ST JOHN’S, Antigua (CMC):The front runners will jostle for the advantage heading into the Christmas break when the curtain rises on the fifth round of the Digicel Regional 4-Day Tournament this weekend.A potentially intriguing contest between hosts Leeward Islands Hurricanes and current leaders Jamaica Scorpions starts today at Warner Park in St Kitts.Also, two-time defending champions Guyana Jaguars face Trinidad & Tobago Red Force at the Guyana National Stadium, starting tomorrow, the same day that Windward Islands Volcanoes meet Barbados Pride at Windsor Park in Dominica.In Basseterre, momentum will be the key word for both the Hurricanes and Scorpions following contrasting results in the previous round of matches.The Hurricanes will be keen on regaining the energy they had from early in the season, after the weather in Port-of-Spain and defeat to the Volcanoes derailed them in the last two rounds of matches.In Guyana, The Jaguars will be looking to finish the first half of the season in pole position by exploiting a Red Force side low on confidence.This match could well be another absorbing contest, considering the results of matches between the two sides at this venue.Of the five matches, they have each won once, and it would be interesting to note that the Red Force has held the aces in the other three which have all been drawn.FIERCE RIVALRYIn Dominica, a compelling contest is expected between the Volcanoes and Pride in what is typically one of the fiercest rivalries in the R4Day.The Volcanoes will be pumped up to face a team against whom they typically rise to the challenge to confront, following their stunning, come-from-behind victory over the Hurricanes in the previous round.At the same time, the Pride – boosted by a number of returning West Indies players – were engaged in an engrossing battle with the Jaguars in between the showers, but had to settle for a draw.Scorpions top of the table on 46.8 points, while defending champions Guyana Jaguars sit in second position on 44 points with Barbados Pride on 43.2 points.Leewards Hurricanes are on 36.6 points, Windwards Volcanoes 35.2 and Red Force 32.4.The fifth round of the Digicel Regional 4-Day Tournament will be followed by a long break for the Christmas/New Year’s holidays before the Regional Super50 Tournament sets in.
Farmer Pat Quirke has been found guilty of murdering his love rival Bobby Ryan.The jury at the Central Criminal Court returned the majority verdict of 10-2 this afternoon after deliberating for 20 hours and 39 minutes in a trial that has gripped the nation. The trial lasted 15-week which the longest in the history of the State.Quirke (50), of Breanshamore, Co Tipperary, always denied murdering Mr Ryan (52) on a date between June 3, 2011, and April 2013.The prosecution alleged Quirke killed Mr Ryan so he could rekindle his affair with Mary Lowry, the widow whose farm Quirke was leasing. This was denied by Quirke.Mr Ryan was in a relationship with Ms Lowry at the time of his disappearance.Mr Ryan disappeared after leaving Ms Lowry’s house at Fawnagown, Co Tipperary at 6.30am on the morning of June 3, 2011.His body was discovered 22 months later by Quirke in an underground tank on the farm, but the prosecution alleges this was a “staged” discovery.Independent.ie reports that Patrick Quirke showed no reaction when the verdict was delivered.He was taken into custody and will be sentenced at a later date.A number of friends and relatives of Mr Ryan wept after the verdict was delivered.Farmer Quirke found guilty of killing DJ Bobby Ryan was last modified: May 1st, 2019 by StephenShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:Bobby RyanguiltyPat Quirke
ALAMEDA — Antonio Brown was back on social media, a day after hinting he’d be taking a break.The Raiders star wide receiver has been big on Twitter and Instagram for years, using those mediums rather than mainstream media to shape his message and push his brand. Brown launched his own YouTube page Wednesday with the promise that “fans and subscribers will get insight into the day to day life of the NFL’s fiercest receiver as he prepares for his 10th season with his new team.”So it wasn’t …
The simplest things can be the most extraordinary. If you like finding amazing wonders in everyday things, you’ll be fascinated to read about the common fly in the cover story of Caltech’s magazine E&S (Engineering and Science).1 Michael Dickinson, a zoologist turned engineer, has described his Caltech team’s work trying to reverse-engineer the flight systems of the common fruit fly, Drosophila melanogaster. Part of the fascination of this article is the team’s cleverness in experiments. Dickinson and his students have built elaborate flight simulators for the tiny insects. Imagine taking a fly, not much bigger than a large speck of dust, and putting it into a custom arena in which the scenery is computer controlled, and every response of the fly’s wings and muscles can be measured. Imagine fastening a tiny fly with a tether and monitoring its every movement. (This is reminiscent of the monarch butterfly flight simulator – see 07/09/2002 headline – only more elaborate.) Dickinson’s team measured the “swatting reflex,” to see how the fly changes its angle when a large unknown object approaches. They studied flight motion with high-speed cameras, and even built “RoboFly”, a computer-controlled set of wings fed the exact motions of a real fly, to study the aerodynamic forces on the wings. Next, they are taking on the ambitious project of building a housefly-sized robotic insect that might be able to hover like the real thing. All this pales in comparison, however, to the profuse praise Dickinson lavishes on the engineering capabilities of the real live insect. Listen to what he says, and you will take his concluding statement to heart, “I hope you will think before you swat.” Here are some samples from his 10-page, illustrated article (emphasis added):CPU: Describing the fly’s ability to adjust flight processing in less than 30 milliseconds, “This is extraordinarily fast processing, and illustrates why the flight system of flies represents