Technical Services Manager Bobby Brown (center) explains to reporters the latest development at the LPRC -US$11M revenue losses expected in 24 months The management of the Liberia Petroleum Refining Company (LPRC) has finally commenced the construction of a total 90,000 metric ton storage capacity, office facilities, parking lots and loading gantry to modernize and expand its Product Storage Terminal (PST) and others.Authorities of LPRC recently signed a contract valued at US$21.8 million with Lutech Engineering and Project Management Consultants (FZC), a foreign-based company.Speaking to reporters yesterday during a tour of the ongoing construction work, the Managing Director of LPRC, Sumo G. Kupee, said the purpose of the tour was to inform the general public about the latest development unfolding at his entity, which will bring the LPRC facility up to date.Director Kupee said the ongoing construction work will not impact or cause any shortage of products on the Liberian market, adding that “Arrangement was made with private companies to provide additional storage capacities for LPRC to circumvent the shortage of product.”He said the management will be losing revenue to the tune of US$11 million dollars for the next 24 months due to product loss (leakage of tanks) and revenue loss as the result of transferring commodities to other tanks (two private companies have been hired to ensure that enough product is on the market), adding that “There is a need to speedily complete the storage work.”Director Kupee further disclosed that upon completion of the ongoing work, there will be increment of revenue and product due to additional storage capacities at the entity.Phase one of the contract, Mr. Kupee said, will cover basic work including the construction of two 80-ton truck weigh bridges; a central control room; new operations building; a tank farm fire protection system; completion of two service tanks (fire water and slop tanks), among others.Bobby Brown, Technical Services Manager, said the first phase of the project focuses on the demolition and construction of the six storage tanks, which include three gasoline tanks, two fuel tanks, and a fire tank which is partially completed, among others.This phase of the project, Mr. Brown said, will also construct a loading gantry (where the truck goes to take a product), which is currently taking only four trucks at a time, but will accommodate nine (9) trucks at a time upon completion, adding: “Additional nine trucks will be parked awaiting the removal of the already loading nine vehicles.”With the building and security, he said “We will have a one storage building with a flat-top to ensure that there is space for future construction in case of need of additional offices. On the issue of security of our product, we are using a manual level, but upon completion of this phase, we will graduate from the manual level of protecting our product.’Lutech is a dynamic engineering, procurement, and construction company with an international presence, specialized in the construction of fuel/gas oil storage terminals, water treatment, supply and distribution, transmission and distribution of power.LPRC is one of the oldest terminals in the sub-region, which was initially constructed as a private corporation before the Government of Liberia took over management of the company 30 years ago as a state-owned enterprise.Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)
The North West Breast Cancer Charity Ball is going to be an extra-exciting event this winter as the committee celebrates 10 years of fundraising.One of the highlights of the local social calendar, the ball brings hundreds together for a fun night of entertainment and charity.Friday November 29th is the date for your diary this year. The event is set to be a glittering gathering at the Silver Tassie Hotel, with guests dancing the night away to the music of The Bentley Boys. The evening will commence with a drinks reception at 7.15pm after which a four-course dinner with wine will be served. The committee are delighted to have Noel Cunningham join them once again as Master of Ceremonies for the evening. An exciting auction and raffle is promised thanks to generous sponsorship from the business community in Donegal and further afield. Tickets for the event cost €50 and can be purchased directly from the venue only. Staff at the Silver Tassie Hotel are in a position to take credit card payments over the phone or you can call to the reception desk in person to buy your tickets. Last year’s ball was a sell-out event so the committee are asking all loyal supporters to not miss out on securing a ticket by making contact as soon as possible!All monies raised are used to fund research being carried out at Breast Centre North West and to support important aspects of community care including an outreach programme for those recovering from breast cancer. The Breast Cancer Charity Ball has gone from strength to strength since the first in 2009. It would make a fantastic Christmas night out for any business or social group. The ball has charitable status: charity number is 20015305/7258. Those hoping to snap up tickets for this year’s ball will be pleased to hear that the Silver Tassie Hotel is offering a very attractive rate of €40 pps for bed and breakfast on the night… early booking advised! Be part of this glamorous and exciting community event…be part of supporting Breast Centre North West! You can follow the event page on www.facebook.com/NorthWestBreastCancerCharityBall. North West Breast Cancer Charity Ball celebrating 10 years of fundraising was last modified: September 23rd, 2019 by Rachel McLaughlinShare 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:North West Breast Cancer Charity Ball
