoto by: dtLAB VR filmmaking is definitely growing in popularity. Unfortunately, a 360 rig can be pretty expensive. Perhaps instead of buying your rig from a third-party company, you should just print your own rig at home! This GoPro rig can hold up to six cameras for a full 360-degree filmmaking experience.7. Tripod Plate Created by: gicksPhoto by: gicksA lens hood is perfect for keeping out unwanted light spillover. You can find dozens of lens hood designs online. If you own a lens, there’s a good chance it has a free 3D-printable lens hood model online.16. Steadicamcenter_img Created by: SketchPunk LabsPhoto by: SketchPunk LabsWhile you would never want to 3D print a full tripod, a table top tripod is a totally different story. Just purchase the extra screw and you’re good to go. This tripod rig probably can’t hold a full-size camera — but if you have an action cam, cell phone, or audio recorder, it might be a great option.9. Screen Hood Created by: Dmitry K Valberg (gcardnial)Photo by: Dmitry K Valberg (gcardnial)I’ve probably lost no less than a dozen lens caps in the last few years. However, there’s no need to buy replacements anymore. You can easily create new lens caps with a 3D printer. There are literally hundreds of cap models online for every type of lens. Pro tip: sand down the side facing your glass to avoid scratches.14. SD Card Holder Created by: Frits Stam (frits297)Photo by: Frits Stam (frits297)Steadicams can run you thousands of dollars online. While we can’t say that this 3D-printed steadicam will work as well as a professional one, it’s certainly not a bad steadicam for a beginner. Just keep in mind that this model may require a lot of plastic.17. Glidecam Create your very own film gear with these free 3D models. This is why every filmmaker and videographer should own a 3D printer.Top image via Gilles PinaultFor just a few hundred dollars, you can have your very own 3D printer with plastic — but 3D printers can be used to print way more than just action figures. While big-budget Hollywood features have been using 3D printers for years, they are just now finding their way into the indie-film world.From camera rigs to drones, a 3D printer can create a whole lot of really useful film gear. If you’re looking for some awesomely practical 3D-film-gear models (or you’re just interested in the potential uses for a 3D printer in a filmmaking context), then you’re going to love this article.1. DSLR Rig System Created by: Charles Gantt (TheMakersWorkbench)Photo by: Charles Gantt (TheMakersWorkbench)While a light stand to hot shoe mount isn’t normally that expensive, it will still run you around $20 to purchase a new one online. Instead, you can simply print out a light stand to hot shoe adapter that can take an umbrella light.12. Boom Mic Shock Absorber Created by: SubmodalPhoto by: mryoungcollins If you already have a follow focus system, you can easily 3D print a gear ring that’s right for your lens. If you look around online, you can find a 3D gear ring for virtually every lens in the world.4. Camera DroneIf you’ve ever dreamed of crafting your very own drone, we’ve got good news: you can use these schematics from Hovership to print one. They’ve also put together a few kits with all of the accessories you’ll need to put the drone together. Obviously, building a drone is no easy task. But if you’re looking for a new passion project, you should definitely check this out. The video below shows the Hovership in action.5. Audio Pistol Grip Created by: nrpPhoto by: nrpA tripod plate can be easily forgotten on a film set. Luckily, you can find 3D models of most tripod plate heads online. Simply purchase the right 1/4″ screw and you can have a replacement within minutes.8. Mini Tripod Created by: Julian Gebhardt (webghost)Photo by: Gilles PinaultBy simply purchasing some standard rail pipe and a few screws, you can easily create this elaborate DSLR rig. This rig can be coupled with a back weight to better balance the overall rig.2. Follow Focus Created by: Adafruit IndustriesPhoto by: Adafruit IndustriesIf you shoot a lot of live events or concerts, you’ll probably want to record ambient noise using a portable recorder. Using this free 3D model, you can convert any mic stand into a portable audio recorder.Is it worth purchasing a 3D printer to create film equipment? What gear have you printed yourself? Share in the comments below.last_img read more

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Everything is a Remix: A Q&A with Kirby Ferguson

