Wolmer’s Girls have been corporate area queens for the past eight years but come March 15-19 at the ISSA Boys and Girls Athletics Championships, the Michael Carr-coached team will be under severe pressure to continue their streak.The girls from Heroes Circle have consistently finished ahead of their corporate area rivals at the marquee event. However, the likes of Convent of Mercy (Alpha), Camperdown and Excelsior are eager to knock them off their perch this year.Coach Carr is wary of the fact that his team will be under tremendous pressure but is bracing for the challenge.”To make it nine in a row, it is going to be very challenging as the team does not really have any flag bearer, so to speak, like we did in the past when we had a Shauna Helps and Jonielle Smith, who were real motivators,” said Carr.Unlike former years, his girls have not been dominant at development meets but Carr is not perturbed.”I used these meets to see what we need to improve on going forward, and I am pleased with the progress, as these meets are very beneficial to the athletes,” he said.Asked about his points projections for Champs, his reply was, “I am not a person who thinks about points as, for me, performance is the key, and once they perform the points will come, and I do not believe in predictions.”Although not having a big squad, Carr singled out one athlete who he expects a lot from.”I am very pleased with the performances of our jumpers, especially Danielle Spence, who has been doing well in the triple jump so far.”Asked which teams he sees has threats to dethrone Wolmer’s as Corporate champions, he was philosophical in his reply.”A number of teams are doing well. Camperdown has done very well in recruiting, while Excelsior and Alpha have been doing well, so far, especially Excelsior, who has some great coaches. But, on the day, every team will start at zero points, and only two competitors can compete in an event and, despite all these teams being major threats, I am confident that my girls can rise to the occasion,” said Carr.Carr also stated that not having a playfield for the first four months of training affected his preparation.
CLICK HERE if you are having a problem viewing the photos on a mobile deviceDENVER — When Alex Dickerson’s back tightened up and forced him to miss a pair of games in Milwaukee over the weekend, the left fielder explained he’s dealt with the pain off and on throughout his entire professional career.If Dickerson wakes up feeling out of sorts on Wednesday, the back soreness he’ll experience might feel a little different.No one would blame Dickerson if his back was ailing from carrying the …
Old NavyOld Navy Nominee for Geocacher of the MonthLynn Groves Lussier (aka Ranger Lynn) says, “Since his inaugural year of caching in 2005, Old Navy has placed 372 hides and found 2,892 caches. Undoubtedly, his greatest contributions to the geocaching community have been through his dedicated leadership as president of the Northern New Jersey Cachers (NNJC) for the last six years.Inspiring by example and genuine enthusiasm, yet never one to seek the limelight, the success of NNJC is a testament to Old Navy’s wizardry “behind the curtain.” In addition to converting muggles into members by hosting monthly Meet & Greet events, his skill in connecting NNJC to the geocaching community at large shines through in both his editorial expertise in overseeing the NNJC newsletter, as well as his social media savvy in daily managing the NNJC Facebook page, Twitter site, and official club website.” intervalesintervales – Nominee for Geocacher of the MonthCarbon Hunter from South Africa says, “It is not often that one can nominate a cacher with so few finds as global geocacher of the month. However I would like to nominate cacher INTERVALES from Brazil as the geocacher of the month. Junior only has 17 finds and 21 hides.So what exactly makes this cacher so special and worthy of a nomination (and hopefully being awarded this prestigious award)? Junior is one of those extremely special cachers who stays in a remote area of the world (on the edge of the Brazilian Atlantic Forests) and has hardly travelled from his home base of Capao Bonita in the Sao Paulo province. What makes him extremely valuable and a huge asset to our game is that he is the custodian of the last surviving APE cache in the world. While not being a prolific finder, Junior maintains the APE cache in a