Derhally, L. (2017). How to talk to kids about sexual abuse, and how you can help prevent it. The Washington Post. Retrieved from: https://www.washingtonpost.com/news/parenting/wp/2017/02/08/how-to-talk-to-kids-about-sexual-abuse-and-how-you-can-help-prevent-it/?noredirect=on&utm_term=.243d79f66a96 Father and son talking with a sun setting in the background By: Jason Jowers, MS Return to article. Long DescriptionPixabay[Father Son Silhouette by free-photos on January 8, 2016, CC0]Talking to children and youth about sex can be tough enough for parents, but it is even tougher when talking about issues of sexual abuse. Sexual abuse affects up to one in four children according to the Committee on Child Abuse and Neglect within the American Academy of Pediatrics . This abuse can lead to long term effects on physical and mental health, well into later life and adulthood.And abuse not only affects kids, it also has significant effects on family members, particularly parents. According to a study on the effects on non-offending parents and caregivers, there was significant emotional and psychological distress after learning that their child may have been sexually abused . Anger, depression, and guilt were the most common feelings expressed. Issues of child sexual abuse can definitely take a toll on a family.When talking to children and youth about instances of sexual abuse and prevention, this article  from the Washington Post has several suggestions. They include guidelines on talking about sexuality and ways to normalize sexual behavior. They also suggest having open communication that builds trust and doesn’t instill shame.For more info on talking to children and youth about sexual abuse and on disclosing instances of abuse, be sure to tune to our upcoming webinar, “Sexualized Behaviors in Children & Youth,” which will focus on common development of sexualized behaviors and when those behaviors can become problematic. Be sure to RSVP for this webinar here, scheduled for May 22, 2019 at 11am EST.This webinar is the first in in our ongoing “Sexual Behavior in Children & Youth Series,” which will include other webinars and podcast episodes throughout 2019. This series will focus on normal sexual behavior and explore concerning and problematic behaviors that children may display. We will also focus on topics such as adolescent brain development and the role of social media/sexting in shaping sexual behavior for children and youth. Be sure to sign up for our mailing list here for further series reminders.*Revised on 9/10/19 to reflect series title change References Jenny, C., Crawford-Jakubiak, J. E., & Committee on Child Abuse and Neglect. (2013). The evaluation of children in the primary care setting when sexual abuse is suspected. Pediatrics, 132, 558-567. doi:10.1542/peds.2013-1741 Fong, H., Bennett, C., Mondestin, V., Scribano, P., Mollen, C., and Wood, J. (2017). The impact of child sexual abuse on caregivers and families: a qualitative study. Journal of Interpersonal Violence, doi.org/10.1177/0886260517714437 This post was written by members of the MFLN Family Development Team. The Family Development team aims to support the development of professionals working with military families. Learn more about our team at https://militaryfamilieslearningnetwork.org/family-development, and connect with us on Facebook, and on Twitter. Subscribe to our Anchored. podcast series on iTunes and via our podcast page.,*Revised on 9/10/19 to reflect series title change
Not sure which video editing application to use? Check out this video that breaks down the differences between two of the leading contenders in pro editing – Final Cut Pro X vs. Premiere Pro.Whether you’re just now debating a jump from Final Cut Pro 7 or trying your hand at serious video editing for the first time, you may find yourself wondering which video editing application is right for your needs.Ric Lanciotti, a professor at the Pacific Northwest College of Art, has examined in detail the differences in FCPX vs Premiere Pro and then shared them in the informative video below. Ric comes at his analysis from usage in an educational environment but many of the comparison of FCPX vs Premiere are applicable for the professional editor as well.The video runs at about :45 minutes, but for someone seriously looking at making a switch it’s time well spent. In the end a winner is determined based on cost, features and usability (especially for users that are just getting into editing). See for yourself the FCPX vs Premiere Pro victor… it may not be the one you would have guessed. Thanks for sharing Ric!Best viewed full screen:
Convert your AVCHD .mts files for video editing with these handy FREE applications!If you’re working with AVCDHD files then these helpful tips should assist with any kinks in your workflow. The most important thing to remember with any digital card format is to copy the entire card, as this will maintain the folder/file structure that a lot of non-linear editing applications need to work with the files.For the first tip. head over to Shedworx to download a free app that will let you preview the first frame of your .mts files in the finder window. This is a quick way to find the footage you need when rummaging through several cards at a Finder level.Ingesting AVCDHD Media In AvidChris Hocking and LateNightFilms.com have put together an incredibly detailed step by step guide to ingesting AVCHD media into Avid Media Composer which you can directly download here. Its a great guide for anyone new to Avid (like me!) who wants to do things in a methodical manner.Also for visual learners Alex Walker has posted this walk through of an offline/online AMA workflow using AVCHD media:Importing AVCHD into Premiere ProImporting your AVCHD files into Adobe Premiere is incredibly simple – you just drag and drop them into the bin and you’re done. If you’re looking for a document on the ins and outs of working with AVCHD media and the Adobe suite of programs check out this handy official paper.Importing .MTS files into FCPXFor an in-depth tutorial on working with file based media in FCPX, Larry Jordan has a great freebie