first_imgEverything is a Remix creator, Kirby Ferguson, shares how he drew his inspiration for his transformative creative workflow.Nothing is truly original. This powerful, yet liberating, statement is the point of much contention in the artistic community. While many artists feel like their work was derived from within, research says that great ideas are often the result of outside forces. This theory allows artists to copy, transform, and combine old ideas to create something new. Gone are the days of longing for inspiration from the inside. Kirby Ferguson has made it his mission to share this message with the world through his Everything is a Remix series.Below you’ll find the remastered Everything is a Remix series. If you’ve never seen the series, drop everything you’re doing and watch it. It will change the way you approach art forever.One striking thing you may notice about Everything is a Remix is how well made the series is. In addition to being an advocate for Remix Culture, Ferguson is a seasoned video editing professional that uses a combination of Final Cut Pro and the Adobe Creative Suite to craft his videos.Ferguson was kind enough to answer a few questions that we had about his series and workflow. Here are his answers:Kirby Ferguson: Q&AWhat inspired you to start the Everything is a Remix series? Was it a remix from somewhere else?It started brewing around 2007 or 2008 when corporations were kinda freaking out about piracy and remixing. There were a lot of wild lawsuits flying around and regular people were afraid they were going to get sued over infringement. It seemed like we needed a reminder that creativity is, by nature, derivative and all ideas are based on other ideas. Initially I just had the subjects (Zeppelin, Lucas, Apple), then I realized I could weave those breakdowns into a story. That’s how it all began.Why do you think many artists feel like remixing is cheating or unethical?Because it’s considered copying, but copying is only one part of remixing. It’s essential, but it’s also the least creative part. It’s how we transform and combine our sources that defines our work.How has viewing art as personal property hurt the artistic community?I think it’s distorted our ideas about how creativity happens. All our creations have precursors, just like all people have parents. Without these other works, we’d be painting on the walls of caves. Needless to say, the property metaphor has also been a boon to creativity because it allowed many of us to make a living. I’m not a radical and don’t propose eliminating intellectual property. I just think we need to be aware that, in important ways, ideas are not like property.What is your favorite example of a remix in modern culture?I think Kanye West is the reigning king of the remix. He’s been on an incredible run for over fifteen years now. I loved early, sample-packed hip hop albums like The Beastie Boys’ Paul’s Boutique, Public Enemy’s Fear of a Black Planet and De La Soul’s Three Feet High and Rising. The Avalanches’ Since I Left You was also a remix masterpiece. The British filmmaker Adam Curtis is a great remixer.What is a practical way in which video creators can implement your remixing strategy to create something new?I think they can study and copy elements from other people’s work: compositions, post effects, edits, lighting techniques, camera moves, etc. They key is to copy elements — not the whole thing — then transform them and combine them with other elements. Copying a whole scene might be a rewarding exercise, but it won’t be something new.I’ll be developing these ideas further in an upcoming short booked called The Remix Method.How long does it take to put together an Everything is a Remix episode?This last one took seven weeks. The previous ones were episodic, which is harder to write, so they mostly took at least a few months. It’s a terribly labor-intensive format.How much research goes into producing each episode?Gobs. Episodes 3 and 4 of the original series took a couple months each to research. This last video about The Force Awakens was lighter because it was more focused on a single topic, but I still poured in a lot of time.What is more difficult: Creating an episode of Everything is a remix or giving a TED talk?Well, Everything is a Remix takes longer, but TED is way scarier and more intense. But overall, I’d say an episode of Everything is a Remix is more difficult because it requires much more work.Where can people find more information about Everything is a Remix?They can visit our site — everythingisaremix.info. And they can also sign-up for my newsletter to get notified about new stuff.What do you think of remix culture? Do you think all ideas are inspired from somewhere else? Share in the comments below.last_img read more

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Production 101: What Is a Digital Imaging Technician

first_imgEver wonder what a Digital Imaging Technician (DIT) is, and what they do? In this article, find out everything you need to know about this important role.Cover image via Fedorovekb.The Digital Imaging Technician (DIT) is the member of a film crew who makes sure the production meets its technical objectives on set. So what does that mean? For starters, DITs must be equal parts technician, creative consultant, and computer whiz. They must be able to interact with, assist, and advise the most important people on set.As PremiumBeat Contributor Jonny Elwyn said in part 12 of his exhaustive 21-part series on the DIT’s role, “[The DIT] is an emerging and challenging role which requires a huge breadth of understanding of digital imaging and the gymnastics an image goes through to make it to screen.”Yeah — this isn’t a job for everyone.The DIT’s JobThe DIT’s laundry list of on-set responsibilities breaks down into three categories: data wrangling and protection, dailies, and assisting the DP and camera department.Data Wrangling and ProtectionImage via Fedorovekb.A common misconception on low-budget sets is that the DIT simply transfers footage off of camera cards. The truth is that this is only the first step of a well-trained DIT’s process. As cards get filled, the DIT must properly transfer the footage to redundant archival drives, ensuring that one drive failure will not result in any lost footage.When transferring footage, it’s vital that both drives receive footage copied from the source media. In other words, two card transfers: once for each drive. You cannot transfer the card to drive A and then take that copy from A to drive B. This would defeat the purpose of redundant archival drives. Unless both drives contain footage transferred from the source media, you do not have redundant copies of the footage.There are many custom-built tools for transferring media designed with DITs in mind. The most common are Shotput, Adobe Prelude, Parashoot, and (my personal favorite) Resolve’s Clone Tool — see the .gif below for a super quick-and-dirty run-through of how to use the Clone tool and where to find the transfer logs.These programs allow you to simultaneously copy footage from your source media to multiple archival drives and then provide bit-for-bit comparisons between the copied data, allowing the DIT to rapidly verify the integrity of the transferred footage.After copying the source media and verifying the successful duplication of information across all archival drives, the DIT should perform a visual confirmation of each clip, scrubbing through to check for any issues.At the end of the day, it is absolutely imperative that different people take the archive drives from set. If anything happens to one of the drives (or the person with the drive), the crew should never have to worry about everything they’ve shot up until that point. Their focus should be on the affected crew member, not the equipment.These first two aspects are fundamental. Proper duplication and strict adherence to safeguarding the footage against all possible threats lie at the core of all of the DIT’s data responsibilities.DailiesDailies are the “prints” or “selects” from a day’s shooting (synced with sound and with basic color correction) for department heads to review in order to plan any necessary re-shoots.Image via Shishkin Dmitry.The DIT assembles dailies as media and camera/sound notes come in. It is incredibly important for a DIT to have the proper tools and programs to quickly sync sound and apply basic color correction.Dailies, like data wrangling, account for only a small portion of the DIT’s responsibilities. However, dailies need to be completed as quickly as possible so that the DIT is free to fulfill the final portion of their on-set responsibilities.Chief Assistant to the Camera DepartmentImage via Evgeniy Kurt.It is the DIT’s responsibility to walk on set, day one, with a complete plan to assist the camera department. They must have had discussions with the proper people in the post-production pipeline regarding resolution, aspect ratio, codecs, frame rates, LUTs, etc. It is the job of the DIT to communicate and assist in the implementation of these specifications with the camera department, specifically the assistant camera. They must have a thorough understanding of these parameters so that they may advise the DP or assistant camera about any shot.The DIT must be available to build looks for each scene in the camera, matching color between shots, advising on exposure, or offer any other imaging assistance at the DP’s request.The DIT should be the DP’s best friend on set. A good DP will know to rely on a good DIT; the DIT, in return, must be comfortable approaching the camera department at the earliest sign of any potential issues with the footage. They must be ready and waiting, not only for cards but also for any opportunities to solve problems for the camera department.A DIT who has mastered these core disciplines is one of the most important people on any shoot. The vigilant, active DIT brings complete reassurance to the production’s leadership. The producers, directors, financiers, etc. know that there is a keen and watchful eye reviewing and protecting their project.Looking for more production tips and tricks? Check out these articles.What are Contrast Ratios, and How Do You Use Them?The Evolving Role of a Digital Imaging TechnicianInterview: The Editor of “This is America” on Building the Iconic VideoHere’s What Your Camera Assistant Wants You To Know7 Things Producers Look for When Using “Staff Me Up”last_img read more