DP Henry Braham spoke with Digital Trends about the decision to shoot on RED,There was interest in shooting the movie on 65mm because of the richness of the image and the intensity of the image, and the fact that so much of it would work well on an IMAX screen. With that amount of detail and color and richness to the image, you really see the quality of it. With the existing technology for 65mm, there are some beautiful cameras out there but they’re very big, so one of the things that worried me about that was the physicality of the camera.I was looking for something that could handle the large format but still be very intimate and physically small. That’s why I went to see Jarred Land at the Red Camera Company. I was talking to him about it and he kind of reached out and put a black box on the table and said, “Well, how about looking at this?” This was their new high-resolution 8K camera, which is a VistaVision camera and it was in a prototype form, but the idea of it seemed perfect for Guardians Vol. 2.It provided this very high-resolution image to start with, but in a camera body that was pretty much the size of [the famed hand-held camera] a Hasselblad. What it enabled me to do was to mount the camera on a new form of stabilization head that could be handheld and was designed by a guy who used to work on torpedo guidance systems.Image via Marvel Studios.The small body also allowed for quick setups and a documentary style approach. Braham went on to say,What it does is enable the camera to flow and explore scenes as the actors explored scenes with James, and the camera could just be there with them. And quite often, we wouldn’t even rehearse scenes. We’d just go straight into filming them, because we knew they’d develop. I think that shows in the movie. In the movie, there’s a lot of spontaneity in the performances. That’s a credit to James and the cast working together, and to the ability to get the camera in there with them, with a small footprint, and capture those moments.Image via Marvel Studios/RED.As for the most challenging sequences to shoot, Braham told Vulture about the film’s opening baby Groot dance number,At one point, we were going to film it all as one shot on one camera. And that would have been entirely feasible, particularly because of this gyro-stabilized camera that we developed for the movie. You then break it down into the elements that are 100 percent live-action, the elements that we need to fit in with animation. I forget, but there’s a lot of live-action footage within that. And it may be me saying, “The animation starts here, but then it gets taken over by the camera at this point, and then we hand it back over to the animators at this point.” But in almost every part of that scene, there’ll be live-action footage. That’s why you build a set for everybody to be on, which is a very big set, actually.Image via Marvel Studios.As for the space chase sequences,When we’re photographing the actors inside the spaceship — their movement and what’s going on — the interactive light that’s lighting them needs to reflect what’s happening on the outside. We need to have decided what’s happening on the outside before we film on the inside, so that the interaction of all the lights makes the shot believable. For instance, I would use a lot of very large-scale video-projection screens, a little bit like what you would use in a rock concert or a big football game. But I would have very large blankets of them with animated light going across them, which provides a very believable light source for all the interactive light that might be going on around the spaceship, at that time. If the spaceship is rolling, then the light needs to roll too, on the actors.You can actually catch a glimpse of this rig in action in this behind-the-scenes presentation from RED.As for the most difficult scene, that comes down to the film’s finale and funeral.Often, the toughest things are the things that, if they’re done well, you don’t notice at all. We shot the scene in the set, and we’d all moved back into a completely different studio. We made a big move. And Chris and James came in the next morning and said, “You know what, we’ve had a better idea how to do this.” James and Chris wanted to play that scene with a different tone to it. That’s the beauty of filmmaking, that you can have a better idea overnight or you can learn something. What we had to do was take him as a single element and match him into that scene absolutely perfectly.Thankfully, you would never know when you looked at the movie, but actually it’s incredibly difficult to do. Because you obviously need to match up the lighting exactly, you need to match the way the camera moves, you need to match the timing of the camera moves to the speech. It’s very intricate, and at the same time you need to give Chris, the actor, space to act. And it’s a very difficult scene to act. On one hand, it’s very intricate and technical, and on the other hand, the last thing you want is the actors to know that’s the case. Because you don’t want to distract from what they’re doing. So that’s a good example of something that you wouldn’t think is anything other than just a normal shot, but actually it’s very, very complicated to do.Spider-Man: HomecomingImage via Sony Pictures Entertainment.Director: Jon WattsDirector of Photography: Salvatore TotinoUS Release: July 2017Camera Package:ARRI Alexa MiniARRI Alexa XT PlusLensesCooke S4/iAngenieux Optimo Guardians of the Galaxy Vol. 2Image via Marvel Studios/RED.Director: James