very harsh environment (high humidity and heat that can lead to cache degradation). Apart from the APE cache, he has also placed a good few Earthcaches in the surrounding area and maintains traditional caches of his own, and of visiting cachers that travel to the park to find the APE cache.He is really embodies what all of us seek and attempt to emulate in a cacher, and this especially from a cacher who has not had the opportuntity (like many of us) to find a multitude of caches in our direct environment. I hope that you too will give Junior your vote – and help keep the APE cache alive. I also hope that many many more cachers will have the opportunity to find the APE cache as I did.”Comment below to tell us who you think should be the September Geocacher of the Month. We will be accepting comments through October 14.If your nominee wasn’t recognized here, please submit your nominations again next month. We’re always looking for the next Geocacher of the Month. To nominate a geocacher, send an email to firstname.lastname@example.org and include the following information:Your name, the name of your nominee, their usernameA picture of the nomineeDescription (200 or more words) explaining why he or she deserves to be the Featured Geocacher of the MonthPlease inform your nominee that you have submitted them for the award. Nominations for the next Featured Geocacher of the Month should be received by October 14. Once Geocaching HQ has received the nominations, we will choose the top candidates and post them on the blog. You will then get a chance to champion your favorite. Our goal is to involve the entire geocaching community in this process so that we might learn from each other.Share with your Friends:More Oskar, username OskarÅ says, “Hi, I would like to nominee an older couple from Sweden that has put a lot of smiles on mine and a lot of more people for sure. There names are Carina and Lasse. I live in the southest part of Sweden and just a few miles from my town they have a ton of great caches! They use all of their free time to go geocaching and also building caches for us other to enjoy. Just by looking at their profile of them you can see how active they are and how many favorite points they have on their caches. They are really creative and are the most inspirational geocachers I know.” SharePrint RelatedAnnouncing the December Geocacher of the MonthFebruary 4, 2014In “Community”Announcing the November Geocacher of the MonthDecember 31, 2013In “Community”Announcing the October Geocacher of the MonthDecember 6, 2013In “Community” The earned, never for sale, Geocacher of the Month Geocoin (sun flare optional)The guardian of a vanishing iconic geocache, a couple from the far north of the world who’ve helped create a quality geocaching community, and the president of a geocaching association who leads by the two E’s (enthusiasm and more enthusiasm). We’re honoring these geocachers as nominees for the Geocacher of the Month. Each will receive worldwide recognition for their contribution to the global geocaching community and a prize package from Geocaching HQ in Seattle. Which of these nominees will be named Geocacher of the Month?This is your opportunity to help decide who will take home the earned, never for sale, Geocacher of the Month geocoin (at left). Each featured Geocacher of the Month will receive the exclusive special edition geocoin, a hat and profile icon. They’ll also receive a certificate acknowledging their contributions, signed by two of the founders of Geocaching.com.Dr Evil. – Geocacher of the MonthIn August, Dr Evil. was officially named Geocacher of the Month.One comment details Dr Evil.’s family-friendly approach to geocaching, “His caches are fantastic for kids and getting them interested in caching but also in the great outdoors again. His vlogs on YouTube are always informative, upbeat but above all that you can see his dedication and his passion for finding caches and placing them. He’s organised some great events some for the family, some for the extreme cacher but he is always friendly, polite and always willing to help out a beginner.”Now it’s your turn to help us select the next Geocacher of the Month. Write a supportive comment at the bottom of this blog for the nominated geocacher that you feel should be awarded the title. A panel of folks from Geocaching HQ will then use your comments to help guide the decision of which geocacher is awarded the Geocacher of the Month honor.Here are your nominees for the September Geocacher of the Month. Some testimonials have been edited for length.Carina & LasseCarina & Lassie Nominees for Geocacher of the Month