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Creative Editing Lessons from Will Smith’s YouTube Channel

first_imgLooking for more on web-based filmmaking? Check out these articles.Why You Shouldn’t Use Letterbox PNG Overlays For YouTube UploadsEngage Your Audience with YouTube’s New Community TabHow Heavy Grain Overlays Are Affecting Your YouTube UploadExport Youtube-Ready Subtitles From Premiere ProA Cheat Sheet for Social Media Video Aspect Ratios AnimationThe show uses animation to fill most of its visual gaps. More often than not, this is when Smith refers to past events that lack B-roll or archive material. Although this animation is a fairly simple visual style, it’s always spot-on in terms of the emotion or comedic timing — with a little help from some cartoonish sound effects.The episode “How I Became The Fresh Prince of Bel-Air | Storytime” is entirely illustrated with animation and an interesting reenactment  of a conversation between a young Will Smith and a (now ex-) girlfriend.Something as simple as dubbing a girlfriend’s voice over a shot of Will (an internet meme) is another creative technique to keep the energy up and make some content stand out from the rest of the episode.There’s a very simple, flat visual style to the animation, with relatively little movement (which no doubt saves time in post-production), but it is still strong storytelling. This story about Will not having any money for gas sounds like it’s from a chat-show segment since it has a laugh track.Although animation can be time-consuming, it’s really helps make the show more engaging and entertaining. It’s a good way to add some texture and pacing to your storytelling.Sound Effects, Music, and the MixWhen you focus only on the sound design, music edit, and mix, there’s actually a lot of subtle things going on.If you listen to this section of Smith telling the story of how he auditioned at Quincy Jones’s house, you’ll hear simple sound effects for the animation; music breaks at key moments in the story (3.09) and (3.34); and a change in volume and pace between the first, second, and third tracks.If you listen carefully at 3.34, you’ll hear that even though the music breaks, the editor loops the final sustained note so that it’s never actually fully gone, and then uses a reversed whoosh to ramp up into the third track. This helps to maintain momentum and energy across a pause.It’s quite a different effect from the complete music break at 4.15, which is one of the few moments of silence in the whole show.There are also subtle sound effects over some of Will’s actions, such as when he says “We took a picture, signed the contract,” which, again, helps to blend the animation with the footage.Editor Dallas-Feeney also uses sound effects and visual punch-ins to accentuate certain moments and make them seem much more important than they might otherwise be. For example, listen to the bass-drop when the question at the heart of “The Truth About Being Famous“ is posed.The MontageA successfully created montage can be a powerful editorial tool for cramming a lot of information into a short sequence.In the opening montage (0.23 – 0.43) from “The Truth About Being Famous,” you get an idea of the size of the adoring crowds that follow someone like Will Smith around. It’s an artful composite of mixing the beat of the music, the sound design of the crowds, specific foley (car tires screeching, punches landing, etc.), Will’s voice-over, and videos and stills.There are a few glitch effects thrown in for good measure, and clips from Smith’s own films highlight certain key words (fought, struggled) and I particularly like how the tire screech carries over into Smith’s own cheer-and-swinging camera move.It’s really well-crafted editing and sound design.There’s also a really interesting “hyper-montage” at 6.59 in the episode below, after the word “but . . .” It serves as a visual reminder of the stakes and what Will has done to conquer them, and it concludes the piece in the span of only a few seconds.The same episode also features frequent text pops to highlight the word “Fear” — with some glitch effects to bring them to life. It’s a simple addition, but it helps focus the audience’s attention on the central theme of the video.To see all of these ideas in action, check out “The Jump,” and try your hand at a few of these techniques in your own videos. Will Smith is a natural storyteller and world-famous movie star, and now he has a successful YouTube channel. So what can we learn from his team?Will Smith’s YouTube channel launched in December 2017 and, in just under one year, has amassed nearly 4.2 million subscribers and 150,623,004 views. In this post, I’ll take a look at some of the creative techniques in action on Will’s YouTube channel — and some takeaways for crafting your own successful YouTube series.There’s a lot of creativity on display in these videos, including strong storytelling, which no doubt comes from the breadth of experience of the creative professionals involved. Since Smith’s channel is a “YouTube originals” show, there is a full suite of professionals behind the scenes.For example, here are the credits for “How I Became The Fresh Prince of Bel Air | Storytime“:Executive Producers: Will Smith, Miguel MelendezProducers: Aaron Ferguson, Lukas Kaiser, Mike Nussbaum, Sadao TurnerCo-Directors: Jeff Blank, Luke Kelly-ClyneEditor: Chris Dallas-FeeneyAnimation: Chris Dallas-FeeneyVoice-over (Will’s Girlfriend): Brianna BakerCreative Consultants: Turner Barrowman, Lionel Boyce, Clayton English, JF Harris, Will Miles1st AC: Brandon EppersonLocation Sound Mixer: Michael SujekBut even with an impressive crew like this, everything still comes down to just one editor doing the cut and animation — and presumably the mix and grade too. In this case it’s editor Chris Dallas-Feeney, who works for Westbrook Entertainment (a Smith family company) and who previously worked at VICE media.So let’s take a look at what, exactly, makes this channel so successful.StructureAfter watching a few episodes, you begin to notice that there’s an elliptical structure to the show: a premise, exploration, and back to the premise — with a new understanding.In the episode above, the premise is “I love being famous,” but by the end it is “I love being me.”  In the episode “Why I’m jumping into the Grand Canyon | Storytime,” the show starts by introducing fear as the theme — and how it has affected Smith’s life negatively. By the end of the episode, we learn that facing fear is a driving force in his life.You also notice that the show is trying not to appear like a show, per se; rather it presents the idea that you’re going behind the scenes with the real Will Smith. So there are often little preambles that set up the situation and make it look deliberately unpolished.In this screengrab from the opening few seconds of “The Truth About Being Famous,” you can see how they’ve created a picture-in-picture effect with some VHS-style noise for an unpolished, unrehearsed aesthetic — Smith even asks the crew if they’re rolling.From a cinematographer’s standpoint, each show is usually a combination of a properly filmed, sit-down interview (usually on a static high-end camera) and off-the-cuff reality filming — from Smith or someone else in a handheld style. This is often intercut based on the dialogue, and these interviews are often shot with multiple cameras. In “How I Became The Fresh Prince of Bel-Air | Storytime,” the crew might even be using three cameras.As with many YouTube shows, the main goal is to hold the viewer’s attention by maintaining the energy throughout with fairly lean storytelling and a brief overall duration. These are some great creative constraints — instead of forcing a standard episode duration, each is only as long as it needs to be.But I think it’s worth noting, as an editor, that storytelling with a clear beginning, middle, and end is key to making the content engaging and meaningful, and that’s never going to change, no matter what you’re cutting. Structure brings clarity.last_img read more