the gold standard for flying machines.” (p. 12)Brain: “Insects have quite sophisticated visual systems, and approximately two-thirds of their brain (about 200,000 neurons) is dedicated specifically to processing visual information.”Eyes: “Fruit fly’s eyes… have excellent temporal resolution and can resolve flashing lights at frequencies up to 10 times faster than our own eyes can. This means if you take a fly on a date to the movies it will think you brought it to a slide show.”Systems-level analysis of fly mechanics: “Here things get rather humbling, because it’s the mechanical component of this biological system that we, as engineers, are the furthest away from being able to replicate.”Materials science: “Flies don’t have an internal skeleton consisting of individual bones or cartilage. Instead, they’re surrounded by an external skeleton, the cuticle—a single, topologically continuous sheet composed of proteins, lipids, and the polysaccharide chitin. During development, complex interactions of genes and signalling molecules spatially regulate the composition, density, and orientation of protein and chitin molecules. Temporal regulation of protein synthesis and deposition allows the construction of elaborate, layered cuticles with the toughness of composite materials. The result of such precise spatial and temporal regulation is a complex, continuous exoskeleton separated into functional zones.; for instance, limbs consist of tough, rigid tubes of ‘molecular plywood’ connected by complex joints made of hard junctures separated by rubbery membranes.”Joints and Hinges: “Perhaps the most elaborate example of an arthropod joint, indeed one of the most complex skeletal structures known, is the wing hinge of insects–the morphological centerpiece of flight behavior.” (He describes how the parts function.) “Although the material properties of the elements within the hinge are indeed remarkable (resilin is one of the most resilient substances known), it is as much the structural complexity as the material properties that endows the origami-like wing hinge with its astonishing properties.”Flight mechanics: “By controlling the mechanics of the wing hinge, the steering muscles act as a tiny transmission system that can make the wing beat differently from one stroke to the next. Electrophysiological studies indicate this is a phase-control system.” He describes how the steering muscles can actually alter the stiffness of the wing in flight. “The fly uses the steering muscles as phase-control springs to alter the way the large strains produced by the power muscles are transformed into wing motion.”Timing: “During each wingbeat, sensory cells on the wings and halteres send timing signals into the brain that are used to tune the firing of the muscles.” Considering the speed at which their wings beat, this is certainly a rapid-response system.Gyroscopes: “The information coming from the haltere,” (a drumstick-shaped organ behind each wing) “is particularly important because it is essential in stabilizing reflexes. Beating antiphase to the wings, the halteres function as gyroscopes during flight.” (He describes how these organs respond to Coriolis forces with appropriate compensatory reflexes.) “The animal detects these rotations with its halteres and responds with compensatory changes in wing stroke. These reflexes are extraordinarily robust…. The halteres are essential elements of the fly’s control system. Cut them off, and a fly rapidly corkscrews to the ground.”Computation: “Because of the complexity of fly aerodynamics, understanding wing motion does not necessarily translate into an understanding of flight forces. It is a common myth that an engineer once proved a bumblebee couldn’t fly, and while the true story is really much kinder to the engineer, it underscores the difficulties of studying fly aerodynamics. At present, even brute-force mathematical computations on supercomputers cannot accurately predict the forces created by a flapping wing.”Wow. All this in a tiny fly! Wrapping up this amazing journey into miniaturized ultrasophisticated engineering, Dickinson puts his work into perspective:In the end, it’s just a fly. Is such an insignificant organism really worth all this effort? The natural world is filled with complex things, like immune cells, the human brain, and ecosystems. Although we’re made great progress in deconstructing life into its constituent parts such as genes and proteins, we have a ways to go before we have a deeper understanding of how elemental components function collectively to create rich behavior. The integrative approach that we are using to study fly flight is an attempt to move beyond reductionism and gain a formal understanding of the workings of a complex entity. The fly seems a reasonable place to start, and if successful, I hope such work will stimulate similar attempts throughout biology. The lessons learned along the way may provide useful insight for engineers and biologists alike. Even if you don’t buy such grand visions, I hope you will at least think before you swat.1Michael H. Dickinson, “Come Fly With Me,” Engineering and Science, Volume LXVI, No. 3, 2003 (Caltech), pp. 10-19.Thank you, Dr. Dickinson, for a wonderful glimpse into one of nature’s miniature engineering marvels. We feel like we were sitting behind you on the fly’s back, soaring on a thrill ride, like your first picture humorously illustrates. Thank you, also for reminding us that the world is filled with wonders like this, from bacteria to blue whales. Wow. Who would have suspected such wonders exist in a tiny fly? Certainly not Charles Darwin. Which reminds us, we were about to award you Story of the Month for this outstanding article, but you included this one statement which acts like the proverbial fly in the soup: “The information coming from the haltere, a hindwing modified by evolution and resembling a very small chicken drumstick, is particularly important because it is essential in stabilizing reflexes.” Since even the FDA tolerates a certain threshold of vermin residue in food, we can overlook this one tiny slip in an otherwise excellent piece of design-based scientific research and writing.(Visited 38 times, 1 visits today)FacebookTwitterPinterestSave分享0