GunnDirector of Photography: Henry BrahamUS Release: May 2017Camera Package:RED WEAPON DRAGON VistaVision 8KPhantom Flex 4KLensesPanavision Primo 70Leica Summicron-C Lenses In a conversation with British Cinematographer, Ben Davis spoke about the new (at the time) ARRI Alexa 65,There was a lot of new technology just coming onto the market at the time – the first of the large format digital cameras, with their new back-end workflow systems, plus a host of interactive LED lighting equipment – and I was eager to see how I could get the best from them.The resolution of the Alexa 65, using my preferred lenses for wide shots and the IMAX deliverable, was beyond question and, to my pleasant surprise, the face became a landscape too. What’s more, I found I would be able to balance the lighting and exposure to get gorgeous depth-of-field, do lovely focus pulls, and ultimately have a lot of control over my shots – whilst avoiding giving our first ACs a complete nightmare on-set.Image via Marvel Studios.As for the incredibly unique look of the film,It was of its own, about magic more than anything else, with visuals that we have not seen before in a movie. It had to be original, yet also be respectful to the original comics, which were ‘out there’ and pretty psychedelic in places.So I wanted to find a way to take the look, energy, and dynamism of the original artwork onto the big screen. Perhaps my most important conversations with my director Scott, revolved around the challenges of dealing with, and delivering, the alternate dimensions-in-parallel, which feature in the story, and translating these to the big screen. Along with shooting live action, this was also going to be a VFX-heavy production.Davis often compared Doctor Strange to Marvel’s version of Fantasia, “because it’s so sort of out there and different to everything else that they’ve done.”Want to create a Doctor Strange-style shield in After Effects? Check out this classic PremiumBeat tutorial. Top 5 MCU Cameras for Additional Photography:Phantom Flex (8 Films)RED Epic/Weapon (7 Films)ARRI Alexa Mini (5 Films)Canon 5D (5 Films)Photosonics 4ER (2 Films) Image via Chuck Zlotnick/Disney/Marvel.Talking with ICG Magazine, DP Ben Davis talked about lensing the film,Much of the work is very intimate, and the choice of lens was key because the camera is either following her, or leading her, into these new environments. When Brie’s character arrives on Earth, it can’t be that you’re already there and watch her arrive. You have to go along with her, in order to feel the emotional arc she travels.Image via Chuck Zlotnick/Disney/Marvel.As for the many cameras used,The large-format ARRI Alexa 65 was the primary capture device, though some scenes utilized Panavision DXL2s, which cut well with RED WEAPON VV Monstro units, used in tight spaces.[For go-cart flashbacks with the Blackmagic Micros] it used to be that the quality drop was significant with small units, but these GoPro-sized systems are very high quality … You can put really good lenses on them and set shutter and iris appropriately.Avengers: EndgameImage via Disney/Marvel.Directors: Anthony Russo, Joe RussoDirector of Photography: Trent OpalochUS Release: April 2019Camera Package:ARRI Alexa 65 IMAXLensesPanavision Sphero 65APO Panatar Producer Kevin Feige has confirmed that Far From Home will conclude Phase Three, and not be the first film in Phase Four. Again, not much to report here. The production supposedly used the Alexa, but no details on which model.MCU Most Used CamerasImage via Marvel Studios.So, now that we’ve covered the first three phases of the Marvel Cinematic Universe, which cameras were used the most on these 24 films? I’m going to break this into two categories — principal photography and additional photography.Keep in mind, these are the cameras we were able to confirm, and there are likely more used for VFX and additional sequences. But knowing what we do know as confirmed, let’s see what we learned.It should be no surprise that ARRI cameras are the go-to for principal photography. Guardians of the Galaxy Vol 2. is the only MCU film not shot on an ARRI camera.Most Popular MCU Cameras by Manufacturer:ARRI (23 Films)Panavision (8 Films)Phantom (8 Films)RED (7 Films)Canon (7 Films)Photosonics (2 Films)Blackmagic (2 Films)GoPro (2 Films)Image via ARRI.Top 5 MCU Cameras for Principal Photography:ARRI Alexa 65 (7 Films)ARRI Alexa XT (7 Films)Panavision Panaflex Millenium XL (6 Films)ARRI Arriflex 435 (5 Films)ARRI Arriflex 235 (4 Films) Same setup from Avengers: Infinity War as these two films were shot simultaneously. No other details to share at this time.Spider-Man: Far From HomeImage via Sony Pictures Entertainment.Director: Jon WattsDirector of Photography: Matthew J. LloydUS Release: July 2019Camera Package:ARRI AlexaLensesHawk V-Lite Anamorphic Image via Chuck Zlotnick/Disney/Marvel.Avengers: Infinity War claims to be the first Hollywood feature to be shot entirely in IMAX. In a release from IMAX,The move, by directors Joe Russo and Anthony Russo, marks the first time a Hollywood feature film will be shot only using IMAX cameras and its exclusive aspect ratio. The IMAX/ARRI 2D digital camera, which stops short of a full IMAX 3D camera rig, is a customized large format version of ARRI’s 6K Alexa 65 camera.Image via Chuck Zlotnick/Disney/Marvel.In another release, this one from ARRI, it’s further explained,Up until now, the ALEXA IMAX camera has tended to be used for selected sequences that would benefit from exceptional image quality, but Avengers: Infinity War represents the first film to be shot with it entirely. Directors Joe and Anthony Russo, with