from his FCPX training series available on Youtube. Larry demonstrates how to import AVCHD media into FCPX and you’ll also learn plenty of other great keyboard shortcuts and tips on working with FCPX at the same time. When importing .MTS files into FCPX it’s important to remember to go to ”Import from Camera > Open Archive” rather than going straight to ”Import”.Importing .MTS files into Final Cut Pro 7It is pretty straight forward to work with AVCHD files in FCP7 – just copy the card structure to your hard drive and then ingest via Log and Transfer. Set the transcode codec in the preferences cog of Log and Transfer.The tutorial below from Genius DV walks you through the FCP7 ingest steps in a couple of minutes. If you ever get a red exclamation mark in FCP7 this quick tip will show you how to solve it.Free Apps for converting .MTS filesWhat happens when you don’t have the whole card structure to work with? Well these apps will convert standalone .MTS files for you for free.Re-wrap in Quicktime Pro X: Apparently you can simply use Quicktime Pro X on Mountain Lion to re-wrap your AVCHD media out of its .MTS wrapper and into a friendly .mov wrapper (keeping the internal H.264 codec that was inside the .MTS file all along). As I’m still on Snow Leopard I can’t check this for myself but Apple talks about it here.Media Converter: This free app lets you batch re-wrap .mts files into Quicktime H.264 .movs with uncompressed audio. Download the app from the Kiwi Fruitware source-forge site. Then download any of the presets you like, including the Re-wrap AVCHD for Quicktime – uncompressed Audio Preset. Pretty nifty and all for free! Thanks to EOSHD.com for pointing out this app.Paid Apps for Converting .MTS filesIf you want more options and power for converting your .MTS files then you can’t do much better than Divergent Media’s moustachioed ClipWrap ($49.99) which will batch convert or re-wrap your AVCHD and HDV files at great speed. I’ve used it for a long time and I’ve never had a problem with it.Another app that comes in both a paid and lite flavour is Rarevision’s 5DtoRGB which also works with AVC files. One of the benefits of 5DtoRGB Batch ($49.99) is its high quality 10-bit encoding and timecode compatibility You can also download a lite version (that doesn’t do batches) from the Rarevision site.5DtoRGB takes a no-compromise approach to quality. 5DtoRGB bypasses QuickTime decoding altogether, works internally at 10 bits and uses your video card’s GPU for its YCbCr to RGB conversion. It also recognizes Canon’s full range 8 bit YCbCr values (0-255), avoiding clipping and the resulting loss of picture information. The resulting files are the absolute highest quality you’ll ever get out of the camera. In fact, you could argue that they’re even better than the camera originals since they’ve undergone high quality chroma smoothing.The AVCHD Folder ”Cannot Open” ErrorIf you’ve ever run into the situation where you get a ”Cannot Open” message from Mac OSX while using a NAS (network-attached storage) device or a case sensitive disk, then this helpful blog post from Adam Wilt on PVC will show you how to fix the problem…and with a free app too!AVCHD and DaVinci ResolveAs a last little tip my DP friend Adam Roberts has posted a quick tip on a smooth workflow using FCPX and DaVinci Resolve to ensure you maintain quality and easy playback when grading from your AVCHD files.Got AVCHD tips to share?Let us know in the comments below!
Filmmakers with limited budgets can often benefit from using mirror kits on set. This cinematography tip will help you maintain production value while keeping costs to a minimum.Top image via Christian Berger Producing an ultra-low-budget film is an extreme challenge, one that forces filmmakers with limited funds and resources to look for out-of-the-box solutions to keep their finances in check. Often, a disproportionate amount of money is spent on camera department and lighting rentals, meaning there’s less to go around for other critical elements such as art department, cast, locations, etc.That said, there are certainly methods for keeping your costs down in the camera/lighting department, one of which involves replacing your lighting kit with reflectors, or a mirror-based lighting kit.Image via KFLECTWe’ve all used mirror boards, bounces, and other reflective surfaces to help add some light to our scenes, but few of us have exclusively used reflective lighting kits to replace our traditional film lights, even though it’s a viable option. A number of companies have now started to produce mirror kits. Along with the Cine Reflect Lighting System, there’s the KFLECT kit, which is one of the more popular options.The principle behind all of these kits is quite simple: a series of mirrors are designed to strategically bounce light back and forth to each other, and eventually on to the subject, allowing for minimal film lights to be used. In most cases only a single light will be used, which is directed at one of the mirrors and then bounced around to the other reflectors as needed to light the scene.The Cine Reflect Lighting System in action via Christian BergerAmazingly enough, these kits can turn your single light source into dozens (or more) of sources — In the case of the KFLECT system, you effectively can have up to seventeen sources from one light.These kits are fantastic not only because they can save you money, but for a number of other reasons too. For instance, their small footprint allows you to use them in spaces that you otherwise might not be able to rig up a light. Plus, they’re far easier (and faster) to set up and tear down. Additionally, you don’t need to worry about color temperature issues between mixed lighting sources, since all of your lights are essentially coming from the exact same source.Whether you want to save money, space, or are just looking for a more portable solution to add to your existing lighting kit, a mirror system is an excellent option to consider. Check out this video below from Bob Gundu as he reviews the KFLECT kit:Do you have any experience working with mirror kits? Share your thoughts in the comments below.
