Sophia murder update…deceased on record as repeat convictFollowing the shooting in C Field Sophia, Greater Georgetown, on Friday evening, which resulted in the death of 24-year-old Jamal Munroe, the mother of the suspect, Deborah Caesar, has been arrested while her son, 19-year-old Mark Ferral, remains on the run.Deceased: Jamal MunroeThis is as details into the incident emerge, including that Caesar allegedly provided the weapon that was used in the murder, in encouraging her son to seek revenge on the now dead man.Guyana Times reported that around 22:45h on the evening in question, Ferral and Munroe clashed over the latter’s 32-year-old girlfriend while at the Black and White Bridge in C Field. During the confrontation, the woman had also accused the 19-year-old of stealing a mobile phone, which escalated the matter.The suspect retaliated by whipping out a handgun and discharging rounds in the direction of Monroe, hitting him several times. He then fled the scene and went into hiding while his victim was rushed to the Georgetown Public Hospital in a semi-unconscious state.Munroe sustained gunshot wounds to his legs, upper hand and lower back, and subsequently succumbed to his injuries while receiving treatment at the medical institution.However, this publication was later made to understand that there was an ongoing feud between the young men, stemming from a two-month disagreement over a gambling board which dragged Munroe’s “gang” and Ferral’s family into the altercation.It was just last week that the duo were said to be caught up in an incident which saw them chasing after each other while armed with cutlasses right in Sophia. Days later, Munroe was said to have stabbed Ferral which was reported to the Turkeyen Police Station, but to no avail. As such, when the two clashed once again on Friday evening, the outcome was fatal.Police are still on the hunt for Ferral, who has not been seen since the incident. However, his mother, 44-year-old Caesar, who is a security guard, was taken into custody after initial probes into the incident revealed that she allegedly took home her service revolver for her teenage son to put an end to the matter with Munroe, once and for all.As such, the woman remains in Police custody as investigations continue.The now dead man had numerous run-ins with law enforcement, as he had been implicated in a number of offences, including armed robberies.Back in 2016, Munroe was shot by ranks in Berbice, as they attempted to arrest him for his involvement in a number of crimes, but he managed to escape. He later showed up at the Georgetown Public Hospital in critical condition.Adding to that, his brother, sacked prison officer Troybon Munroe, met with his demise in a similar manner after he was shot dead by a bodyguard while attempting to mug a businesswoman on the Liliendaal Railway Embankment road, in the vicinity of the Giftland Mall, just three months ago.
OAKLAND — New additions D.J. Swearinger and Dion Jordan will be put to work immediately as both men are among the 46 players who are active and can play Sunday against the Ciincinnati Bengals at the Coliseum.Swearinger, a safety, was signed after starter Karl Joseph was lost for the season with a foot injury as he went up to intercept a pass on the final play of a 26-24 win over the Los Angeles Chargers at the Coliseum. Jordan will bring depth and hopefully some more pressure from the edge. …
TAMPA, Fla. — The Sharks were able win games throughout most of November without much production from their power play. Now at the start of a tough month of December, the Sharks’ lack of success with the man advantage has started to cost them points.The Sharks went 0 for 2 and had three shots on goal with the man advantage — and had five other shot attempts blocked — in what became a 3-2 shootout loss Thursday to the Carolina Hurricanes. One of those power play tries came early in the third …
Handsome Thamsanqa Matsane is theSouth African Navy’s newest commandingofficer. Commander Matsane is piped aboardthe SAS Queen Modjadji.(Images: Dean Wingrin) The SAS Charlotte Maxeke was Matsane’sprevious posting.(Image: South African Navy) MEDIA CONTACTS • Captain Jaco Theunissen SAN public relations +27 12 339 4349 RELATED ARTICLES • Maritime piracy under the spotlight • Two centuries of SA military history • SA to host military workshop • Voyage’s end for Agulhas • Rooivalk gets its wingsJanine ErasmusSouth Africa recently celebrated the appointment of its first black submarine commander, Handsome Thamsanqa Matsane, who took the helm of the SAS Queen Modjadji just before the end of April.The South African Navy (SAN) has just three submarines to its name, which makes the commander’s achievement all the more note-worthy. The ceremony took place at the Simon’s Town naval base on the Cape peninsula.Matsane (34) joined the SAN in 1998 and shone at the Saldanha Military Academy on the country’s west coast, graduating as the best mathematics student. With a BA in military science in hand, he served as a combat officer on the fleet support ship SAS Drakensberg and the Valour-class frigates SAS Isandlwana and SAS Spioenkop.Navy life above the waves was abandoned when he joined the submarine squadron in 2007 and rose rapidly through the ranks, overcoming the many challenges faced by submariners and taking up the position of executive officer aboard the submarine SAS Charlotte Maxeke.South African heroines, past and presentWith the SAS Queen Modjadji and the SAS Manthatisi, this vessel is the third of SAN’s Heroine class of submarines.All Type 209/1400 vessels, developed by German ship builders Howaldtswerke-Deutsche Werft, the three commemorate a trio of remarkable South African women.The SAS Queen Modjadji was named after South Africa’s rain queen, who lived in Limpopo province and was believed to have special powers including the ability to control the clouds and rainfall.The SAS Manthatisi is named after the female warrior chief of the Batlokwa tribe of the North West province, who reigned, according to documentation, in the 1820s. She reportedly led an army of more than 50 000 troops during territorial wars.Charlotte Maxeke, who gave her name to the third submarine, was a political activist and founding member of the African National Congress Women’s League.Matsane grew up in Bushbuckridge in Mpumalanga province – far from the sea – and named his grandmother, the venerable Betty Mashabane, as his personal heroine and inspiration.