cinematographer Trent Opaloch, utilized up to 12 ALEXA IMAX cameras, during peak shooting periods, to capture the superhero ensemble — an unprecedented assembly of Marvel characters. The 65mm format will provide audiences with a fittingly cinematic spectacle, for a film that marks the 10-year anniversary of the Marvel Cinematic Universe.Image via Chuck Zlotnick/Disney/Marvel.As for the practical reasons in making this decision, co-director Joe Russo tells CinemaBlend,We have a lot of characters who are tall, unnaturally tall. So it really helps with the frame, because that IMAX aspect ratio works for those types of characters, and the landscapes are stunning. There are some really exotic landscapes in the film, and to be able to put those on an IMAX screen, it’s an incredible tool to have as a filmmaker, to be able to exploit that scale of aspect ratio.Until this saga concludes, the Infinity War crew has been working away on the closure to this epic, so there is still much secrecy to the behind the scenes. Perhaps we’ll know even more in the coming months.Ant-Man and the WaspImage via Ben Rothstein/Disney/Marvel.Director: Peyton ReedDirector of Photography: Dante SpinottiUS Release: July 2018Camera Package:ARRI Alexa 65ARRI Alexa MiniARRI Alexa SXTPanavision Millennium DXLRed Epic Dragon (visual effects)LensesARRI Prime DNA Looking for more articles on the film and video industry? Check these out.Breakout Director Kat Candler on the Best Festivals for First-Time FilmmakersNAB 2019: Our Favorite Releases from This Year’s ShowAdobe Releases New Content Aware Fill Tool for After EffectsThe Cameras Behind Netflix Originals: Films and SeriesThe Cameras and Lenses Behind HBO’s Original Series Image via Sony Pictures Entertainment/Chuck Zlotnick/CTMG, Inc.Spider-Man: Homecoming takes dozens of cues from the John Hughes films of the 1980s. As such, director Jon Watts really wanted to get the homage just right, especially when it came to shooting on set and VFX sequences. He tells IndieWire,I got in there with a virtual camera in Maya and designed the sequences like they felt part of the film … and then I made them, even though they were made by thousands of collaborators.Image via Chuck Zlotnick/Sony Pictures Entertainment.Want to make your own Spider-Man: Homecoming VFX? Check out this Spider-Man-inspired tutorial with free HUD elements. This concludes the Marvel Cinematic Universe. For previous Phases and camera insight, check out our first two articles:The Cameras and Lenses Behind the Marvel Cinematic Universe: Phase OneThe Cameras and Lenses Behind the Marvel Cinematic Universe: Phase Two Black PantherImage via Matt Kennedy/Disney/Marvel.Director: Ryan CooglerDirector of Photography: Rachel MorrisonUS Release: February 2018Camera Package:ARRI Alexa XT PlusARRI Alexa MiniPanavision Primo and Primo V LensesImage via Matt Kennedy/Disney/Marvel.In a conversation with the ASC, cinematographer Rachel Morrison talks about her research into the MCU, which involved talking to previously mentioned DPs — Bed Davis and Trent Opaloch. Morrison said,One of the things I figured out quickly is that no two large-scale movies are the same, and no two visual-effects-heavy films are the same … Within the visual-effects world, Marvel does things very differently than DC or Lucasfilm.As for choosing the ARRI Alexa XT over the Alexa 65,One of the reasons we went with the XT’s Open Gate sensor over the Alexa 65 was that Ryan wanted things to be in-focus in the background … Not Citizen Kane deep, but his perspective was that our sense of scale came from being able to see all the beautiful sets and costumes.Image via Black Panther 1st AD Lisa SatrianoAs for those amazing sets, PremiumBeat previously chatted with Oscar-winning Black Panther production designer Hannah Beachler. In that conversation, we learned about the underground casino.Korea was awesome. I love South Korea so much. It was another culture-rich tradition, so a lot of that trip was learning about their history.We were in the fish market, and that’s where we started with the idea of the casino. Off of that was a place called Gangster Alley, which is where all the ships were.It was sort of the harbor, and it helped give us an international feel, to bring in a very traditional side of what South Korea is. And then, we also have the very beautiful side of South Korea, with what we all know with the vertical signs and lit-up signs.Image via Black Panther Art Director Alex McCarroll.If you are enjoying these set photos, also be sure to check out our interview with Marvel Set Photographer Matt Kennedy here.Avengers: Infinity WarImage via Chuck Zlotnick/Disney/Marvel.Directors: Anthony Russo, Joe RussoDirector of Photography: Trent OpalochUS Release: April 2018Camera Package:ARRI Alexa 65 IMAXLensesPanavision Sphero 65APO Panatar In a piece on Talking with Mark Toffolo, DP Trent Opaloch speaks about the large international scale of the film,We were also very fortunate to work with a great German crew in Berlin that made our transition over there very smooth.There were a ton of actors on this film and that was actually quite challenging — to shoot them all with their crazy schedules. The tough thing is that you can end up shooting someone’s close up in another country, weeks after you’ve shot the other side of the conversation, so it’s always a challenge dealing with changing weather conditions, etc. to maintain some cohesiveness to the scene.I’m starting up prep on the new Infinity Wars films that we’re shooting back to back with the Russo’s later this year, and the scale of those two films combined is a bit mind blowing, so it’s good that these last two