Learn how to light your shot quickly and cheaply without overexposing your incandescent practical light. Let’s have a look at a basic setup to better understand the technique.All images via David GoodmanPractical lights are visible lights in your shot that can also provide much-needed illumination while motivating the way you light your scene. Lighting your scene with practical lights can be crucial when shooting a documentary or when working quickly. The problem is that practical lights have a tendency to overexpose if you keep them in your shot.When a practical light is overexposed, which should be obvious from the shot above, one workaround is to reframe your shot and use the illumination of the practical light while keeping the actual light out of your shot. But what if you want to keep the practical light in your shot? After all, that’s what makes the light a practical light.The trick is to put your practical incandescent light on a dimmer and control the brightness. You can then motivate the lighting of the scene and actually supplement the practical lights with the more professional movie lights of your choice. This demonstration was shot with the affordable two-light Lowell GO Pro-Visions Kit.Let’s go through the steps of carrying the lamp.1. Expose for PracticalsBy exposing for your practical lights, and cutting the overexposure, the rest of your image goes black. To correct for this, use your practical light as a guide. In this case, the main practical light is the lamp on the table.2. Set Your Front LightBy placing a Lowell light behind the practical light, you can carry the lamp and provide sufficient illumination to give yourself an exposure.3. Set Your BacklightOnce the front light is set, it’s time to think about the background of your shot. In this setup, there is already another practical lamp in the background but it doesn’t provide enough illumination to be of much use. Using the background lamp as a guide, you can motivate a backlight for the subject and the background.4. Front and Backlight CombinedCombined, and with the strategic placement of a background Beagle, the lighting effect produces a shot with more depth and visual interest.5. Alter Lighting Intensity With DimmerThe problem is that after adjusting exposure a bit for the front and backlight, the practical lamp in front is still overly bright. This is where the dimmer becomes useful. Using a very inexpensive dimmer, you can lower the intensity of your practical light and still keep the illumination of the Lowell light.Final ResultsThe behind-the-scenes lighting setup is quite basic and sets the lights in a diagonal line across from one another. As you can see, the light placement allows you to motivate lighting with the position of the practical lights, while also maintaining control of the way your practical lights are exposed.Carrying the lamp is a quick and easy lighting method that can be achieved with minimal means. It’s a good trick for any cinematographer to have up their sleeve.Have any experience with this technique? Share your behind-the-scenes knowledge in the comments below!
Use experimental ambient royalty-free tracks to put your project in the same category as today’s most talked-about films in 2019.Superheroes will always rise and fall to the sounds of bombastic brass sections, and we will always cheer. The historical figures of high-brow Oscar-bait will always live and die to the sounds of sweeping strings, and we will always weep accordingly.While there’s obviously nothing wrong with using a traditional score to support your footage, today’s most groundbreaking productions are approaching movie music from a more experimental place. Content creators looking to stand out and push the boundaries of storytelling should take note — and then explore the curated playlist of mood-altering ambient royalty-free tracks at the end of this post.Image via s_maria.Experimental Film Scores: A Brief HistoryUsing music in a way that makes it almost more of a character than a complement is certainly trending, and it’s an approach that’s been building steam for a while. Lalo Schifren’s soundtrack to THX 1138 features long, droning passages that mirror the drug-induced emotional flatness experienced by the citizens of George Lucas’s stark dystopian future. 1978’s Jubilee (in which a time-hopping Queen Elizabeth I visits punk-rock London) boasts a score by avant-garde legend Brian Eno.2007’s There Will Be Blood saw Radiohead’s Jonny Greenwood use screeching, dissonant violins to express the unnerving desperation that defined Paul Thomas Anderson’s brutal West. Soon after, David Fincher forged a creative partnership with Trent Reznor and Atticus Ross that stretched across The Social Network (2010), The Girl With the Dragon Tattoo (2011), and Gone Girl (2014). The results were soundtracks that felt more like moods than music.In recent years, experimental ambient scores have become de rigueur for smart genre filmmakers. Mica Levi’s score to 2014’s Under the Skin is as atonal as Scarlett Johansson’s character is alien, while Ben Salisbury and Geoff Barrow’s music for 2015’s Ex Machina and 2018’s Annihilation translates Alex Garland’s visions of isolation and body horror into sound.Image via best_vector.Before his untimely death in 2018, Jóhann Jóhannsson’s compositions for films like Prisoners, Sicario, and Arrival earned him a reputation as an innovative new force in film scores. Regarding Jóhannsson’s work on 2018’s Mandy, Andy Beta of Pitchfork said, “the late composer and experimental musician revels in extreme sounds, delving into black metal, menacing ambient, doom drone, and piercing orchestrations.”There’s a good chance that the next milestone in this tinnitus-inducing timeline will be July 2019’s Midsommar from director Ari Aster. After tasking Colin Stetson to compose the abrasive white-knuckle soundtrack to 2018’s Hereditary, Aster tapped Bobby Krlic — aka The Haxan Cloak — to score his sophomore effort. The Midsommar press release promises “wordless, atonal, ritualistic songs” and reveals that Aster wrote his script to Krlic’s music. Pretty neat.If you’re ready to join today’s top film talent in getting experimental, dive into the playlist of experimental ambient tracks below. We’ve selected music to represent a lot of the vibes we mentioned above. Some are chill and melodic. Some are distinctly the opposite. Regardless, each of these royalty-free songs can be yours forever with a simple Standard License, and all of them present an opportunity to do something unexpected with your next project. Cover image via Stock_Good.Header image via GrooveZ.Playlist header image via best_vector.Looking for more royalty-free music playlists? Check these out.Creative Zeitgeist: 2019 Royalty Free Music Trends PlaylistMake Your Cuts Shine with Royalty-Free Transition MusicCreative Royalty-free Intro Music for Better Viewer EngagementFresh Tracks: Hear June’s Best New Royalty Free MusicRococo Romance: Give Your Video a Classical Cinematic Sound