“Although she doesn’t have an education, she would always tell us that ‘education will help you get through’, even in the hard times,” said Matsane.He’s encouraging youngsters who aspire to a naval career to focus on maths and science at school, because many of the top jobs are technical in nature, especially on submarines.Matsane also wants more women to join the navy.“We have women still in training but in total there are only some 15 women in the submarine squadron. We need lots more South Africans, both men and women, to join up.”Not one to shy away from a challenge, Matsane completed the transatlantic Cape to Rio yacht race in 2003 after setting foot for the first time on a sailing ship just six weeks before.His performance was good enough to catch the eye of the Chilean navy, and he was invited to serve for four months aboard the controversial tall ship BE Esmeralda, a training vessel for junior officers, on her journey around the world.Ninety years of the South African NavyThe navy had another reason to celebrate in April, and that is because it turned 90 at the beginning of the month.The national military body was officially established on 1 April 1922 with three ships in its fleet – the Hunt-class hydrographic survey ship HMS Crozier and the two Mersey-class minesweeping trawlers HMS Eden and HMS Foyle were loaned to South Africa by the Royal Navy.The three vessels were returned to the Royal Navy in the 1930s and reverted to their original names, but were later renamed to HMSAS Protea, HMSAS Immortelle and HMSAS Sonneblom to commemorate their service in South African waters.Unofficially, the SAN began to take shape in the 19th century when the Port Elizabeth Naval Volunteer Brigade came into being in 1861, but it was only in 1885 that a more enduring volunteer unit, the Natal Naval Volunteers, was formed in Durban.The unit served in the South African War of 1899 to 1902, and in the Zulu Rebellion of 1906. It later became the reserve unit SAS Inkonkoni, which merged in 1913 with the Cape Naval Volunteers, known later as the SAS Unitie. The two units together formed the South African division of the Royal Navy Volunteer Reserve.In 1946 the fledgling navy, known as the South African Naval Forces, was absorbed into the Union Defence Force. The Union of South Africa was the forerunner to the present-day Republic of South Africa.In 1951 the South African Naval Forces officially became the South African Navy, which meant that ships were renamed from the title of HMSAS – His Majesty’s South African Ship – to simply SAS, or South African Ship.In April 1994, the year that democracy arrived in South Africa, the SAN and the other branches of the South African Defence Force – the army, the air force and the medical corps – became the South African National Defence Force.
20 November 2014 Some of the ceramic vessels on show at the Slave Lodge. (Image: Iziko Museums )When you think of ceramics, the fine porcelain of China, the English sensibility of Royal Doulton or the distinctive blue and white Delft come to mind. Working with Ceramics SA Western Cape, Iziko Museums of South Africa is throwing another picture during November, which has been named Ceramics Month by the potters’ group.For an exhibition at Cape Town’s Slave Lodge, called From African Earth: Celebrating our African Clay Vessel Heritage, Iziko has brought out of storage many of its fine vessels from various parts of Africa, including pots from ancient Egypt, middle and east Africa. This selection of historical hand-built, pit-fired African vessels from the Iziko permanent collection is juxtaposed with a selection of contemporary vessels created in the same genre by ceramic artists who are members of Ceramics Southern Africa.Alongside the exhibition, the South African Post Office’s philately division has launched a new stamp series, unveiled by division head Johan van Wyk on 13 November at the opening of the exhibition, featuring ceramic vessels from Iziko’s collection. The works on these stamps are incorporated in the exhibition, which is a registered World Design Capital (WDC) project.Esther Esmyol, the curator of social history collections at Iziko Museums, explains that the idea for Celebrating our African Clay Vessel Heritage started in conversations with Ralph Johnson, the head of Ceramics SA Western Cape. “We thought it was important to have an African component to the month, to inspire Africa potters to look at their African roots and work in that genre [rather than only follow the influences of Asian and European potters].” The new South African Post Office stamp series. (Image: Iziko Museum)Iziko also has a WDC project, called Igniting Collections, to forge links between the audience and its artefacts. “There is not much in the WDC projects that looks at Africa, so we took pottery from our collections from other parts of Africa – including Egypt, which is often rather placed with the Middle East – to show our African heritage.”There is also a contemporary component to the exhibition. “This was an opportunity to show our historical pots, and show the smoke-fired tradition of pot-making in Africa, and for contemporary artists to work with and be inspired by their roots. At the same time, about two-and-a-half years ago, we began working with the South African Post Office on a stamp series. The vessels were not yet decided as the theme; this came as the exhibition grew. Not all the vessels included in the stamps are pit or smoke-fired, but they are all in our collections.”The vessels in the exhibition were coiled, hand-thrown or made on a wheel, but were all fired with smoke, in the traditional African way.Professor Magdalene Odundo OBE, professor of ceramics at the University for the Creative Arts in Farnham, United Kingdom, opened the exhibition as a guest of Ceramics Southern Africa. Kenyan born Odundo is an international ceramics expert.