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How to Get The Best Results When Filming In Natural Fog

first_imgThere are a few tricks to filming in natural fog. Here’s what you need to know to protect your gear and get the shot you want.I live in a coastal region, and we get a lot of fog. Especially in the early months of the year. The land has started warming up, but the sea remains relatively cold — although, the sea is always cold around the British Isles, save for a single day in the summer. So, as the warm moist air moves over a cold surface, it cools and forms advection fog — perfect for beautiful imagery. There are plenty of articles and tips on why you should add haze and fog to your shot, but let’s have a look at some tips on filming in natural fog.Is Your Camera Weatherproof?The fog I often see on the coast is just one type of fog that can form. If you jump to the Wikipedia page on fog, it tells us that at least ten types of fog exist. Regardless of what kind of fog you’re filming in, it’s primarily the same thing — a collection of water droplets suspended in air. Since you’re going to be operating in an environment that could damage your camera and lens, it’s ideal to have a weatherproof camera. (Weatherproof denotes seals against moisture and dust).If your rig isn’t weatherproof, don’t worry too much — it isn’t going to be like dipping your camera in the bath. However, it would be wise to take precautions with a rain cover. Or, at the very least, allow the camera and lens to acclimate to the outside temperature and humidity. You can do this by opening your gear bag while driving to the location, or by keeping the camera in the car, while the car slowly cools down. If you don’t, you may find moisture trapped in the camera. (If this does happen, you can follow my guide here on how to carefully remove it.)Likewise, if you instantly take the camera out of the bag and start filming in an entirely new environment, you may find condensation will form upon the lens until it has acclimated. Alternatively, if you’re only looking to capture footage of the fog moving across the lakeside, and there’s no time to waste, make sure you have a microfiber cloth to quickly wipe away the condensation.If by sheer chance you were unfortunate enough to miss all the cues, and you’ve returned home with foggy footage of fog, you can follow the tutorial here on how to de-haze your clip. (Although, with natural haze already accumulated in the shot, the results may vary.)Visual ElementsAn ample fog blanket is essentially a giant soft box. Even when standing near a street lamp, the fog will scatter the light, leaving no harsh shadows and a lack of contrast. While fog has this effect on light in the real world, on camera, the fog tends not to be as apparent. This is why productions predominantly use fog machines. Why? Well, technically, when standing in a fog cloud, you’re looking at the same amount of fog as there is 10 meters away. The difference is that, in the distance, you’re looking at the accumulation of fog from 10 meters, and every meter behind, as far back as the surrounding area travels. This is similar to standing in the ocean, and the water directly beneath you may be clear, but the deeper you go, the darker and more obscure vision becomes.Enough with the science lesson; what has this got to do with filmmaking in fog? Well, if you want to convey that your character is in a thick fog blanket, but you’re filming with a wide angle, and your subject is far away, it’s going to look like the area isn’t as heavily fogged.At 18mm, the foreground looks relatively fog-free. However, when you use a telephoto lens (or even a lens with a focal length longer than 50mm), it’s going to start to decompress the foreground and background. As such, your subject will look encased in a cloud of fog. The longer the focal length, the more profound the effect will be.At 70mm, the subject and the area appears mistier.Exposure ProblemsRegarding exposure, fog is somewhat similar to snow. Since the fog reflects light — in the same way that snow throws off metering for photographers — your system’s reading may be telling you to reduce exposure. Often you can ignore this, if the image is sitting within legal values. However, if you’re using a budget-friendly DSLR, which works on an automatic basis, you may need to dial up the exposure 1 or 2 stops to compensate for the incorrect reading.Tips in PostSince there is an inherent lack of contrast in compositions shot in fog, you may feel the need to add additional contrast once you’ve applied your camera LUT. If this correlates with the look you intend for your project, then go ahead. However, you may notice that by adding additional contrast, or even by slightly lowering the lift wheel, you lose a bit of the atmospheric fog found in your image. By adding the shadows and highlights in post-production, you’re essentially trying to fix the elements that weren’t available during the shoot.As you can see from the corrected shot, it still looks foggy. However, if you’re looking to maintain maximum fogginess — and create an eerie atmosphere — look at dropping the exposure a stop after applying the camera LUT. This, without any additional plugins, will make the fog more profound, and it will look as if the immediate area is completely encased in fog.As I mentioned before, if you’ve filmed with a wide-angle lens, it may look as if the area surrounding the camera isn’t heavily fogged. This technique can fix that issue — to an extent. You can further the effect by decreasing the contrast function itself.Cover image via Ulrich Mueller.Looking for more filmmaking tips and tricks? Check out these articles.How to Use Calibration Tools for Footage, Sound, and MonitorsMulti-Camera Direction Tips for Properly Shooting Live EventsGear Roundup: Finding the Best SD Cards for Your CameraHow to Use FREE Cinematic Video Effects With Your Footage7 Master Cinematography Techniques from Iconic Directorslast_img read more