There are several stylistic and technological approaches to communicate information at a distance. We look at two: the zoom and the punch In.The ZoomThe zoom, of course, requires a telescopic lens to magnify the image. The camera is static so there won’t be any perspective changes. You can move the camera while zooming, a notable effect being the Hitchcock shot (a.k.a. the dolly zoom), but let’s focus on a static camera for this article.At its most basic, a zoom allows us to redirect and focus our audience’s attention within a single shot. A great example is the crash-zoom, often used in Hong Kong action cinema, and films harkening back to it. It emphasizes an action, introduces an imposing character, or adds weight to a character’s mood or emotion. Note its use in introducing Calvin Candy in Django Unchained.Here, we finally meet the man of much discussion — the slave master of Django’s wife. Once we see his face, it’s like nothing else in the world matters — all our attention is focused on him.In Clinton Jones’s short action film “Sleeping Dogs,” we see an excellent use of a crash-zoom-out. After our main character rolls back over the table, he steps up onto the counter, then turns and kicks an attacker in the face. The camera crash zooms out, whipping our view back to a wide angle, to see the kick to the face and the thwarted attacker’s painful reaction.Here, the crash-zoom whiplashes the audience, just as our hero’s kick whiplashes his foe. But the crash-zoom is a fairly unique type of zoom. What happens when we take our time and zoom in slowly?Now, zooming in and out can create very different emotions. Let’s zoom in first. As I said earlier, this redirects and focuses our audience’s attention, but when the focus of the zoom is a character, we create a new feeling — that our character’s point of view is becoming hyper-focused. Maybe the character is putting two and two together and their mind is coming closer to a solution or revelation. Or perhaps they’ve become focused on a goal, like Jack Torrance losing his mind and thinking he needs to kill his family to “correct them.”Zooming out creates isolation. The slower we zoom, the more we become aware just how far we are away from our target — both physically and situationally. It emphasizes the distance between us and them — between them and the world. If our character is in a crowd, we convey several things, either that they’re not unique, they’re one of many, or that no amount of people in the world can rid them of their isolation.The Punch InThe punch in is one of those frustrating “same but different” techniques, in relation to the zoom. Yes, they both accomplish the same objective of moving our audience closer to, or further from, a new focus. But the method is different and the resulting emotion can be, as well. The punch in is more direct. It literally cuts straight to the chase.Whereas the zoom accomplishes its goal in a single shot, the punch in requires (at minimum) two shots edited together. Check out this scene in Casino Royale where James Bond realizes that the fuel tanker is where his objective is.You could use a crash-zoom, but it might whiplash the audience, creating a more shocking feeling. A slow zoom would help convey that he has discovered the truth of the situation. But, we need something fast to keep the pace of the chase scene going — we need something punchier. We just need to quickly convey what James Bond has discovered and that it’s of critical importance. We don’t need to whiplash our audience, but we do want to surprise them, thus heightening the intensity of the scene.The punch in can also frighten us. With each cut, we draw closer and closer toward doom. A slow zoom can create dread, but a punch in can shock us, causing us to get closer to a state of panic.As we cut closer to the paranormal twins, we feel Danny’s impending doom.ExperimentationThe zoom and punch in have similar qualities. Like most things in art, a tool’s effectiveness relies on the artist. Experiment with each technique. Try shooting the same scene several different ways. Find a scene with a shocking revelation or dialogue, and use various versions of the zoom and the punch in. Does the crash zoom add weight to it or make it feel kind of hokey? Is the slow zoom too dramatic? Does the punch in ruin the pacing of the overall scene or shake it up in a necessary way? A dangerous approach can be having the technique you want in mind before even writing the scene. Experiment and see which technique fits the scene best, instead of trying to shoehorn the scene into the effect.Cover image via The Shining (Warner Bros)Looking for more cinematography tips and tricks? Check out these articles.Viltrox vs. Metabones: Speed Booster for the Blackmagic Pocket Cinema CameraChoosing Aspect Ratio: A Guide to Everything You Need to Know3 Cheap, Underappreciated Cameras Filmmakers Should ConsiderCapturing the Cinematic Moment: Creative Uses for a Color MeterWhere to Find Vintage Lenses (and Tips on How to Use Them)