Staff prepare a black rhino for its tripto Tanzania.(Image: Frankfurt Zoological Society) MEDIA CONTACTS • Wanda MkutshulwaSANParks head of communications+27 12 426 5201• Dagmar Andres-BrümmerFZS public relations+49 69 9434 46 11Janine ErasmusIn May five Eastern black rhinos were released into Tanzania’s Serengeti National Park after a lengthy stay in South Africa, where they were being kept safe from poachers.The magnificent animals – three females and two males – are part of a larger group of 32 whose ancestors lived in the Serengeti some 50 years ago, but were relocated south for their own safety during the poaching blitz of that time.The remaining 27 will be returned to their native country in stages over the next two years under the Serengeti Rhino Repatriation project.The rhinos will be released into an area where there are currently no rhino. Conservationists hope they will mingle and breed with a nearby existing group of black rhino, and start a new population.Keeping the species aliveA surge in African rhino poaching in the later parts of the 20th century saw numbers drop alarmingly. In the Serengeti, one of the world’s great game wildlife conservation zones and a Unesco World Heritage site, just two females were left alive by 1991 – a shocking decline from the more than 700 individuals that roamed the savannah just 40 years before.In 1964 a group of seven animals were relocated from Tsavo in Kenya to South Africa, where they could live in safety, in privately run parks. The five that went home recently, and the 27 remaining in South Africa, are directly descended from the core group of seven.The project is a collaboration between South African National Parks, Tanzania National Parks, the Tanzanian Ministry of Natural Resources and Tourism, and the Tanzanian Wildlife Research Institute, and is coordinated by the Frankfurt Zoological Society.There are currently fewer than 70 black rhinos in the whole of Tanzania. Of these, 33 are in the Serengeti, a number which will double almost overnight when the rest of the South African group returns.Transport with careThe five animals left South Africa in a chartered Hercules C-130 cargo plane after spending six weeks in special pens, where they were closely monitored by experts to ensure they were adjusting to the smaller space, and were healthy enough for the trip.During their confinement they were introduced to the typical East African vegetation, and the crates that would carry them to Tanzania.In Tanzania they will spend another month in special pens before being moved to a bigger, but also heavily monitored area. Here they will have time to adapt to the new environment, and will also receive a vaccination against trypanosomiasis or sleeping sickness.It could take up to a year for them to acclimatise enough for a full release into the park. Authorities hope that the implantation of electronic chips and the presence of an elite ranger task force, trained especially to protect them, will deter poachers once they’re roaming free.The new arrivals received a jubilant welcome, not only from the Tanzanian public, but also from that country’s president, Jakaya Kikwete, who was present at a lively ceremony led by the Tanzanian National Parks Authority Brass Band. Edward Kishe, director-general of Tanzania National Parks, was also present. Although the animals’ arrival was delayed by 90 minutes, spirits remained high.Kikwete expressed his joy at the return of the group, and condemned the poaching of six black rhinos in recent months. “This event is a stark reminder of what went wrong in the past, and what needs to be done to prevent that happening again in the future,” he said.Endangered speciesThe black rhino once roamed throughout much of sub-Saharan Africa, but its range has shrunk dramatically. It’s now found mainly in East and Southern Africa.The black rhino (Diceros bicornis) is one of the world’s most endangered creatures. Three of the four subspecies appear on the Red List of the International Union for the Conservation of Nature (IUCN). The Eastern (D. bicornis ssp. michaeli) and South-central (D. bicornis ssp. minor) black rhinos are on the verge of extinction, while the South-western black rhino (D. bicornis ssp. bicornis) is listed as vulnerable.The fourth black rhino subspecies, the Western black rhino (D. bicornis ssp. longipes), was provisionally declared extinct in 2006.Despite their name, black rhinos are actually grey in colour, and can be distinguished from other species by their pointed, prehensile upper lips, used for foraging. It’s this practice that gave the animal its other popular label, the hook-lipped rhino. White rhinos have square lips, and are also much bigger than their comparatively dainty black relative.Rhinos are heavily poached for their horns, which are highly sought-after in parts of the Middle and Far East. It is believed that powdered rhino horn has powerful medicinal properties, although this has never been proven.Despite the lack of scientific proof, the tincture is in high demand and poachers are all too willing to supply.In the Yemeni culture, rhino horn is used to carve ornate handles for traditional daggers called jamibyas, but, since the country became a signatory to the Convention on International Trade in Endangered Species, demand for it has dropped.In a 2002 a report by the International Rhinoceros Foundation revealed that poaching reached a peak between 1970 and 1992, resulting in the black rhino population dwindling by an estimated 96%.After this, there were only 2 400 individuals left in the wild. Since then, conservation efforts have focused on the stabilisation of existing populations, which has seen a very slow recovery of numbers. Two other tactics that have worked well are the protection of the animals in heavily fenced and patrolled areas, and dehorning.Today there are an estimated 4 200 black rhinos left in the wild. The IUSN’s African Rhino Specialist Group is driving the conservation process by advising on a detailed action plan.