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The Freedom to Fail

first_imgIn an acting class I am taking, we were given an exercise to ruin the scene we were assigned. The object was to get out of your head and to stop playing the character or the scene the way you think it goes, but to do something completely different—and wrong. I am a natural for this exercise, since I already possess the ability to ruin every scene due to my serious lack of acting skills (unless the scene calls for angry, and then I am, for some reason, gifted).This exercise reminds me of my aikido practice. Aikido is a difficult martial art, and there isn’t any way to learn it without feeling it. In aikido, I was taught to purposely do techniques wrong four times so I could feel what it felt like to fail.In both acting and aikido, the freedom to fail improves your skills and abilities. When you aren’t free to fail, you aren’t free to take the actions you might otherwise take. You stay in up in your head, and you are restrained in your actions.Are you giving yourself the freedom to fail and to learn from your failed attempts?Learning to Make DistinctionsYou are going to fail from time to time. You are sometimes going to do your very best work, and your very best work isn’t going to be good enough. If the little judge inside of you decides that you are a failure for having failed, then you won’t have gained anything from the experience.Failure is merely an event. The most successful people you have seen have a huge wake of failure trailing off behind their successes.Instead of judging yourself for having failed, your job is to have learned something from that failure.Being free to fail works because it allows you to make distinctions. You get to feel things. You learn to notice differences, like “this is too much,” or “this is too little.” You get test your assumptions: “I believed that this is what would work and it didn’t. Was it poorly executed, or was my strategy wrong?”No Excuses Offered, None TakenIt’s normal to make excuses when you fail. We don’t want to be responsible when something goes wrong or when we don’t get the outcome we really needed. But if you make excuses why the failure wasn’t your fault, you eliminate the possibility of learning from that mistake.Special Note to the Sales Leader: If you punish failure, you will ensure that you get excuses instead of a sales organization that can learn from its mistakes.There’s no reason to try to fail; you’ll get that experience without trying. But being free to fail means being free to try. It means being free to stretch. And, it’s a necessary part of learning and gaining situational experience.QuestionsHow willing are you to fail?How do you ensure you learn from your failures?What distinctions have you made from recent failures?If you lead a team, how do you embrace failure instead of punishing it?last_img read more

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Do It Now

first_img 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 What is the one thing that you need to do to move your most important project forward? Unless there is some emergency that demands your attention, you should be doing that thing now. The only real secret to productivity is to do what is most important, and to do what is most important NOW.What is the one thing you should have done a long time ago, and because you haven’t done it, you are now too embarrassed to do it at all? Problems don’t age well, and what is left undone may be your undoing. Whatever it is, it isn’t going to get any easier, so do it now.What is the biggest, nastiest, foulest thing you need to do right now? Maybe it’s something you dread because it is going to be more than unpleasant. Or maybe it’s a conversation you need to have that is going to be difficult, and potentially emotionally charged. Steel yourself, and do it now. Don’t wait.What are the disciplines that you haven’t kept that you need to keep? What are the two or three things that you promise yourself you’ll start to do tomorrow, but never get started? Today is that tomorrow. Every day that goes by puts your further behind when it comes to reaching your potential. Today is day one. Do it now.What are your shoulds that are really musts? What are the things that you know you “should” be doing but aren’t? Most of the things that you avoid doing because they are difficult or unpleasant are really “musts.” You may fear the wrong danger. You don’t want to do something because you aren’t sure of the outcome, but the greater risk is in not doing it, and you are left with consequences that are guaranteed to be worse than your fears. If it’s a “should,” make it a “must,” and do it now.last_img read more

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Would Your Clients Even Miss You

first_imgIn Eat Their Lunch: Winning Customers Away from Your Competition, I wrote about the four levels of value: Level 1: the value of your product, Level 2: the value of the experience, Level 3: the tangible result you produce, and Level 4: your ability to generate strategic outcomes that help your clients move their business forward.Level 4, as you might imagine, contains the other three levels. Believe it or not, a lot of people still sell at Levels 1 and 2, relying on their company, their products, and their support and services for credibility. They believe these things are the value proposition, and by doing so, they not only absolve themselves of the responsibility to create value, and make it so there is no possible way they can ever be consultative or their client’s trusted advisor. Level 3, where most businesses have been commoditized, isn’t much better. If you have competitors, they can likely match your results.Level 4 is altogether different. It represents a monumental leap in value creation. It moves to the role of peer and it is what makes you consultative. You are not consultative just because you are not smarmy and ask good questions. You are consultative when you provide the strategic advice that generates results beyond the lower level.Ask yourself these questions:If you were suddenly gone, would your clients miss you?Could your clients easily find someone else to provide them the ideas and insights you provide them?What is the possibility that you have a competitor who is capable of providing greater advice as it pertains to the strategic outcomes your clients are pursuing?Would your absence subtract enough from the overall value proposition that it would open up an opportunity for one of your competitors to displace your company?The first three levels of value are easily acquired. They are all commodity level value, including level 3 (your solution solves your prospective client’s problem, as does your competitor’s solution). Only a strategic level of value would be missed were your client deprived of it.If you want to learn more about Level 4, pick up Eat Their Lunch here. Essential Reading! Get my 2nd book: The Lost Art of Closing “In The Lost Art of Closing, Anthony proves that the final commitment can actually be one of the easiest parts of the sales process—if you’ve set it up properly with other commitments that have to happen long before the close. The key is to lead customers through a series of necessary steps designed to prevent a purchase stall.” Buy Nowlast_img read more