So what exactly does “medium format” mean, and could it be the perfect choice for your next project — or your next camera?Medium format cameras have started to arrive on the market for digital cinematography applications. This new (yet old) format is finally starting to make its way into video camera manufacturers’ product lineups.The History of Medium FormatImage via Anton Mukhin.During the film days of the advertising and commercial world, medium format was king. Being a larger format than traditional 35mm, it made it easier to enlarge an image for a billboard, or maintain quality for print. However, once digital cameras came along, medium format slowly began to fade into obscurity. The only home it found for years was among film purists and analog hobbyists. However, medium format has slowly started to make its way back into the market — this time with digital.Medium Format vs. Other FormatsThe easiest comparison to make for medium format is to its closest counterpart — full frame. Essentially, medium format is any sensor-size exceeding the full-frame size of 24mm x 36mm. When shooting on film, medium format uses 61mm 120 film. In digital application, this number will vary significantly across different camera manufacturers. For example, Fuji’s upcoming medium format camera offers a 43.8 x 32.9mm sensor, while ARRI’s ALEXA LF, which they dubbed “large format,” offers a 36.70 mm x 25.54 mm sensor.Advantages of Medium Format Higher Pixel DensityWith a higher pixel density, medium format cameras can record much more color information. This amount of imagery data has more to do with the size of the photo site rather than the number. With this in mind, a 4K image from a medium format sensor will have more information than a 4K image from an APS-C sensor. As a result, medium format is known for creating the most life-like imagery and color rendition of any format out there because it captures more information per photo site. Shallower Depth of FieldWhen the Canon 5D Mark II first came out, many complained that the cameras created a depth of field that was too shallow. As a result, a lot of the imagery was soft since the focus was much tougher to nail. You could make the same argument for medium format. Since it’s a much larger sensor, it’ll create a shallower image at 2.8 than its full-frame counterpart. However, knowing how to manage and when to use this shallower depth of field can be a strong creative advantage for content-creators. Medium Format for Digital CinematographyAPS-C and full-frame sensors have reigned as kings among digital cinema cameras. However, we’ve begun to witness medium format making its entry into digital cinema cameras, as camera makers push beyond full-frame. With the upcoming release of the Fuji GFX-100, we’re beginning to see cameras push beyond full-frame and into the next digital frontier. Cover image via Fujifilm.Looking for more articles on cameras and gear? Check these out.Film vs. Digital: Comparing Medium Format to 35mm to MirrorlessThe 5 Best Sliders to Pair with Mirrorless Video CamerasThe Simple, Stable Solution to Rigging Your Lights AnywhereViltrox vs. Metabones: Speed Booster for the Blackmagic Pocket Cinema Camera3 Cheap, Underappreciated Cameras Filmmakers Should Consider
1. BacklightThe backlight in this frame illustrates the “halo” effect in this shot. (Image via Miramax.)One of his signature styles is to use a blinding, sun-like backlight as a single-source lighting setup, bounced back into the subject’s face with a white card or a prop (like a table). This technique chisels the subject out from the background, giving an impressive “halo” effect.This iconic lighting is most famously seen in iconic shots of Uma Thurman in Kill Bill: Vol. 1. Uma’s character “The Bride” stands atop a table, her blonde hair so bright it’s clipping her face, lit by the reflection of the blinding backlight.2. BounceRichardson uses a spotlight in order to create the illusion of moonlight. (Image via Paramount Pictures.)Richardson stated in his American Cinematographer interview that he combines powerful Pars and Maxi Brutes with Tiffen lens filters to get the bloomed highlights. He uses bounce cards in wider shots, as well as props like tables (and even other characters’ wardrobes) to bounce the spill from the backlight back onto the talent. With a room that you can pre-rig with a dozen such lights — like the set in Hateful Eight — lighting each shot is just a matter of choosing which lights to dim and where to place the appropriate bounce objects.He used the same technique in a much different way in Hugo. With a wide-angle lens placed low on the floor, there were fewer ways to motivate the light, so Richardson didn’t worry about it. He pointed a spotlight through a skylight and let it play as moonlight. Because he works with directors whose films are heavily stylized, he doesn’t limit himself by what looks “natural” or “practically lit.” He does what he needs to get a beautiful frame and asks for the audience to suspend its disbelief.3. Lighting FlexibilityNotice how the uplighting and backlighting are delicately balanced in this photo. (Image via The Weinstein Company.)Hateful Eight and Django Unchained are great examples of the flexibility of Richardson’s lighting. The powerful backlight mixed with bounced fill gets under the wide-brimmed cowboy hats of the main characters, while the uplighting adds an element of uncanniness.Richardson often uses a tungsten-balanced Kodak film stock, using color contrast to add further dimension to his frames. Cold, daylight-balanced exterior light works as a rim light for a character, while a warm, tungsten-balanced light will bounce from the floor or tables to illuminate the characters. Because the subject’s face isn’t overly bright, the color and rim light serve to isolate the subject, allowing the actor more freedom to move around without worrying about moving out of their key light.Always in demand, Robert Richardson is set to bring his signature style to the new Venom film, directed by Andy Serkis, in 2020.Cover image via Kill Bill: Vol. 1.Looking for more industry advice?Art Director Adam Rowe on Creating the Production Designer’s VisionBreaking Down the Role of the Video Editing SupervisorWhy Tungsten Lighting in Filmmaking Is Still Alive and Thriving The Ad Astra Editing Team On Creating “Quiet Intensity” in The EditAdobe Offers Look into the Editing of “Terminator: Dark Fate” Robert Richardson’s eye for the unusual showcases extreme framings and non-realistic lighting. Let’s take a look at his signature style.With his long collaboration with some of Hollywood’s biggest directors, Robert Richardson has won three Oscars and lit several of the classic films in Hollywood. His long relationship with Quentin Tarantino includes the Kill Bill movies, Hateful Eight, as well as the recent Once Upon a Time . . . in Hollywood. He won an Oscar for his captivating portrait of childhood wonder in Martin Scorsese’s Hugo.