Update on Jan. 2, 2011: We’ve corrected the wall stud dimension noted in the caption.Gregory La Vardera, an architect based in Merchantville, New Jersey, has geared his practice – which he operates in tandem with the interior-design practice of his wife, Karen – toward clients who have an interest in modern design or want to elaborate on a historic style. (He is among the contributors to FreeGreen, the architecture firm known for offering downloadable floor plans, some for free, some for a fee.)But he’s also interested in how buildings can be economically built to offer a high degree of energy efficiency, which is why green-building advocates might find his “Letters from Sweden” blog series worth checking out. On Friday, for example, La Vardera focused on wall-construction details (a “baseline” assembly, as he puts it) of a typical factory-built home in Sweden, noting that even though these wall systems in most cases include materials widely available the U.S., they are relatively energy efficient and airtight because Sweden’s stringent energy code includes performance standards that haven’t yet been widely embraced by manufacturers here. Building wall panels just to merely meet code requirements in most parts of the U.S., he adds, can make it hard for manufacturers to compete with the costs of simply doing the work onsite.“With our cheap walls factory building makes little difference,” La Vardera writes. “There is simply not enough value there to save very much. It’s just as profitable to build onsite when your walls are so cheap and simple. The Swedes, however, use the factory to make every house very high in quality, and very energy-efficient. If we ever hope to do the same we will have to turn to a similar factory process.”A market where prefab is successfulThe “Letters from Sweden” series also includes comparative observations on topics such as automated panel building in the U.S. and in Sweden, and, more broadly, why prefab has struggled on this side of the Atlantic but forged on successfully in Sweden, despite its relatively small population, to offer a wide range of design and custom construction options at competitive prices. La Vardera notes that the country’s short building season has been a significant factor in making manufactured housing viable, but also points out that economic issues in the early 1970s, when energy costs increased sharply, created a market for factory building, whose leaders focused intently on introducing efficiencies into their operations.Like most successful manufacturers in a conducive economic environment, Swedish housing manufacturers approach their operations, La Vardera says, so that “every aspect of the design is rationalized into a known quantity of work, material, and ultimately a known price that is both profitable and viable in their market. During the time their industry was reinventing itself, the various products and fittings that go into a house were all revised, improved, and updated to integrate into this industrialized process. Contrast this with our country where almost every home is built as a unique event on each site.”