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How You Know It Is Time to Leave Your Company

first_img 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 Many people leave a job believing they will be leaving their problems only to find the same challenges somewhere else. When this isn’t true, the person who goes because they think it will be easier to work somewhere else is often surprised to find different—but equally difficult—circumstances. It’s easy to believe that things are better across the street, and sometimes that turns out to be accurate, but it’s not often the case. How do you know it’s time to leave your company?Every company and every work environment has positives and negatives. A company might pay every well but demand more from you than you are willing to give. Another company might pay less but have factors that are worth more to some people, like work-life balance and a different level of freedom. There is no doubt that when you leave your current company, you are trading one set of things you don’t like for a new set of things you will not like—most of which you will be unaware of before you decide to cross the street.This doesn’t mean that it isn’t time for you to fly. It very well could be, but to be sure, you have to know what you are leaving and why.Why Are You Leaving, Really?One of two things is often true for people who are struggling with the decision to leave their current company. In the first case, they know the source of their dissatisfaction and are clear about why they are going. In the second case, they can describe a sense of being unhappy, but can’t quite put it into words. If you want to find a better situation, you need to know why you are leaving.Maybe you want to leave because the person you report to is a monster. Or perhaps you believe you are worth more money somewhere else or doing something different. These reasons—and dozens more—are good enough for you to leave. However, even when your reasons are clear to you and any objective party kind enough to listen to you share your circumstances, you are still challenged with ensuring you end up in a better scenario.You could be leaving because you are bored, burnt out, or consumed with the feeling that there is something more you need to do. The work may not provide a sense of purpose, meaning, of fulfillment. It may feel as if it’s time to move on. All of these reasons are valid, and they are also enough to justify moving on. When these things are true, you might first want to ask yourself if the reason you are unhappy is that you are not engaged with your work, not trying to improve everything you touch, and not proactively creating a role that allows you to feel different about your work. If you recognize that you aren’t bringing your best self to your work, changing the place you show up to each day isn’t likely to make the difference. There are, however, some situations where putting forth your best effort will not be permitted or rewarded, in which case, a change is necessary.There is one thing you need to know before you decide to leave your company: what is it that you want?You Have to Know What You WantYou don’t want a new job. You want what you believe a new job provides you that you think will make things better for you.You might believe you want a new manager, one who isn’t a monster. If you believe that is true, you may be disappointed. A manager who is not a monster might also be one who ignores you, refuses to help you, or generally neglects you. You may find out that your apathetic manager is no better for you than the tyrant you left. Maybe you want a manager who cares about the people in their charge, working with them, developing them, and helping them produce the results they’re capable of but haven’t unlocked. That is clarity about what you want and need.You may believe your current environment is stifling, that your creativity is being smothered by your company’s buttoned-up, bureaucratic, non-entrepreneurial culture. Surely another company will have a greater appreciation for the ideas and deals your current company rejected with what felt to you like extreme prejudice. Moving from one corporate company to another similar corporate environment may find you right back where you started. Because you have grown accustomed to a particular compensation package, the smaller, more entrepreneurial companies that might find your non-traditional deals interesting might also be the kind of companies that lack the resources to give you the salary you expect. You have to know what you want.Unless and until you are clear on what you want and why you want it, you aren’t likely to find a better situation. So what is it that your next role needs to provide you? What are you willing to live with to have what you want?Explore Your OptionsNone of what I wrote here should discourage you from exploring. If you are struggling with the idea of leaving your current company and role for a new one, it should inspire you to do the work necessary to decide why it is that you are leaving and working to find clarity about what it is you want. It should also cause you to research potential roles and companies to be as sure as possible that your new situation provides what you want—with downsides that you can accept.You are not likely to find a place that you can call home and do your very best work if you bounce from one job to another, believing that your company is solely to blame for your happiness and job satisfaction. It might take you more time to discover what you want and where you might find it, but it is better to do the work and be patient than to move from one company to the next, leaving one situation you find untenable for another you find equally or more difficult.When you are sure the reason you are unhappy isn’t the result of you not giving your work your best effort, using your creativity and imagination to make the role what you need it to be, it’s time for you to explore your options. When you know what you want, why you want it, and have found a place that can provide it, you are most of the way there. However, you also must be sure you are willing to give your best effort to your new company for it to be time to leave your existing company.last_img read more

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Haryana govt hands over Dhingra report to SC

first_imgThe Haryana government on Monday submitted in the Supreme Court a 182-page probe report of former Delhi High Court judge S.N. Dhingra’s Commission into grant of licences for change in land use (CLU) in Gurgaon by the previous Congress government in the State led by Bhupinder Singh Hooda.The Supreme Court had asked the Manohar Lal Khattar-led BJP government to submit report in a sealed cover by April 17, 2017.Justice S.N. Dhingra had handed over the report to the present government last year. The enquiry centred around grant of CLU licences in four villages of Gurgaon during the Hooda regime and hinted at irregularities. Massive exerciseThe panel has reportedly examined more than 200 cases of grant of CLU licences and summoned 20-odd officials.Set up by the Haryana government in May last year, the Commission had the mandate to inquire into the circumstances of grant or rejection of licences for development of colonies, group housing societies and commercial complexes in those sectors of Gurgaon for which land of Shikohpur, Sikanderpur, Badah and Kherki Dhaula was used.It had also inquired whether the transfer of licence by the original licencee within a short period of time was in violation of law and caused loss of revenue to the government. The contents of the report is in a sealed cover. News reports allege that the Commission had looked into Sonia Gandhi’s son-in-law and entrepreneur Robert Vadra in connection with its enquirylast_img read more