Essential Reading! Get my 3rd book: Eat Their Lunch “The first ever playbook for B2B salespeople on how to win clients and customers who are already being serviced by your competition.” Buy Now Have you ever been in a competitive situation where your price is raised before there is a discussion about you having been chosen? Maybe you presented, did well, and then were immediately told you need to sharpen your pencil? The negotiations have begun. Or have they?This happens all of the time, but it’s a mistake to enter into negotiations before you are chosen.One Against the OtherSome buyers like to pit sales organizations against one another when it comes to price. They may not exactly share what your competitor’s prices are, but they make very clear you are in a contest over price. There are number of problems here.First, if you haven’t been chosen, you are being used a leverage against your competitor. You may not be very friendly with your competitor, but you don’t gain any business by helping them find their way to the bottom (and it’s likely they don’t need your help getting there). Or maybe it’s the reverse of this; your competitor’s price is being used to get you to lower yours.Second, by shifting to a competition on price, you are allowing the contest to shift from value being to price. You don’t want to win on price. You aren’t competing on price. And this puts you smack in the middle of a contest over price, if there is a contest.You don’t want to participate in a contest on price. There is nothing for you to gain.First Things FirstTo protect your pricing, you need a commitment that you have been chosen before you enter into pricing negotiations. You also need this commitment to protect your clients from underinvesting in the results that they really need.When asked about price, you ask the question: “Have we been chosen?” If the answer is “no,” then you have to say something that sounds like this: “We’re happy to negotiate a final agreement. But until you decide that we are the right choice for you, we believe it’s premature to start negotiating price. We want to make sure you get the outcomes you need, including the right price.”I’m not from the school that suggests that buyers are trying to hurt you. They negotiate price because they believe it benefits them to get the most for the money. You might have language that is every bit as direct and even less adversarial. But until you are selected, negotiating price can only hurt you.If you are pressed to negotiate price before being selected, you can always push back and say something like this: “We’d love to begin final negotiations. We know we can reach an agreement. If we can’t, you can always choose someone else. Have we been selected?”Negotiate once. Only after you have been selected.QuestionsWhy do some buyers bring up price before they select a partner?How do you push that conversation to some point in the future, after you have been selected?What leverage do you give up by entering into price discussions before you are selected? What do you give up in the way of value creation?
Get the Free eBook! Learn how to sell without a sales manager. Download my free eBook! You need to make sales. You need help now. We’ve got you covered. This eBook will help you Seize Your Sales Destiny, with or without a manager. Download Now There are countless sales frameworks and sales methodologies, all with different ideas of what’s most important in winning new sales opportunities and retaining clients. This year’s fashion is insight. Next year’s fashion will bring another new version of some other old thing.Regardless of what you read, see, or hear, make no mistake, your sales results are built on relationships.Before ValueYour relationships come even before value. Yes, even value. Stop and think about it. Who exactly are you creating value for?When you talk about your dream clients you use the company’s name as a sort of shorthand for the people that make up that company. Your dream client company doesn’t perceive value; only the human beings within that company perceive value.Value is one of the ways you build and maintain that relationship. Value is one of the foundations of the relationship.Your Business Acumen and Situational KnowledgeWho values your business acumen and situational knowledge? The only way you transfer your ideas to another organization is through the people that make up that organization, i.e., your relationships.The only way results are created in your company, in your client company, or in any company is through people. This begins with winning hearts and minds, by establishing trusted relationships. Relationships are what allow you to make recommendations, to build the consensus necessary to bring change, and to execute and deliver the outcomes you sold.You Lost the RelationshipsWhen you lose an opportunity you say something to the effect of, “We lost the XYZ deal.” But how did you lose that opportunity? You lost the opportunity because the people within that prospective account decided to do something different. You lost because you didn’t have the relationships you needed to win.I know, I know. You lost because your dream client didn’t perceive value, your competitor had a lower price, or one of a million other reasons outside of your control. Poppycock. Relationships allow you to change the perception of value and to move from price to value.There’s nothing more certain to producing good sales results than building the relationships necessary to do so. Everything else that you do is in service of those relationships. The value you create is the value for those relationships. The caring you do is caring for the people that make up the companies you serve. The trust you create is trust in your relationships.Relationship selling is dead? As long there are human beings buying from other human beings, relationships will matter. Because trust matters. Because caring matters. Because creating new value matters. But it all matters as part of your overall relationship.
If you have time enough to complain about what’s not right, you have the time to generate ideas that would make things better. You also have time to sell people on your ideas. If you are going to invest your time working on a problem, then you may as well shoot for a positive outcome and do something about it.If you have enough time to spend it on the Internet reading the news, checking sports scores, or hanging out on social media sites, you have the time necessary to nurture your dream clients. If you are going to spend time on the Internet, make it worthwhile by finding an idea that you can use to establish yourself as someone who thinks about business, and then send it to your dream clients.If you have the time to go to a restaurant for lunch, then you have the time to take a client, prospect, or someone in your community to lunch. If you are going to eat anyway, you may as well develop or deepen a relationship.If you have time to drive yourself across town to see a client, then you have time to listen to an audio book or podcast that will help you improve some aspect of your life. If you are spending time in the car, you might as well make that car your private university on wheels and give yourself and education.If you have time to watch more than an hour of television, then you have time to read a book. And if you have time to read a book (and you do), then you have time to take notes so that you can apply what you are reading to some aspect of your life. You also have time to put those notes into some format you can use to teach others and massively strengthen your learning.If you have time to complain about not having enough time, then you have time to plan your week. If you are going to focus on the time you believe you don’t have, you might as well make it productive and develop a plan to deal with all of your commitments.You have enough time. 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 Now
The BJP won the Lohaghat seat in Uttarakhand as the results were announced on Wednesday after a repoll was held over one poll booth. With this BJP’s tally goes up to 57 in the 70-member House.The Election Commission ordered a repoll in the Karnkarayat poll booth of the Lohaghat seat due to an electronic voting machine (EVM) malfunction.According to the EC, BJP candidate Puran Singh Fartyal won the seat on Wednesday, defeating his Congress rival by 834 votes.The Congress has 11 seats and independents two in the Assembly.The Congress is yet to decide on its Legislature Party Leader after the outgoing Chief Minister Harish Rawat lost both Hardwar Rural and Kichha seats.In the BJP, however, the current challenge is that of deciding a Chief Minister. According to highly-placed sources in the BJP, three names — Chaubattakhal MLA Satpal Maharaj, Pithoragarh MLA Prakash Pant, and Doiwala Trivendra Singh Rawat — are being considered by the party’s central leadership. A decision would be announced within a day or two, party sources said.