films have ramped up in terms of scale and complexity, because each one prepares you for the next.Image via Marvel Studios.As for the epic airport showdown shot at both the backlot at Pinewood Atlanta Studios and Germany’s Leipzig/Halle Airport, Opaloch told The Hollywood Reporter,We shut down one terminal and we had a little postage stamp of tarmac that we could shoot on … We had to go through security after breakfast and at lunchtime. All of the equipment had to be ferried in beforehand, and it was gone over with dogs and inspectors. So we had to make sure we had everything we needed because once you started shooting, you couldn’t just reach into the truck and pull out something from the other side.Image via Marvel Studios.Opaloch went on to say about the ARRI Alexa 65,There was an idea late in pre-production to shoot Civil War entirely with the Alexa 65, but we were so close to our start date and it was such a large-scale undertaking, [so we decided] to use it for this key sequence, and use it as the testing ground for Avengers: Infinity War Parts 1 and 2, which will be shot completely with those cameras.Additionally, key grip Michael Coo developed a bungee rig system; Mark Goellnicht, our ‘A’ camera operator, used a similar system on Mad Max: Fury Road … Basically, it’s a long bungee tube attached to a rope that will run up 30 or 40 feet — we suspend that line over the set. It allows the operators to get very dynamic and right in there with the action. It feels like handheld but they don’t have the brunt of the weight of the camera.We are still catching up on lens options. I’m having weekly conversations with the guy at ARRI … There’s a mad push to get them ready for Infinity Wars. As it stands, we are meant to have 12 Alexa 65 cameras for those films, since we are shooting them back to back, and we’ll need all the accessories and lenses. [When we get the script] we’ll break down logistically how we’ll tackle this, with how many cameras and units. It’s such a behemoth of a project.Doctor StrangeImage via Marvel Studios.Director: Scott DerricksonDirector of Photography: Ben DavisUS Release: November 2016Camera Package:ARRI Alexa 65ARRI Alexa MiniARRI Alexa XT PlusARRIFLEX 235Panavision Panaflex Millennium XL2Phantom Flex4KLensesPanavision System 65 and Primo 70 LensesARRI’s certified 765 Dynamic lighting. Explosive energy. Here are the most popular cameras used throughout the entire Phase Three Marvel Cinematic Universe.It’s all been building to this. The culmination of over a decade of Marvel films. I was curious to know which camera was used most throughout the entirety of the Marvel Cinematic Universe (MCU), so I dove into each of the films to find out.We’ve covered the MCU cameras used in Phase One and Phase Two. Now let’s canvass the cameras and gear used to shoot the many massive blockbuster films in Phase Three (2016-2019): from Captain America: Civil War to Spider-Man: Far From Home.MCU Phase Three: “Where did that bring you? Back to me.”Captain America: Civil WarImage via Marvel Studios.Directors: Anthony Russo, Joe RussoDirector of Photography: Trent OpalochUS Release: May 2016Camera Package:ARRI Alexa 65 IMAX (airport and additional scenes)ARRI Alexa XT PlusGoPro Hero 4 BlackRed Epic DragonLensesPanavision C-, E-, G-, T-Series, ATZ and AWZ2Hasselblad Prime 65 Image via Ben Rothstein/Disney/Marvel.Peter Rosenfeld shared in his piece on the Society of Camera Operators,About a year or so before principal photography began, Peyton called me to get my thoughts on large format photography with the Alexa 65 system. At that time, I was shooting Bright with DP Roman Vasyanov. We were using the Alexa 65 system and Ultra Panavision 70 Anamorphic lenses. Roman crafted incredible images on that picture.Image via Ben Rothstein/Disney/Marvel.Putting aside the many aesthetic reasons, I told him that there are a great many benefits that come with the increased sensor size. There was the luxury of reserving an area outside of the theatrical release, for visual effects. A big consideration for a movie like this. There would also be a need to extract an IMAX (1.9:1) format from the sensor area. Lastly, the greater resolution would allow flexibility for reframing in post.Image via Disney/Marvel.“Can we shoot an action movie with this format?” Reed asked me. “Sure,” I responded. However, as an operator, I know that Peyton is fond of complex Steadicam master shots, and his frames are often very specific. This would not be Bright, where a looser more frenetic camera style was part of the aesthetic. I proposed using an Alexa SXT for the Steadicam work and he agreed. When Dante Spinotti, ASC, was signed on, he instantly became enamored of the Alexa 65 and the beautiful images he could craft with it. The die was cast.Image via Disney/Marvel.For Ant-Man and the Wasp, Dante and Peyton decided on the Alexa 65 in Open Gate mode, shooting at a resolution of 6.5K (6560 x 3100), and scaling at 87%.The Alexa SXT was also set to Open Gate mode with a resolution of 3.4K (3424 x 2202), and scaling at 95%.Captain MarvelImage via Chuck Zlotnick/Disney/Marvel.Directors: Anna Boden, Ryan FleckDirector of Photography: Ben DavisUS Release: March 2019Camera Package:ARRI Alexa 65Panavision Millennium DXLRED Weapon 8K VV MonstroBlackmagic Micro Cinema CameraLensesPanavision Sphero 65Custom rehoused Canon K35s Thor: Ragnarok is easily one of the most colorful Marvel films to date.Image via Disney/Marvel.DP Javier Aguirresarobe brought a ton of colorful light to the Thor films, as seen here is the lighting diagrams for the Grandmaster’s chambers.Image via Javier Aguirresarobe/ASC/Disney/Marvel.And here is a