The events in Bomb City needed a larger-than-life feel and a gritty reality. We talked to DP Jake Wilganowski about how he pulled it off.Top Image via Ericka Estrella Photography.On December 12, 1997, Amarillo, TX native and punk rocker Brian Deneke was murdered in a deliberate hit-and-run attack. The events both before and after this attack are steeped in controversy and vitriol, and the news of the murder and the associated controversy quickly rippled across the entire state of Texas — as well as punk/skater groups nationwide.The film Bomb City, directed by Jameson Brooks (who also co-wrote the film with composer Sheldon Chick), tells the story of this murder and the questionable actions of the justice system to reprimand it.The film is now playing in select theaters and available on Video On Demand.Trailer via Gravitas Ventures.The film, which portrays some visceral, gritty moments from late ’90s Amarillo (a.k.a. Bomb City — the film’s title — because of its nuclear bomb disassembly plant), includes some stunning cinematography by Jake Wilganowski.With the use of grungy lights, colorful practicals, anamorphic lenses, stellar camerawork, and authentic locations (including some of the places where the events actually occurred), Wilganowski created a beautifully gritty reality.Check out this video for a behind-the-scenes look.Jake was generous enough to answer some questions about his work on the film and some of the techniques and tools he used to achieve the look.Image via 3rd IdentityPremiumBeat: Will you give me a bit of background about yourself and your previous work? Is this your biggest narrative project so far?Jake Wilganowski: Definitely the biggest narrative project I’ve photographed. I did one narrative feature before this one. And a feature-length doc. Other than that, it’s been shorts, music videos, and commercials.Image via 3rd Identity.PB: What was the genesis of your involvement with this film? Was the story something you had known much about beforehand? Had you worked with this director before?JW: I was 17 and lived in a town of 50,000 in Texas when the events happened in 1997. I remember hearing about it because it got quite a bit of news coverage. I was then — and still am — a skateboarder, and at that time in a small Texas community, we were on the outskirts of normalcy. We weren’t jocks or preps or kickers (western). So that’s why this story hit home with me when Jameson and Sheldon (director/writer and writer/composer) told me about the film, and I remembered the story.Dave Davis as Brian Deneke. (Image via Gravitas Ventures.)We had worked on a few commercial projects together, and I remember them mentioning this project to me when we first met, but you take everything with a grain of salt when people start talking about projects that are in development because it’s a long process to actually get something made, and most people quit somewhere in the process. So a couple years (I think) went by, and we worked together periodically on commercial projects, when one day Jameson called and said it was happening if I wanted to do it.MaeMae Renfrow as Jade. (Image via Gravitas Ventures.)PB: The film has a very pronounced visual tone that works really well with the story. How did you come up with this approach? Was there anything in particular that you drew inspiration from?JW: The whole style and look started with a look-book the director put together. We both love the same aesthetic, so it was easy to get on the same wavelength. We needed stylized naturalism in the lighting. I don’t know if that’s a thing or not, but it describes the lighting look to me in a nutshell.We used the camera movement to support the feeling of the characters and the scenes. All the courtroom and jock scenes are smooth movements — jib, dolly etc. Punk and fight scenes are mostly handheld. Jameson always said “Make it pretty.” Ha. We wanted the look to be raw and realistic, but beautiful and interesting to look at — stylistically heightened a bit from reality while still feeling grounded.Image via 3rd Identity.PB: What sort of pre-production did you do? Did you work off of storyboards, or was it more of an organic process?JW: The director and the writing and producing team pretty much lived at the production office for a month preceding actual shooting. I would go and visit to talk about things. We would plot things out generally or talk about different shot ideas. But on the actual shooting days, pretty organic.We definitely had ideas and notes going into each scene, of course, but I generally would light for areas instead of shots so we could figure out how we wanted to cover it as we rehearsed. We would have quick meetings beginning each day to go over everything, talk about certain shots or story points, then jump in.Image via Ericka Estrella Photography.PB: Can you give a quick rundown of the gear that you used to create the look of the film? (camera/ lenses/lights, etc.)JW: Two RED weapons using the 6k Dragon sensor. Shot everything at 1280 ISO for the most part. Kowa 2x anamorphic lenses: 40,50,75,100. For lighting on the bigger side, we used a few 6k HMIs, a 12k HMI, and a 4k HMI balloon light. We didn’t carry these larger lights with us to every location — only for specific scenes.We probably had a 3-5 ton grip package and would order additional things like lifts or the larger stands when needed. We also used traditional smaller movie fixtures, jokers, kinos, and tungsten lights, and all sorts of “found”-type lighting fixtures in the punk warehouse space, for example.Image via Ericka Estrella Photography.PB: How/why did you decide on the anamorphic lenses you used?JW: Kowa’s are by far the smallest 2x anamorphics made, so that was a big factor. I like to keep it light and tight. Also, in my opinion, they give the most interesting and one of the heaviest looks. Very alive and atmospheric. Modern lenses are fairly boring. This story needed lenses with some grit