Pune: A former soldier and his wife and children were found brutally murdered in Shevgaon village in Ahmednagar district, 200 km from here, on Sunday morning.According to the police, the murders occurred between midnight and the early hours of Sunday. The victims, Appasaheb Govind Harvane (58), his wife, Sunanda (48), their daughter, Snehal (18), and son, Makarand (15), bore multiple knife wounds, the Shevgaon police.The incident came to light after the milkman, finding no response to his calls, alerted the family’s neighbours.Motive unclear“The motive behind the killings is yet to be ascertained. We are investigating whether it was a botched robbery or some family rivalry. However, none of the valuables appear to be touched … but it is too early to say anything,” inspector Suresh Sakpale of the Shevgaon police station told The Hindu.After completing his service in the Army, Harvane worked as a security guard with the district land records office, according to sources.
Govt. to seek death penalty for Kopardi rapists Mr. Nikam had argued that a criminal conspiracy was hatched by the three accused, Jitendra alias ‘Pappu’ Shinde, Santosh Bhaval and Nitin Bhailume for the rape and murder of the minor. He said Shinde (accused no. 1) attempted to molest the girl five days before the actual crime that took place on July 13.The Kopardi crime spurred a wave of ‘muk morchas’ (silent rallies) from the Maratha community across the State and buttressed the community’s claim for Maratha reservation and a curb on the misuse of the Atrocity Act.Also Read The Ahmednagar police first arrested Shinde (25) from Shrigonda, Bhaval (36) from Karjat.Bhailume (26 from Pune. All three were contractual workers in private companies or construction sites.The incident was likened to the 2012 Nirbhaya rape case in the extent of its brutality, with medical reports suggesting that violence of a particularly feral nature was inflicted on the 15-year-old girl, who belonged to the Maratha community.Reports stated that the victim’s limbs were broken, her arms dislocated from her shoulders, and her skin shorn from her body. After the crime, the accused, who belong to a lower caste, allegedly threatened the parents of the victim that they would file an atrocity case against them if they dared to lodge a case of rape and murder. The Ahmednagar district and sessions court in Maharashtra on Monday rejected a petition of the defence counsel for one of the accused in the Kopardi rape and murder case seeking the summoning of Special Public Prosecutor Ujjwal Nikam as one of the witnesses.Last month, Balasaheb Khopade, lawyer for Santosh Baval, one of the accused in the rape and murder of a minor in Kopardi village last July, submitted the unusual petition in the court.The reason the defence counsel gave in the petition for naming Mr. Nikam as one of the witnesses was that he was ostensibly ‘biased’. Advocate Khopade, along with his daughter, advocate Vijaylaxmi Khopade, had accused Mr. Nikam of ‘coaching’ witnesses in his home and maintained that fabricated documents were submitted as evidence by the prosecution.Following the quashing of his petition, Mr. Khopade said he would move the Bombay High Court on the same. He said the Ahmednagar court had given time till July 24 to review the state of the appeal on his petition (summoning Mr. Nikam) in the High Court.In his petition, Mr. Khopade pointed to the big time lag between the appointment of Mr. Nikam as Special Public Prosecutor (barely 10 days after the rape incident) and the filing of the charge sheet naming 70 witnesses on October 7 last year (86 days after the crime).The 350-page charge sheet that was filed by the Ahmednagar police under sections 302 and 376 (a) of the Indian Penal Code (IPC) set forth testimonies of the 70 witnesses, including the girl’s kith and kin.Also Read Ahmednagar tense after brutal murder of minor girl
NITI Aayog Vice-Chairman Rajiv Kumar on Sunday said while Gujarat had done very well in industrialisation, it would need to do some catching-up in the health and education sectors.Mr. Kumar met Chief Minister Vijay Rupani and senior State officials here.“Gujarat’s achievements in education and health are not like those in other areas like industrialisation, infrastructure and energy…I talked about this with the State government,” he said, speaking to reporters after the meeting. He was happy to learn from the government that budgetary allocations for health and education had been increased for 2018-19.He was told that the State was planning “big success this year itself” in the health sector, and district collectors had been asked to pay special attention to child malnutrition and the maternal mortality ratio, Mr. Kumar said.