glimpse of that set in action.Image via ASC/Disney/Marvel.Head over to American Cinematographer for more diagrams and photos.Image via Jasin Boland/Disney/Marvel.Thor: Ragnarok even used a Dynamic Light system from SatelliteLab, combined with a robotic camera arm from Motorized Precision, to shoot select sequences with Valkyrie and Hela. In an interview with SyFy, Carlo Van de Roer talks about shooting with Dynamic Light,I wanted to move light sources so fast that the rest of the world would appear standing still, giving us the ability to move light sources within a world suspended in time.The speed and acceleration of the light sources are controlled with software so that the motion in the scene and the motion of the light sources can be adjusted as independent variablesImage via Disney/Marvel.VFX Supervisor Jake Morrison went on to say,The software that they’ve written effectively synchronizes each flash to a single frame of action, with a high-speed Phantom camera … We shot with a Phantom Flex4K at about 1000 frames a second, and what happens is you get this moment where time slows down to an incredible soup. You get into really thick, slo-mo action, but then, almost impossibly, the light actually does a full 360 degree loop around the actors, in that moment.For more on Thor, check out these pieces:How the Team Behind Thor: Ragnarok Crafted an Epic Action FilmMarvel’s Movie Poster Renaissance + Free Movie Poster TemplateCreate a Glow Warp Title Transition Inspired by Marvel’s Thor: Ragnarok Thor: RagnarokImage via Disney/Marvel.Director: Taika WaititiDirector of Photography: Javier AguirresarobeUS Release: November 2017Camera Package:ARRI Alexa 65Phantom Flex4KLensesHasselblad Prime 65 LensesZeiss 765 Lenses
MOST READ SEA Games hosting troubles anger Duterte DA eyes importing ‘galunggong’ anew Panelo: Duterte ‘angry’ with SEA Games hosting hassles LATEST STORIES Bahrain’s Sheikh Salman returned unopposed in the Asian Football Confederation’s presidential election Saturday after Mohammed Khalfan Al Romaithi of the United Arab Emirates and Saoud Al Mohannadi of Qatar withdrew last month. Sheikh Salman was elected AFC president in 2013 after Mohammed bin Hammam of Qatar was banned for life for corruption by world governing body FIFA. He was elected to his first four-year term in 2015.Sheikh Salman cemented his position by signing a new commercial rights deal in 2018, expanding tournaments and increasing the money going back to member federations.FEATURED STORIESSPORTSPrivate companies step in to help SEA Games hostingSPORTSPalace wants Cayetano’s PHISGOC Foundation probed over corruption chargesSPORTSSingapore latest to raise issue on SEA Games food, logisticsInfantino told the AFC Congress that the no-contest was “important to show a united football family in Asia and to move forward in stability.” Sheikh Salman was absent to attend his mother’s funeral. Infantino led delegates to observe a few minutes of silence to mourn with Sheikh Salman and show that “we are with him.”Infantino, who defeated Sheikh Salman at the 2016 FIFA presidential election and is standing unopposed for another term in the FIFA polls in June, thanked the AFC for its support and stressed his commitment to expand football in the region. He said FIFA was stronger now under his watch, with higher revenue and reserves nearly tripled. Philippine Arena Interchange inaugurated PH underwater hockey team aims to make waves in SEA Games PLAY LIST 02:42PH underwater hockey team aims to make waves in SEA Games01:44Philippines marks anniversary of massacre with calls for justice01:19Fire erupts in Barangay Tatalon in Quezon City01:07Trump talks impeachment while meeting NCAA athletes02:49World-class track facilities installed at NCC for SEA Games02:11Trump awards medals to Jon Voight, Alison Krauss Hontiveros presses for security audit of national power grid View comments Josh Urbiztondo announces retirement from basketball Duterte wants probe of SEA Games mess Private companies step in to help SEA Games hosting Read Next He said preparations for the 2022 World Cup were well ahead of schedule. FIFA and Qatar are still analyzing the prospect of boosting world soccer by adding another 16 teams, with the possibility of Qatar co-hosting with neighboring nations, he said.“It will be a nice achievement if the first World Cup with 48 teams is played in Asia,” Infantino said.FIFA decided in January 2017 that the World Cup will be 48 teams, but only starting in 2026 before the hosts were chosen. The United States, Canada and Mexico were chosen in a vote last year.The push to increase the number of teams in 2022 is fraught with political and logistical impediments as the United Arab Emirates, Saudi Arabia, Bahrain and non-Gulf state Egypt had cut political, trade, and transport ties with Qatar since mid-2017. They accuse Qatar of supporting terrorism, which it denies.ADVERTISEMENT Sports Related Videospowered by AdSparc FIFA President Gianni Infantino, left, on stage speaks during the 29th AFC Congress in Kuala Lumpur, Malaysia, Saturday, April 6, 2019. The Asian Football Confederation holds its presidential election on Saturday. (AP Photo/Vincent Thian)KUALA LUMPUR, Malaysia — FIFA President Gianni Infantino on Saturday hailed the re-election of Asian football chief Sheikh Salman bin Ebrahim Al Khalifa, saying it will help the region move forward in stability.Infantino also reiterated that negotiations were ongoing with Qatar to increase the number of World Cup teams from 32 to 48 in the 2022 tournament.ADVERTISEMENT Cayetano: Senate, Drilon to be blamed for SEA Games mess Don’t miss out on the latest news and information.