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BJP, Modi are dividing society: Rahul Gandhi

first_imgCongress vice president Rahul Gandhi on Friday alleged that the BJP and Prime Minister Narendra Modi were busy dividing society in their quest to retain power. Only the Congress ideology could take on the BJP and the RSS, he said at a party rally.Mr. Gandhi also took potshots at the Modi-led government on demonetisation and described the exercise as a total flop. “Entire India knows that it turned the black money of India’s ‘thieves’ to white,” the Congress leader said.“First they said demonetisation would result in checking terror. Then they said demonetisation would check black money. The reality is that everyone in India knows that 90 per cent of black money is in real estate, gold,” he said.“We don’t know the reason why Modi was after the cash of farmers, poor labourers and housewives,” he said.Mr. Gandhi also took a dig at RBI, saying it took almost a year to announce that 99 per cent of the scrapped currency had been returned to the coffers. “We had asked in Parliament about the amount of black money unearthed in the demonetisation exercise. It took RBI a year to say that 99 per cent of old money came back in the coffers,” the Congress leader said. He blamed the government for GDP reaching “a low of 4.5 per cent.” “Who will own responsibility for this? The prime minister is responsible for this,” Mr. Gandhi said.According to Mr. Gandhi, anger was building up with the BJP and Modi engaged in dividing society. “In Haryana they pit Jat vs non Jat and in Maharashtra they create a Maratha vs non Maratha divide. Their only goal is that BJP and RSS should be in power,” Gandhi alleged.“They speak of fight against corruption but they ‘purchase’ people (legislators) in Goa and Manipur and also try to purchase people in Gujarat.” Only the Congress ideology, he added, could take on the BJP and RSS.“They (BJP and RSS) will fight one or two elections. After that it will be the Congress which will be in power.” The Congress leader also criticised the prime minister over his promises of providing jobs to youth.“Modi had said he would give jobs to two crore youth every year after becoming the prime minister. Two years ago, we were told that just one lakh youth had got jobs and last last year the figure was zero,” Mr. Gandhi claimed.“Their minister informed that the unemployment figure is at the lowest… in the last several years,” he said.Commenting on GST, Gandhi said the Modi government was claiming credit but it was the Congress which initiated it. “There should have been one slab, as against five now. Also, GST should have been capped at 18 per cent, against 28 per cent now in the highest slab,” he added.last_img read more

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Six held for trying to smuggle gold bars

first_imgSix persons were arrested from Imphal International Airport on Friday evening for trying to smuggle gold biscuits worth ₹1.79 crore.Gaikhalung Panmei, Deputy Commissioner, Customs division said that the 35 gold biscuits were stuffed inside their rectums.He said that the combined team of customs division and central industrial security force made the arrest.He said that the arrested persons are Khol Singh, Dalhar Singh from Jammu and Kashmir, Niraj from Punjab, Rint Hyder and Mint Pal from West Bengal and Rint Bega from Delhi.They were to board the flight to Kolkata from Imphal on Friday.Mr. Panmei said that in the past, some arrests had been made for smuggling out gold to other parts of the country.The gold biscuits were later handed over to police.last_img read more

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OBC quota raised in Rajasthan

first_imgThe Rajasthan Assembly on Thursday passed a Bill that has increased reservation for Other Backward Classes (OBC) in educational institutions and government employment in the State from 21% to 26%. The Bill created a new ‘most backward’ category within the OBCs for providing quota benefits to Gujjars and four other nomadic communities.The Backward Classes (Reservation of Seats in Educational Institutions in the State and of Appointment and Posts in Services under the State) Bill, 2017, provides 5% reservation to the Gujjar, Banjara, Gadia-Lohar, Raika and Gadariya communities. With the Bill’s passage, reservation in Rajasthan now stands at 54%, exceeding the 50% ceiling mandated by the Supreme Court.The ninth session of the Assembly that started on Monday, also witnessed a major controversy over the introduction of a Bill giving immunity to public servants from investigation without prior sanction.last_img read more

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Nine killed on smog-covered highway

first_imgAs dense smog engulfed many parts of Punjab and Haryana on Wednesday, nine persons were killed in Punjab’s Bathinda after they were run over by a truck on the Bathinda-Chandigarh highway.The weather department has forecast dense fog conditions for next few days and respite is expected only by next week.Eight of the nine killed in the accident were students while one was a government employee.Bathinda SSP Naveen Singla said the deceased were waiting to catch a bus when a truck ploughed through them after it hit a SUV. “There was dense fog in the morning hours and visibility was quite low, which could be a reason for the accident,” he added.In a separate accident on the same route, a State transport bus and minibus collided, leaving one woman dead and 14 others injured.India Meteorological Department said that dense to very dense fog was observed at most places over Punjab and at many places over Haryana and Chandigarh.The visibility was recorded below 500 metres at Amritsar, Ludhiana, Patiala in Punjab and Ambala and Hissar in Haryana.last_img read more

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Three dead as express derails in U.P.