and soul. Jameson and I are both big anamorphic fans, and it just seemed to make sense aesthetically. We wanted this to be stylized and organic at the same time.Image via Gravitas Ventures.PB: The lighting in the film has a very natural, practically lit feel, yet there is a lot of color and style to the lighting throughout. How did you approach the lighting in the film?JW: A lot of my work wasn’t until we were walking the sets and really getting a feel for the spaces. I’ll go through a few setups:We had a couple days to pre-light the punk warehouse in particular, where the first week of shooting happened. The fun thing about that space was a lot of the scenes there take place at night, so we got to use DIY lighting just like kids in a warehouse would in real life. An old lamp or neon sign, a raw bulb in an old microwave for example, then we would supplement with hidden movie lights. The scene when they walk outside after the punk show for example is lit by an m18 HMI into an overhead ultra bounce for a soft blue ambient glow, then a few warm Home Depot work lights in frame and a couple other small movie lights creating some green. We wanted the color temps to be inconsistent. It was part of making it feel alive and real.Image via 3rd Identity.Hotspots in frame are another thing I like, so seeing all these fixtures play in frame is great — it creates life in the image. For the courtroom scenes, we wanted these to be bright and sunlit, but still contrasty and stylized. I think we secured that location right before we actually shot there, so we couldn’t do a lot of pre-pro, but we made it work, and thank God the weather cooperated.We created the main sunlight beam with a 12k HMI, if I remember correctly. The courtroom was on the second or third floor so the lights had to be on lifts outside the windows. There was also a 6k or 4k HMI outside, and inside was another smaller HMI bounced into an 8x ultra bounce, and then some negative fill we floated around depending on the shot. All the courtroom was shot on remote head jib, for the most part.Key Grip Richard Porter prepping an HMI for the courtroom scene. (Image via Jake Wilganowski.)The bonfire scene we had a 4k HMI balloon light with a double net on it hung from a lift. Then some tungsten fixtures bounced and dimmed around to create the fire glow. The lighting team also rigged all the red lights underneath and on the interior of Ricky’s truck using LED panels and ribbon light. For the main fight scene, we had three 6k HMIs that did the bulk of the lighting. They were parked on lifts or hydraulic stands a good distance away from the action to simulate parking lot lights.Image via Jake Wilganowski.PB: Were there any significant challenges or limitations you encountered during production?JW: Production is hard in general. Lack of sleep is probably the biggest challenge to any long-term production, especially with shooting so many nights. But when you’re making cool stuff as a DP it’s so invigorating, you just kind of go into work robot mode, and it consumes your life. That’s the hardest part: the grind, the flipping of days to nights and back. Keeping up with the real world in the period of production is hard. But you know it’ll be worth it.Image via Ericka Estrella Photography.PB: What did your crew look like? Did you generally keep things pretty small, or take it on a day-by-day basis?JW: For lighting, it would go up and down a bit depending on the days and locations, but we had 3-4 guys in electric and 3-4 in grip, plus the gaffer and key. The camera team was me and another op, a first AC for each of us, one 2nd AC, and a camera PA. It seemed like there were a million other people always around between production design, wardrobe, hair, actors, fight choreographers, extras, safety folks, PAs, etc. But there were some times when we would just go shoot with Dave (who plays Brian), Jameson (director), and me.The scene where he is out skating and stands really close to a train was just me and Dave and Jameson, who was driving us around at night in Amarillo. Dave just did this thing, and I shot it, and that was that. That is part of what’s cool about this movie. There are moments that are small and very documentary-like.We were doing exactly what Brian was doing at some point I’m sure — skating around, waiting for a train to pass at night in downtown Amarillo. Surreal.Image via Gravitas Ventures.PB: The subject matter of the film is very personal and emotional. Was it difficult or intimidating to tell such a heavy story like this?JW: There was definitely a weight involved. The coolest thing about this project was how everyone involved was very respectful about the project and Brian as real person. Literally, from the first day of shooting, there was great morale and energy. We all felt this wasn’t some crappy indie flick. There was something special here.I know the director/writers/producers all were very involved with the family for a long time before and during production, so they felt a special weight to do Brian justice and give more people a chance to know this story. I was there in a very, very small group with Brian’s family when they saw the movie for the first time in a closed theater. That was pretty heavy.Image via Ericka Estrella Photography.PB: Where was the film shot? Did you do any scenes where the events depicted in the film happened?JW: It was shot in Dallas, Amarillo, Fort Worth, Denton, Rockwall, and some other places I’m sure I’m forgetting. Amarillo was for a lot of the skating and exteriors, since that was where the story takes place. And yes, lots of places we were probably walking right where Brian walked or skated or stood or whatever. Just 20 years later.The courthouse exterior you see in the film is in downtown Amarillo and is the real one. The weird thing is that we’d be out shooting scenics in Amarillo and we’d get approached by people who were friends with him back then. One girl owns a