Situated about 10 kilometres from the main market in Kairana, village Kaserwa Kalaan is Jat-dominated. Villagers put the population of Jats – a dominant caste in western Uttar Pradesh – in the village at about 50%.As one walks around the narrow lanes, with large houses on either side, one sees the title Chaudhari – typical of Jats in the region – prefixed to nameplates in many houses.It is this powerful, agrarian caste that may in some ways hold the key to the May 28 Lok Sabha bypoll in which the BJP locks horns with a combined opposition that has backed the candidature of Tabassum Begum, now with the Rashtriya Lok Dal, a party traditionally associated with Jats in western U.P.Kaserwa Kalaan seems to be veering around to the RLD this time, with Jat villagers strongly backing the RLD.If Jats vote for the RLD in large numbers, the combined strength of Muslims, a numerically powerful community here, Jats and Dalits can make the contest a tough one for the BJP.Playing cards with his friends just outside his house, Bhopal Masterji, an ageing teacher belonging to the Jat caste, says the village is heavily tilted towards the RLD this time.He faults the BJP for the recent Karnataka crisis, and points to rising fuel prices to claim that the party has been unable to fulfil its promises.Communal overtones to the election apart, caste alignments are key to the poll outcome here, with the opposition combine banking on Jats deserting the BJP to vote for the RLD candidate.This is what seems to be happening, if Kaserwa Kalaan is any indicator.However, community stereotypes regarding Muslims remain, despite the shift.Asked if Jats would vote for a Muslim candidate of the RLD – given that Muzaffarnagar had seen Jat-Muslim riots in 2013 – Sanjeev Singh, a resident of the village, says that Jats would vote for any RLD candidate this time.“But if the RLD were to field a Jat candidate, not one Muslim would vote for him,” he adds with a wry smile.‘Muslim votes crucial’“Muslims are large in number here, and their votes are going to be crucial. Add Jats, and the RLD is on a strong wicket,” he says. “The day Muslims cross the 50% population mark in western U.P., only candidates they prefer will be elected.”The BJP also has a caste card in Kairana. They are banking on the Gujjars, with their candidate Mriganka Singh being late Gujjar leader Hukum Singh’s daughter.Apart from Gujjars – an influential caste here – the BJP is counting on upper caste Hindus, particularly Baniyas, to see it through.
Goa Chief Minister Manohar Parrikar will soon address a press conference to clear the air over the ongoing mining impasse, the Deputy Speaker of Assembly Michael Lobo said on Monday. “He is the right person because he is the Minister of Mines as well,” Mr. Lobo said,adding, “in the next two to three days he will address a press conference and tell whether it (mining) is going to happen or not.” Mr. Parrikar, who has advanced pancreatic cancer, has not made an official public appearance for more than two months. He has also not moved out of his private residence except for a brief visit to the Goa Medical College Hospital since October 14, his return from All India Institute of Medical Sciences, New Delhi. Reports from New Delhi indicate that the Mines and Minerals (Regulation and Development) Act, which mandates auctioning as the only route for allotment of iron ore mining leases, cannot be amended — as requested by the Goa government — to facilitate renewal of leases to existing holders. This has made the agitating mining dependents restless. Top Goa BJP leaders as well as some central leaders of the party have repeatedly assured the agitating mining dependent lobby in Goa, as also the mine owners, that the Central government would be amending the MMRD Act in the coming winter session of Parliament. Mr. Lobo who has been active on this front, also said it was necessary for Mr. Parrikar to communicate to the people of Goa about when and how he planned to resume mining.The Congress has beenattacking the government and accusing Mr. Parrikar as well as the BJP of trying to hide the fact that the Union Government had already rejected Mr. Parrikar’s request for amendment of MMRD Act. Mining in Goa was banned in February this year by the Supreme Court quashing second renewals of 88 mining leases, while also directing the State government to allot the leases afresh as per appropriate laws.
The annual High School Certificate Examination-2019, to be conducted by the State Board of Secondary Examination, will begin from February 22 next year. Board president Jahan Ara Begum on Friday said that the Matriculation examinations for all the streams will continue till March 8. Practical examinations will be held between February 11 and February 16, Ms. Begum said.She added that examinations equivalent to Matriculation in the State such as Madhyama Exams for Sanskrit students and State Open School Certificate Examinations (for drop-outs) will be held during the same period. Over six lakh students will appear for the HSC exams next year, sources said, adding that examinations would be held on the scheduled dates between 9 a.m. and 11.30 a.m.
The Supreme Court on Wednesday dismissed a plea challenging the Allahabad High Court verdict rejecting a petition seeking direction to Uttar Pradesh Police to lodge an FIR against former Chief Minister Mulayam Singh Yadav for his alleged order to open fire on ‘kar sewaks’ at Ayodhya in 1990. A Bench, comprising Justices Ashok Bhushan and K.M. Joseph, dismissed the plea on the ground of delay considering the fact that appeal has been filed against the May 3, 2016, order of the High Court. The plea had alleged that on October 30, 1990, several ‘kar sewaks’ were killed in police firing at the temple town when they were taking part in a “peaceful movement” for the construction of a Ram Temple there. The plea was filed by a Lucknow-based man, who had in 2014 approached a trial court for a direction to the police to lodge an FIR against Mr. Yadav, who was the Chief Minister of U.P. in 1990. He had alleged that the Samajwadi Party leader had given a statement in public meetings that he had ordered the police to fire on ‘kar sewaks’ to win the confidence of Muslims. The trial court had dismissed his plea after which he had moved the High Court challenging the order. In his appeal filed in the top court, the petitioner had claimed, “The High Court failed to appreciate that in a huge public gathering, Mulayam Singh Yadav, has confessed/ admitted that he ordered to fire guns on ‘kar sewaks’ and he further admitted in the second public meeting that if he did not order to fire on kar sewaks then the confidence of Muslims would be broken.”