Tags:#Analysis#enterprise#news#NYT Let’s take a quick look at some of the findings for Twitter, Facebook, YouTube and corporate blogs:TwitterThe report says that Deutsche Telekom uses Twitter for announcements while Volkswagen uses it to RT and Home Depot for customer service. Conclusion? Fortune 100 companies are still searching for the best way to use Twitter. But just posting announcements seems pretty sterile. From the white paper:“Leaders of the pack on the Fortune Global 100 are Sony’s SonyPlayStation with well over 115,000 followers and SonyPictures who is followed by almost 50,000 people and following over 6,000 Twitterers themselves.”Burson-Marsteller also states that Fortune 100 companies are supporting multiple accounts. This is perhaps most encouraging: customer engagement is beginning to be more widespread across product groups.FacebookFacebook shows some of the most promise. Most of the Fortune 100 companies have tens of thousands of users. Related Posts IT + Project Management: A Love Affair alex williams Cognitive Automation is the Immediate Future of… Perhaps the strongest sing of acceptance is in the number of corporate product groups that use Facebook. Companies like Sony have multiple fan pages.YouTubeYouTube is used mostly by U.S. companies. Entertainment, electronics and auto companies are the most likely to have YouTube channels. Viewership shows promise. Consumers want to see product videos. Connecting YouTube with Twitter, Facebook and a blog can make for a potent combination if all are updated on a regular basis. Massive Non-Desk Workforce is an Opportunity fo… 3 Areas of Your Business that Need Tech Now A study by Burson-Marsteller finds that 79 percent of the largest 100 companies in the Fortune Global 500 index are using social media tools.At first glance, this may seem significant. But a closer look shows that Fortune 100 companies are showing interest but nothing to prove that social media tools are gaining significant corporate acceptance. Here’s a copy of the full report and an accompanying power point presentation.But it is early in the game and these are results show that social media tools are making credible gains. The services of choice? No surprise: Twitter, Facebook, YouTube and blog platforms.Twitter is number one, followed by Facebook, YouTube and corporate blogs.The study found that 65 percent of the largest 100 international companies have active accounts on Twitter, 54 percent have a Facebook fan page, 50 percent have a YouTube channel, and one-third (33 percent) have corporate blogs. Only 20 percent of the major international companies are utilizing all four platforms to engage with stakeholders.The fact that the Fortune 100 do not leverage multiple tools is a sign of how consumer-based social media tools are not fully understood or leveraged for maximum benefit. It’s also evident of just how much of an opportunity big companies have in using the social Web if they use it to its full extent. Companies that extend to multiple media networks still have a chance to get ahead of competitors.The frequency of posts illustrates that companies are posting but not nearly as often as they could. BlogsFifty-percent of the Fortune 100 companies from the Asia Pacific have blogs. Burson-Marsteller says Asian companies prefer blogging due to the control they can have over the conversation.“Only 11% of active U.S. company blogs had posts in the past three months as compared to 83% of European blogs and 77% of Asia-Pacific blogs. The U.S. blogs also had fewer blog posts.”The results show the increasing popularity of the real-time web and its use across the enterprise. But is it smart not to update a blog? We wonder what company fares better. The one that is active on its Twitter account and its blogs or the one that has an active Twitter account but infrequently updates its blog?ConclusionCorporate America is using the social Web. It’s apparent that companies have waded a bit deeper into the water but the opportunities are clear. The companies that embrace multiple mediums and keep up with a consistent volume of updates will be the big winners, no matter if they are a Fortune 100 or a Fortune 1,000 company.