Napoli striker Llorente fancies Spurs revenge on Liverpoolby Paul Vegasa month agoSend to a friendShare the loveFernando Llorente is up for Napoli’s Champions League opener against Liverpool.The former Tottenham striker says he’ll be ready should he be called upon.He said, “My second match with Napoli and immediately I find the Champions League finalist who beat us in the final. I can’t wait to play and help the team, if I have the opportunity. “We have the dream of giving 100%, Liverpool started the championship in incredible form, the most important thing when we meet teams like this is that we don’t make mistakes, Liverpool have players with so much quality, it’s very strong on the break, they don’t make mistakes. We have to be very careful and play a great game, giving the maximum, each one of us.” About the authorPaul VegasShare the loveHave your say
zoom UAE-based port operator P&O Ports has won a three-year management contract to operate the container terminal in the Port de Sète in the south of France.Under the deal, P&O Ports will operate a container yard with a draft up to 14,5 meters with 457 meters of quay and adjacent 2 hectares land. The container terminal is expected to commence operations in October 2017.The company has the possibility to convert the contract to a long-term concession in the future.Port de Sete is a deep draft port, handling frozen, chilled, general and breakbulk cargo, containers, ro-ro services and livestock alongside cruise and ferry terminals, a marina, cement handling facilities and an agro-industrial complex.“Port De Sète has great potential and is ready to become another gateway port for France. In the early stages it will continue to primarily cater for feeder services in the eastern Mediterranean, the Maghreb region and North Africa,” Sultan Ahmed Bin Sulayem, Chairman of Ports Customs and Freezones Corporation (PCFC) in Dubai, said.“Once development takes place with the backing of our regional partners we expect to see more multinational shippers use its services with other international destinations added over time,” Bin Sulayem added.
In order to file, it is requested that you bring I.D. and your T4 or T5007 with you.Your filing for the 2018 tax year will be done online and your documents will be immediately returned to you.The free income tax filing service is taking place on Saturday, April 13 at the Fort St. John Women’s Resource Society office, located at 10051 100 Avenue.For more information and to register, you can call 250-787-1121. FORT ST. JOHN, B.C. – The Fort St. John Women’s Resource Society is offering free income tax filing services on April 13.Sponsored by MNP and Shell Canada, this is a free tax filing day for people who earn $36,000 and below per year.To qualify, you must not be self-employed or filing for business or investment returns.
The Ohio State defensive line boasts a preseason All-American, a projected first-round pick in the 2013 NFL Draft and multiple players that were five-star prospects coming out of high school. The unit many claim to be one of the best in the country at its craft hasn’t lived up to expectations thus far this season, though. Through two games against Miami (Ohio) and Central Florida, the stat line for the Buckeyes’ front four reads: three sacks and five tackles for loss. In other words, not the production first-year coach Urban Meyer expected out of his pass rushers. Not even close, really, Meyer said. “The negative I see right now is I don’t see the quarterback getting hit. And that’s something that has to be addressed,” Meyer said after Saturday’s 31-16 win against UCF. The talent on the defensive line is evident in practice, but those skills have not been translating into performance on gameday. “I feel like when we get to the game, we forget about all our moves and everything. I don’t know, we’re just not living up to our potential,” said freshman defensive end Noah Spence, a top-10 player from the 2012 recruiting class. After a lackluster outing in the Sept. 1 season opener against Miami (Ohio) in which the Buckeyes’ front four recorded only two sacks, Hankins and Simon vowed that they, along with their teammates, would be better. That wasn’t the case, though. OSU’s defensive front was worse against the Knights than it was against the RedHawks, at least statistically. On Saturday, sophomore defensive end Steve Miller was the lone Buckeye to record a sack after two players got to the quarterback Sept. 1. The absence of hits on opposing team’s quarterbacks has not just disappointed Meyer; it’s been somewhat of a shock to the players. “I’m a little surprised. We just have to keep working hard and keep getting better every week and start trying to put a little more pressure on the quarterback,” Spence said. Rushing the passer has been something OSU has been stressing in practice, and Tommy Schutt, a freshman defensive tackle out of Illinois, said the Buckeyes might have to be more creative with their schemes. “I think just different ways to get to the quarterback. Different rushes, different blitzes, different techniques and some moves,” Schutt said. The quarterback can’t be hit if the pass rushers don’t have enough time to get him, though, and that’s been the case for OSU’s defensive line in the majority of their games so far. Miami used a three-step drop most of the time in their game against the Buckeyes, and UCF, for the most part, followed suit, irritating OSU players. “It’s very frustrating because you prepare to get off the ball and get to the quarterback, and all of a sudden you get there and the ball is already gone,” said freshman Adolphus Washington, a highly recruited defensive end from Cincinnati. Spence echoed his teammate. “It’s real frustrating. You work so hard on the line and everything like that, and for him to drop back three steps or whatever and just throw it immediately … but it’s no excuse for what we’re doing right now. We need to get better,” Spence said. While the quick passes annoyed OSU defensive linemen, the Buckeyes’ front four also recognized the respect Miami and UCF showed them. Many players also said it’s something they expect to continue for the rest of the year, too. “So far, that’s what it’s really looking like. The good thing for us is it shows the respect they have for our defensive line,” Schutt said. Washington agreed with Schutt, but said that eventually, OSU’s talent on the defensive line is going to shine. When that does happen, Washington said Meyer and the rest of Buckeye Nation will see opposing team’s quarterbacks on the ground, a lot. “If they hold that ball too long, then we’re there, without a doubt, we’re there,” Washington said.