tattoo shop now that we were shooting B-roll in front of one night, and she came out and talked with us. This happened a few times. This crime was a national news story the late ’90s — Oprah, 20/20, everything.People there definitely still remember.A Image via Gravitas Ventures.PB: What was post-production like? How did you collaborate with the colorist? Were any LUTs used during production that carried over into post?JW: I used a custom LUT I built for the production, I’d say 80 percent of the final look is what we saw on set. I wasn’t able to attend the color session, but they mostly used the look and doctored it up a bit. The director edited the entire film himself and went through a ton of revisions over the course of a year. There’s probably a solid hour of edited footage cut out of the final film.PB: What has it been like seeing the response to the film so far?JW: Seeing how people are affected after watching it is pretty amazing. It really works. It’s hard to elicit a genuine emotional response from people, and this film does it several times in different ways — from cringes to tears. It just reminds me the power of film: how it can cause people to think about things differently. When you can affect someone’s emotions and appeal to their intellect, that is a very powerful thing.Image via Ericka Estrella Photography.PB: Any advice for someone who is primarily in the lower-budget, commercial/doc space trying to break into narrative filmmaking?JW: It’s a very different way of thinking, and the best advice I can give is to try and make some things however you can. Even if it’s super low budget or with friends — as long as everyone is serious about trying to make something good. There is a switch that happens in my brain when approaching something narrative vs. a commercial. Long-form narrative is so completely different than a commercial in pretty much every way. You are way more into servicing the acting and actors than you are in a commercial. More respectful of the performance and of the moment. You are thinking about pace and sequences and mood and actor emotion so much more than in a commercial.When an intimate or highly emotional scene plays out between two characters over a few minutes, and you are right there next to them experiencing it, too, that’s something different. That’s where you want all your lights and equipment to just get out of the way, and you can just create art in the moment and be there with the actors. That doesn’t really happen in commercials. But basically if you want people to start asking you to shoot narrative work, then you have to shoot some narrative work. Or at least narrative-style work. A lot of the music videos I worked on earlier were narrative-based rather than performance-based, and those were the ones I enjoyed the most. I think every person will have a different path as to how they get to shoot their first legit narrative project, but it’s really about having people trust you to do a good job. You have to become friends with aspiring directors as an aspiring narrative DP.Image via 3rd Identity.PB: What is your main takeaway from the experience of helping to tell this story?JW: It’s spoiled me. I’ve turned down a couple other features because to me, a feature is so hard — you have to be passionate about the story. And the director and producing team. If all three of those things aren’t there, I won’t do it. I think this movie will always have a special place in my heart because it’s nostalgic to me. I was 17 when this happened, and Brian was 19. We both skated and lived in conservative, small Texas towns. I can relate to him, his friends, their lifestyle.What happened that night in Amarillo is a tragedy, and what happened later in the courtroom is an injustice. This film is so relevant right now, it’s astounding. Bomb City for life!Interested in more filmmaking interviews? 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Read Next PH billiards team upbeat about gold medal chances in SEA Games PLAY LIST 03:07PH billiards team upbeat about gold medal chances in SEA Games01:35Panelo suggests discounted SEA Games tickets for students05:25PH boxing team determined to deliver gold medals for PH00:50Trending Articles02:49World-class track facilities installed at NCC for SEA Games03:04Filipino athletes share their expectations for 2019 SEA Games00:45Onyok Velasco see bright future for PH boxing in Olympics02:25PH women’s volleyball team motivated to deliver in front of hometown crowd01:27Filipino athletes get grand send-off ahead of SEA Games The PH athletics team had a late gold-medal spurt Wednesday to save the Philippines’ campaign from a goldless day. The team composed of Emmanuel Portacio, Curte Robert Guarin, Leoncio Carreon Jr., and Ronald Lising bested host Malaysia 16-14 in the championship round. FEATURED STORIESSPORTSWATCH: Drones light up sky in final leg of SEA Games torch runSPORTSSEA Games: Philippines picks up 1st win in men’s water poloSPORTSMalditas save PH from shutoutThailand, meanwhile, took home the bronze in the men’s fours. Unlike its fate on Wednesday, the Philippines pinned down a gold medal early on Thursday in the 2017 Southeast Asian Games. The Filipinos struck gold in the men’s fours event of the lawn bowls tournament in Kuala Lumpur for the country’s 11th medal so far. ADVERTISEMENT SEA Games: PH’s Alisson Perticheto tops ice skating short program LATEST STORIES Catriona Gray spends Thanksgiving by preparing meals for people with illnesses MOST READ Don’t miss out on the latest news and information. LIST: Class, gov’t work suspensions during 30th SEA Games SEA Games in Calabarzon safe, secure – Solcom chief LOOK: Venues for 2019 SEA Games WATCH: Streetboys show off slick dance moves in Vhong Navarro’s wedding UPLB exempted from SEA Games class suspension Brace for potentially devastating typhoon approaching PH – NDRRMC View comments McGregor has boxing skill, but enough to beat Mayweather?