Here are the five most important things you should consider when adding text to your future film or video editing projects.Cover image by Jacob Lund.How to add text to your videos has gotten plenty of coverage here on the PremiumBeat blog. From simple text blocks to sleek animations and everything between, it’s undeniable that text can be a powerful film and video production tool. However, just because it looks flashy, that doesn’t always mean it’s necessary (or even optimal) for your project’s needs.Let’s look at the 5 most important things to consider when deciding whether or not to add text to your videos — and how to make sure your text gets the message across to your audience.1. SizeFirst, let’s look at one of the biggest (or smallest) aspects of text on your screen. The size of your text is an important consideration. If it’s too small, people simply can’t read it; if it’s too big, it may get in the way of other information. Yes, you can simply eyeball the screen, but to really make strong decisions, you need to understand where and how viewers are going to see your video.Text on a big theater screen is a completely different conversation than text on a video embedded on Facebook and seen through a mobile device. The best way to truly eyeball text would be to create a mockup and view it on every platform you’re considering for distribution.2. FontsAlong with size, an early decision when working with text in your video is which font (or fonts) to use. Fonts come in many shapes and styles — some more straightforward and clear, and some more abstract and artistic. When choosing your font, it’s important to consider how you’re going to use it, the tone of your project, and (above all) readability. Options like serif and san-serif are also important elements to consider — as are terms like leading and kerning.Here are some great resources for learning about and using fonts effectively.Free Cinematic Title Style Library for Premiere Pro10 Free After Effects Templates: Typography25 Free Sans-Serif Fonts for Motion Design11 Great Fonts for Lower Thirds GraphicsAvoid These 15 Common Typography Mistakes on Your Next Project Finally, there are many schools of thought on how quickly humans can read and process text on a screen. While results may vary, the consensus is that people grasp information really quickly when they want to. However, when you include text in a video, you’re also presenting other information that may be distracting. That’s all to say that when you’re adding text to your video, how long you leave it up on screen should be sufficient for the majority of your viewers — but not too long, or it will become annoying or distracting.You can test this yourself when viewing playback, but for the best results, try showing video clips to an objective source like a friend who can process both the text and the visual information (for the first time) together and let you know if it was on-screen too long or not long enough.For more text templates, text animations and other resources, check out some of these links below.Make Your Video Graphics Stand Out with These 6 TipsHow to Create Realistic On-Screen Text MessagesHow to Shoot Practical Floating Text in Your VideoAnimate Your Text with Handwriting Motion GraphicsHow to Animate a Text Stroke in Adobe After Effects 3. Obstruction/BackgroundsBefore: Text slightly obscured by the background.After: Text separated from background with shadow and edges.When working with text in video, unless you’re using it over title or black screens, you’ll need to make sure the text isn’t obstructing the image behind it. Lower thirds or titles at the bottom of the screen may seem safe for one shot, but if your subjects move or your shots change, it can obscure important visual information. You should never simply drop text into a video without previewing how it looks all the way through. (I recommend going frame-by-frame for absolute certainty.)4. Safe MarginsIf you’re working on a video project that viewers will see across a wide array of devices, you need to pay attention to safe margins in case your video gets cut or reformatted in a manner that changes the edges and corners. Templates for safe margins are included in most NLEs, and they’re vital for ensuring that your text will be safe from any aberrations.5. Read Time
Animation scores may have had simplistic reputations in the past, but street-inspired innovators like The Blasting Company are disproving old ideas.We sat down with The Blasting Company‘s founding members, Josh Kaufman and Justin Rubenstein, for insight on the industry, their process, and where the sound of animation is headed.Image courtesy of The Blasting Company.PremiumBeat: So much of your work has been in animation. David O. Selznick famously called animation scoring “Mickey Mousing,” as a derogatory term that implied it was simplistic and telegraphed what was happening in a scene. Do you think that was fair, in reference to the past, and how has composing for animation evolved?The Blasting Company: There is definitely a large amount of that in the animation world, and I think it requires a courageous director to break free of that style. In fact, I think the problem has probably gotten worse since Selznick’s time. Carl Stalling, even with all the “Mickey Mousing,” still has some of the most sophisticated scores in animation to date. Since then, budgets have plummeted, and the amount of time given to the score has dramatically decreased. Composers are expected to play all of our own instruments, or use samples, rather than the real orchestras — 70 expert musicians