Since the beginning of collegiate athletics and the birth of the NCAA, a war has been waging.Should student athletes be paid?These players, particularly in football and basketball, help bring in potentially millions of dollars at major universities, but because of NCAA restrictions, they are unable to profit from this themselves.But if they want to make money, and have the talents to do so, why can’t they just skip a level and head straight to the professional ranks? Nothing is making these student athletes attend college, right?Again the NCAA rears its ugly head.Although certain sports like baseball and soccer currently have no restrictions on when an athlete can start making money in their given field, basketball players have the option to be “one-and-done” and head to the NBA after their freshman year, and football players can leave campus after three years.ESPN reported that Big Ten Commissioner Jim Delany said Wednesday that the idea of forcing athletes to attend a university before they go into the field is ludicrous.“Maybe in football and basketball, it would work better if more kids had a chance to go directly into the professional ranks. If they’re not comfortable and want to monetize, let the minor leagues flourish,” Delany said.These years spent in college are often for the protection of the players, and it would be incredibly difficult for a player to make the jump directly from high school to the NFL due to the change in speed. I tend to agree with Delany.Before the NCAA and NBA implemented the rules in basketball that forced a player to wait at least a year before joining the league in 2005, there were numerous athletes who made the jump and succeeded. Players like Los Angeles Lakers guard Kobe Bryant in 1996, Houston Rockets center Dwight Howard in 2004 and Brooklyn Nets forward Kevin Garnett in 1995 have all been perennial All-Stars since joining the league. Not to mention the fact that Miami Heat forward Lebron James in 2003 will go down as one of the greatest players in the history of the game without ever playing a minute of college basketball.Sure for every Lebron there is a Kwame Brown, center for the Philadelphia 76ers, that cannot cope with the speed and physicality, but they should be allowed to take that risk themselves.If a player judges they are capable of holding their own in the league, that should be their choice and theirs alone, not one of a larger governing body.In most other fields, this sort of thing would come off as utterly ludicrous. Imagine if Michael J. Fox or Justin Timberlake were forced to postpone their careers in entertainment for a couple of years because a group decided they needed the experience college could grant them.Even if a player does have that extra experience, there is no guarantee they will become a star. Former Ohio State center Greg Oden is considered one of the NBA’s biggest busts because of suffering through a multitude of knee injuries. Oden even spent his required year in college instead of just jumping straight from high school.While the discussion continues about whether or not players should be paid. it is time for a change in the NCAA rulebook.The removal of a player’s requirement to attend college will slow, at least partially, the number of scandals involving student athletes being compensated that have surfaced in recent years.Overall, a rule change would be beneficial to all parties involved, so it would only make sense if such a rule change were to be implemented.Delany said it best.“Why is it our job to be minor leagues for professional sports?”
The Portuguese superstar has yet to play a single match with the Bianconeri and the team is already winningJuventus doesn’t have to see Cristiano Ronaldo play to know they are already winning.The Portuguese superstar has already benefited the club in many ways.And one of them is their social media presence.In a tweet published by Thomas van Schaik, less than a month after ‘Juve’ acquired Ronaldo, their social media numbers are over the top.The team has gained massive followings in four social media channels. More than 350,000 followers on Twitter and more than 500,000 new subscribers on YouTube.But even more impressive is Ronaldo’s signing has been extra good for Facebook and Instagram.Fiorentina owner: “Ribery played better than Ronaldo!” Andrew Smyth – September 14, 2019 Fiorentina owner Rocco Commisso was left gushing over Franck Ribery’s performance against Juventus, which he rates above that of even Cristiano Ronaldo’s.On Facebook, the team gained more than 1 million 700 new likes, while on Instagram almost 4 million people follow the team’s account.On August 3rd, Cristiano Ronaldo stopped following Real Madrid’s account on Instagram.Less than a month after @Cristiano’s transfer, @juventusfcen already scores pretty incredible #community growth…Roughly:Twitter: + 350,000YouTube: + 500,000Facebook: + 1,700,000Instagram: + 3,500,000 pic.twitter.com/eZL8MBvHlI— Thomas van Schaik (@thomasvanschaik) August 10, 2018