BASEL, Switzerland — Roger Federer was tested before beating 28th-ranked Adrian Mannarino 4-6, 6-1, 6-3 in the Swiss Indoors quarterfinals on Friday.ADVERTISEMENT Kin of Misamis Oriental hero cop to get death benefits, award — PNP QC cops nab robbery gang leader, cohort Japan ex-PM Nakasone who boosted ties with US dies at 101 Kammuri turning to super typhoon less likely but possible — Pagasa Don’t miss out on the latest news and information. Trending Articles PLAY LIST 00:50Trending Articles00:50Trending Articles00:50Trending Articles01:37Protesters burn down Iran consulate in Najaf01:47Panelo casts doubts on Robredo’s drug war ‘discoveries’01:29Police teams find crossbows, bows in HK university01:35Panelo suggests discounted SEA Games tickets for students02:49Robredo: True leaders perform well despite having ‘uninspiring’ boss02:42PH underwater hockey team aims to make waves in SEA Games LATEST STORIES Read Next Typhoon Kammuri accelerates, gains strength en route to PH Brace for potentially devastating typhoon approaching PH – NDRRMC CPP denies ‘Ka Diego’ arrest caused ‘mass panic’ among S. Tagalog NPA Second-seeded Cilic was on court for more than three hours to beat 100th-ranked qualifier Marton Fucsovics of Hungary 7-6 (3), 5-7, 7-6 (4).Cilic, the defending champion at Basel, clinched the quarterfinal with a delicate sliced backhand volley for a winner.Fourth-seeded Del Potro needed exactly two hours to win 6-2, 2-6, 6-4 against sixth-seeded Roberto Bautista Agut of Spain.Del Potro, who won back-to-back Basel titles in 2012 and ’13 beating Federer in the final, will qualify for the ATP Finals in London if he wins the title on Sunday.ADVERTISEMENT MOST READ Wolves hold off Thunder in Butler’s return The top-seeded Swiss saved two break points when trailing 3-2 in the decisive set, including with a backhand half-volley winner from the baseline.Federer never gave the French left-hander another chance and clinched his first match point on Mannarino’s serve with another in a series of backhand winners.FEATURED STORIESSPORTSWATCH: Drones light up sky in final leg of SEA Games torch runSPORTSSEA Games: Philippines picks up 1st win in men’s water poloSPORTSMalditas save PH from shutoutA finalist in his last 10 appearances at his hometown event in Basel, Federer will play either David Goffin of Belgium or Jack Sock of the United States in the semifinals on Saturday.Marin Cilic and Juan Martin del Potro, both former U.S. Open winners, will face each other in the other semifinal after also being pushed to three-set wins. Stronger peso trims PH debt value to P7.9 trillion View comments
The OnePlus 5 is coming soon. Should it stick close to OnePlus’s taste for high-end flagship hardware, chances are the OnePlus 5 might just get Qualcomm’s next-generation Snapdragon 835 processor. Samsung’s Galaxy S8 and Sony’s Xperia XZ Premium belong to the first wave of smartphones in the market to be powered by the Snapdragon 835. A new report doing the rounds, not only corroborates that the OnePlus 5 would come with Snapdragon 835, it also goes on to show that OnePlus’ soon-to-be-announced phone would beat both the Galaxy S8 and the Xperia XZ Premium at GeekbenchAccording to the report, the OnePlus 5 scores an impressive 1963 in single-core and 6687 score in multi-core. The Galaxy S8, on the other hand, scores1929 in single-core and 6084 in multi-core. The Xperia XZ Premium, meanwhile, scores 1943 in single-core and 5824 in multi-core.Based on the screenshot shared, the OnePlus 5 is seen running Android 7.1.1 Nougat (based OxygenOS) out-of-the-box.OnePlus has confirmed the launch time frame and the name – OnePlus 5 — in a statement. “OnePlus, a global startup challenging conventional concepts of technology, confirms that the next flagship smartphone will arrive this summer and it will be called OnePlus 5. The OnePlus 5 will be the successor to the OnePlus 3 and 3T. The name OnePlus 5 has been inspired by former NBA player Robert Horry, who has a huge fan-following among OnePlus staff members. OnePlus’s Shenzhen office sports two Robert Horry’s paintings and his number five jersey inspired the smartphone’s name,” according to the company.The OnePlus 5 will come with a full-metal body and a dual camera system on the rear. A recent report – giving leaked sketches of the alleged OnePlus 5 – also went on to suggest that the phone would come with a dual camera system on the front as well.advertisementEarlier in the day, there were reports that OnePlus had officially discontinued the OnePlus 3T 128GB Gunmetal version. The company then went on to deny the same saing, “We will continue providing OnePlus 3T 128GB Gunmetal to the market in the future. People who want to get the device will have to wait for next wave of inventory. Currently, for Gunmetal lovers, they can still purchase 64GB ones now at amazon.in & OnePlusstore.in. OnePlus 3T Midnight Black which was limited edition has been sold out.” Also Read: OnePlus 3T 128GB is officially dead, OnePlus 5 coming soon