at your disposal — then mix and master the audio.The good news, though, is that there are a lot of directors who realize how wonderful those past scores were (Looney Tunes, Classic Disney, etc.) and are fighting to have larger budgets, and more time for composers, to do really great work. The Simpsons and Family Guy are two great examples of animated shows with full orchestras.As far as animated scores being simplistic, I think Miyazaki and his main composer, Joe Hisaishi, have been a driving force in showing the world that animated films can have subtle, and emotionally complex, scores. In that sense, it really has been getting more and more subtle and interesting, since Selznick’s time. When you’re watching Studio Ghibli movies, I think you couldn’t even imagine the score being a direct corollary to the action on screen. It would be totally absurd!Over the Garden Wall.PB: The praise for your Over the Garden Wall soundtrack is pretty universal. Mournful, beautiful, lush, fun, raw, and polished. Old-timey meets rustic roots meets brand new day. I could go on, but when you were sitting down with the animation — with the production team — how did the direction of the soundtrack develop?TBC: Thank you. Most of the direction really is due to Patrick McHale’s particular taste in music. The sound of the world that he created was completely integral to its creation, from the very beginning. Our role was mostly to serve his vision, as best as we could, and help him realize his world. One nice thing was before he even started animating the very first episode, we had numerous meetings with him, just listening to music and playing different things for each other. Those meetings really set the tone for the entire project, and helped to guide us in the right direction throughout.Costume Quest.PB: Your current project, Costume Quest, is an animated series, based on a role-playing video game about kids battling dark forces, in a sleepy town. The fun and cute show is geared toward 6- to 11-year-olds. How much of the target audience influences your approach to the sound of the project? Without lyrics, does the age of the viewer play any role in the crafting of the score?TBC: With Costume Quest, we were really trying to achieve a Saturday-morning-cartoon feel and tone — something that felt comfortable to live in and come back to. Due to the target age group, we definitely had to use a few more of the classic cartoon scoring devices that you find in other shows of that ilk — telegraphing of emotional and action beats, and little slapsticky accents to the comic beats (i.e. Mickey Mousing).Within those margins, however — and really even because of them — we felt encouraged to be as earnest as possible. For example, the creators wanted us to really lean into the John Carpenter horror feel for the monsters, and dared us not to hold back, to have fun with building tension and unease. I think because the images are intentionally not too scary, we had permission to be as scary, or weird, as we wanted to be.The same was applicable for the emotional moments. With a show like this, there is a tendency toward heavy-handedness, for sure. And there’s definitely a temptation toward kitschy, tongue-in-cheek, pop culture references. So, one way we tried to temper that was to just keep trying to be really earnest. Even making the synthy ’80s dance song for the bad guy, we wanted it to feel like it was an actual synthy ’80s dance that an evil character would listen to in his car. We hoped to steer clear of replicating these things musically, but to honor the tone of badness that we have embedded in us from movies like The Warriors, Halloween, Blade Runner — all the way to Ghostbusters. So, in a way, the music is somewhat of and for an older generation, informed by the cultural influences of our age group. But the beautiful thing about those references is that younger generations still love them, and those tropes are just as effective as ever, now.Over the Garden Wall.PB: There seems to be a trend in animation to reflect pop culture. Family Guy had a trilogy of Star Wars episodes. The Simpsons often referenced classic movies. Powerpuff Girls did a whole Beatles homage. Do you pull from pop culture, or micro culture, when approaching new material?TBC: I suppose there’s no way out of it! So much of finding the right tone for a scene, or an episode, involves watching and listening to things that have come before. It feels like, in the present day, our job is not so much to create new things, as to filter through all of the works from the past, and expand upon them. Or combine them in new and interesting ways. Like we are just making collages from paintings that exist, rather than coming up with new paintings. In music, probably the last big change that happened was Hip Hop, and the ability to use the computer to manipulate sound. But, since then, it doesn’t feel like any truly new ground has been discovered. So, until we find that next, new thing, we’re all just applying our taste to existing genres and styles.As far as something as overt as the examples given, we do get asked by directors, from time to time, to directly reference a particular, popular piece. In Over the Garden Wall, we wrote a piece very similar to a T-Rex song. In Costume Quest, almost every episode had some musical reference to pop culture (Trap music, “Take Me Out to the Ball Game,” The Titanic score, etc.).Costume Quest.PB: How does animation free you up artistically? Anything can be drawn and realized. Clearly, you believe anything can be a musical source. Can you share with us any new