first_imgThree persons died and nine were injured after the Vasco Da Gama-Patna Express derailed at Chitrakoot in the Bundelkhand region of Uttar Pradesh early on Friday.The train (12741) coming from Goa derailed near the starter signal at the Manikpur station, 120 km from Allahabad, as it was exiting platform two roughly at 4.15 a.m., officials said.“A total of 14 bogies went off the track,” said Gaurav Kumar Bansal, Chief Public Relations officer of North-Central Railways.The derailed bogies included two AC coaches and sleeper coaches from S-2 to S-11. One bogie had “half-tilted” in the derailment, a police spokesperson said.Inquiry orderedRailway Minister Piyush Goyal announced on Twitter that “an inquiry” had been ordered.Uttar Pradesh Additional Director-General (Law and Order) Anand Kumar said prima facie the cause of the derailment appeared to be a fractured track, reported an agency.Two of the dead were identified as six-year-old Golu Kumar and his father, Deepak Patel (30), residents of Bettiah in Bihar. They died on the spot.The third victim was later identified as Manoj Singh (25) of Chhapra, also from Bihar.One among the nine injured was in a serious condition and receiving treatment at the primary health centre in Manikpur.Adityanath announces compensationThree other injured, including a 24-year-old woman, Rinki Kumari, a resident of Goa, were admitted to the district hospital in Chitrakoot.The Ministry of Railways announced an ex gratia compensation of ₹5 lakh to the kin of the dead, ₹1 lakh to those with grievous injuries and ₹50,000 to the other injured.Chief Minister Yogi Adityanath also announced ex gratia compensation of ₹2 lakh, ₹50,000 and ₹25,000 in the same order.The stranded passengers were accommodated in the front eight coaches by 7.25 a.m., the NCR said.The unaffected portion consisting of seven bogies took the passengers to Allahabad, where they were picked up by a special train and taken to Patna.A team of the Anti-Terror Squad also reached the site to probe possibilities of sabotage.In an unrelated incident, four persons died on the spot after the SUV they were travelling in was hit by the Lucknow-Sultanpur train at an unmanned crossing under Musafirkhana area on Thursday night.The car was carrying six passengers, who were all members of a marriage party.last_img read more

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Sena donning Opposition role for public good: Raut

first_imgSaying that merely gaining power had never been the Shiv Sena’s aim, Sena MP Sanjay Raut said on Wednesday that the party was fighting for the good of the people by playing the Opposition’s role even while remaining a part of the coalition.Mr. Raut was in the city to meet Sena leaders and workers in Pimpri, Chinchwad and Bhosari after the party’s decision to go it alone in the 2019 Parliamentary and Assembly polls.Dig at NCP, CongressTaking potshots at the Nationalist Congress Party (NCP) and Congress, Mr. Raut said, “BJP will be Sena’s enemy in the elections, as the Congress is in a state of hibernation and the NCP has not been able to get its act together in the State.” He said that some parties could not bear the idea of the Sena contesting the elections alone. “The Sena has always been, and will continue to remain, an aggressive political force to reckon with. It will always fight for the cause of Hindutva,” the Rajya Sabha MP said.Criticism from Pawar Meanwhile, NCP leader Ajit Pawar hit back at Mr. Raut’s barbs, saying that Sena’s innumerable gestures calling for severing ties with the BJP over the past three years had proved to be “empty threats”. “The Sena has deteriorated from being a ‘tiger’ during the time of the late Bal Thackeray to being a tortoise in the shell. It will continue to cling to power, which it failed to secure for so long,” Mr. Pawar said at the NCP’s Halla Bol rally in Jalna.last_img read more

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AAP announces new Leader of Opposition in Punjab

first_imgDays after Aam Aadmi Party leader Sukhpal Singh Khaira accused senior party leaders of “conspiring” to remove him from the post of Leader of the Opposition in the Punjab Assembly, the party on Thursday decided to appoint Harpal Singh Cheema, MLA from Dirba constituency, in his place. Manish Sisodia, who is in charge of the party affairs in Punjab, took to social media to announce the replacement. “AAP has decided to change its leader of opposition in Punjab. Harpal Singh Cheema, MLA Dirba constituency, shall be leader of opposition in Punjab Assembly,” tweeted Mr. Sisodia.“A Dalit face from the State has been given responsibility. The national convener of the AAP, Arvind Kejriwal, has written a letter to the Speaker of the Punjab Vidhan Sabha requesting him to appoint Harpal Singh Cheema as the LoP,” said an official statement.Responding to his removal, Mr. Khaira said he has paid the price for speaking the truth and taking a stand for the cause of Punjab and Punjabis.‘Discharged my duty’“I have discharged my duty as LoP with uttermost sincerity, dedication and fearlessness towards Punjab and Punjabis. If speaking the truth and espousing the cause of Punjab, Punjabis and Sikhs cost me LoP, I’m prepared to let go a hundred such positions. Those at the helm have done what Congress and Akali Dal-BJP wanted,” tweeted Mr. KhairaIn a video posted on Facebook last week, Mr. Khaira alleged that the party’s State co-president, Balbir Singh, had accused him of taking money from volunteers in an attempt to malign him. Mr. Balbir Singh, however, denied Mr. Khaira’s charge, saying he never made any such accusation.Mr. Khaira had also submitted a complaint to Mr. Sisodia against Mr. Balbir Singh, saying that false allegations were being levelled to tarnish his image among the party cadre.last_img read more

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Mamata congratulates Ranjan Gogoi on his appointment as CJI

first_imgWest Bengal Chief Minister Mamata Banerjee on Friday congratulated Justice Ranjan Gogoi after he was appointed the next Chief Justice of India.“May I humbly congratulate Justice Ranjan Gogoi, appointed as the 46th Chief Justice of India, who will assume office on October 3. We are proud of you,” Ms. Banerjee wrote on her Twitter handle this afternoon. Justice Gogoi was appointed as the next Chief Justice of India yesterday. He will take oath on October 3 after incumbent Dipak Misra retires. Justice Gogoi will have a tenure of about 13 months, till November 17, 2019. Born on November 18, 1954, Justice Gogoi was enrolled as an advocate in 1978. He practised in the Gauhati High Court on constitutional, taxation and company matters. He was appointed as Chief Justice of Punjab and Haryana High Court on February 12, 2011 and then a judge of the Supreme Court on April 23, 2012. Justice Misra had earlier this month recommended Justice Gogoi as his successor as per established practice of naming the senior-most judge after the CJI for the post.last_img read more

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