instruments of sound you’ve been incorporating in your work? And finally, what can we look forward to seeing from you in the future?TBC: Scoring to picture, animated or otherwise, is very freeing for us because the music is serving a very specific purpose. We often get paralyzed when writing original music, for our own albums, by the ever-present question: “Why are we making this? Are we contributing anything worthwhile?” But, writing music for film/TV completely eradicates that question. We’re doing it because this thing needs music, and because the director asked us to do it. Animation, in particular, is freeing because it can be so many things, in such a short span.A live action film needs to remain mostly in the same musical space for most of the movie, or it will feel very awkward and disjointed. But somehow — maybe because of the tradition of “Mickey Mousing” — in animation, it doesn’t feel so strange to jump around. More than new instruments, we’ve been playing around, a lot, with combining different sounds together to create novel sounds.We recently discovered that most of the bass on Pet Sounds was two basses, Arco and Pizz, and sometimes even with bass harmonica layered in unison. That’s such a fat, orchestral bass sound! We’ve been working on a new record, of our own music, using some of these types of orchestral sounds. In fact, this summer we’ll be releasing a new song called Candy, with an animated music video, in which, we recorded live with a string quartet and our brass section. We’ve also been getting more and more into analog synths, and are planning to release a synth record based on our song “Tiny Star” from the Over the Garden Wall soundtrack, this summer, as well.Looking for more industry interviews? Check these out.The Editor of “Us” on Working with Jordan Peele and the Horror GenreIndustry Insights: Composing for Supergirl, Riverdale, and Nancy DrewInsights into the Cinematography of the Award-Winning Doc-Series “Tales By Light”Industry Interview: Behind the Lens with Filmmaker Carolina CostaWorking with Comedy and Drama in Sundance’s “Before You Know It”
You are the very best salesperson in the world. As long as you are also the prospect to whom you are selling.Right now, your win ratio is 100 percent. You’ve never lost. Everything you have sold yourself, no matter how crazy, no matter how poorly it served you, no matter how great the cost, you bought lock, stock, and barrel.There was that time when you sold yourself the idea that nothing was your fault. You loved the idea that you were really a victim, and none of the poor results were of your own making. You sold yourself absolution, and you bought it—even though you paid for it with years of poor results.And then there was that time that you sold yourself the story that the circumstance of your birth were the reason you couldn’t do what you really wanted to do. You weren’t born to the right parents. Nor were you born on the right side of the tracks. No one has even heard of the place you grew up or the tiny school you went to, the one where it was impossible to make the right connections. This sale was so easy. You didn’t object once, even though you paid dearly.What about that whole list of identities you sold yourself? Remember when you sold yourself the idea that you aren’t a morning person, that it is impossible for you to get up in time to set your day up for success? You sold yourself the idea that you “can’t show up on time,” even though your habitual lateness has hurt your relationships.Then there are the sales you make each day. How many times have you sold yourself that tomorrow is the day you will start in earnest? How many times have you sold yourself the idea that there will be time for you to do what you need to do tomorrow, so that you didn’t have to do what most needs done today? Isn’t this the easiest sale to make? You buy it like you’ve never been burned by buying this before—and like you aren’t still being burned by it now.The better part of you knows that everything you are selling is bunk. That part of you knows that all these things that you have sold yourself are built on a foundation of lies and deception, self-deception.Stop selling yourself beliefs, ideas, stories, and excuses that don’t serve you. And when you do try to sell yourself these things, don’t buy them. 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
As the BJP is set to retain power in Gujarat for the record sixth time, Maharashtra Chief Minister Devendra Fadnavis said on Monday that the mandate is for the party’s politics of “vishwas” and “vikas”. “The BJP came up with the politics of vishwas (trust) and vikas (development) for Gujarat and people responded to it positively. The Opposition tried to spread wrong messages against us, but we prevailed because of the leadership of Prime Minister Narendra Modi and national president Amit Shah,” he said. Mr. Fadnavis was speaking to reporters outside the state assembly. “It was the common man’s trust that Modi can bring peace and prosperity. It is very important that even after 22 years, a party gets almost 50 per cent votes of the people and retains power…It is very significant,” he said. According to Mr. Fadnavis, with Himachal Pradesh, the BJP has won the 19th state in the country. “The results are a stamp on the leadership of Modi and Shah in the party and in the national politics,” he said. When asked about the BJP winning less number of seats in Gujarat as compared to the 2012 assembly polls, Mr. Fadnavis said, “The BJP has won 49.9 per cent votes so far. It is a very significant win for the party.”