“Clay is one of the few mediums that has a long history – as old as man,” she said. “It is mentioned in the Bible: man is formed from clay. It is a material that has created lots of objects – both historical and archaeological – that inform who we are as human beings. I am not sure we would have museums without ceramics. The first items that tell us who we are, are ceramics. Clay is where we come from and where we go. We dig holes to consume us, and to find things,” she said. “I am very passionate about clay. It consumes me – it is in everything.”The Iziko collection was “an amazing collection. Work here is found nowhere else in African museums”. Odundo also praised the juxtaposition of the contemporary work with the old pieces.From African Earth: Celebrating our African Clay Vessel Heritage is on at the Iziko Slave Lodge, on the corner of Wale and Adderley streets in Cape Town, until 31 January 2015.Lorraine Kearney
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There have been endless articles, surveys and reports that are all glowingly positive about SOA and its potential as the next-generation architecture. But as the number of adopters increase and the number of SOA deployments grow in size within organizations there are starting to be signs that SOA is not a panacea.A number of technical issues around Web Services initially held back acceptance of SOA, but many of those objections have been addressed. What can hold back its success? People.An article in SD Times suggests that SOA implementations are not immune from the ‘siloed application’ syndrome that has been the long-time bane of corportate IT applications. And the problem is not so much a technical one.SOA is touted as a superior and flexible approach for coupling services together in a reusable way across all business processes. But, to date, what’s happened is that SOA has been implemented as multiple small prototypes and departmental solutions in the enterprise, not unlike a lot of earlier generation solutions.When the multiple solutions need to be brought together to provide a bigger-picture solution, suddenly SOA becomes much more difficult, and much of the problem revolves around ownership — who and how will enterprise users support and pay for the services, who will test, update, and fix problems and provide enhancements for users of the service that are outside of the group hosting the service, etc.Similar to Re-engineering and Workflow efforts of the 1990’s, SOA is facing a set of challenges that may be wound up in corportate politics and culture. What makes these projects work is commitment and a champion at a senior level to provide support and backing. Without high-level support, inevitable turf wars rear up that often roadblock or paralyze these kinds of large-scope projects.Many SOA projects are being initiated as point solutions for address some problem with the current system. The development and solution application tend to be fairly isolated. In fact, less than 5 percent of SOA projects are enterprise-wide in scope. Without communication between groups, it is easy for isolated groups to work in parallel, rolling out multiple instances of services that perform similar or near-identical tasks. The nature of SOA is to reduce redundancy and to introduce enterprise-wide standardization for performing common tasks. Governance is the solution to this problem.Despite potential issues with SOA, the trend is clear that more and more companies are adopting SOA. And because of that, it is important for these companies to realize and implement strategies that incorporate culture/policy and governance in their strategies.
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
An Inter-Ministerial Central Team (IMCT) under the Home Ministry will soon visit 11 flood-affected States, including Kerala and Assam, to assess the damage. The Ministry has changed rules and from now on, the IMCT will visit the affected areas even before receiving a memorandum from the State concerned. The other States that will be visited by the Central team are Meghalaya, Tripura, Bihar, Uttarakhand, Himachal Pradesh, Gujarat, Rajasthan, Maharashtra and Karnataka.Criticism from KeralaOn Tuesday, Kerala’s Finance Minister Thomas Isaac took to Twitter to criticise the Union Home Ministry of allocating “zero” funds to Kerala. “Home Ministry approves Rs 4,432 crores from National Disaster Response Fund for the flood affected States. Share of Kerala, the worst affected, is zero!” Mr. Isaac said on Twitter.A senior Home Ministry official said the Central team would soon visit other flood-affected States, including Kerala. In the combined rescue operations in the States affected by floods, landslides etc. during the current monsoon season, the NDRF, Army, Air Force, Navy and Coast Guard have rescued and shifted to safer places more than 1,53,000 people.‘Constituted immediately’“The IMCT will henceforth be constituted immediately in the aftermath of any natural calamity of severe nature, which will visit the affected areas in the State so as to have first-hand assessment of damages caused and relief work carried out by the State administration. The IMCT will again visit the State after submission of the memorandum for detailed assessment of the damage and relief operations conducted for making final recommendations for allocation of additional funds,” the Home Ministry said in a statement. At present, the IMCT visits the affected State only once, after the receipt of the memorandum from the State.The Centre has also approved release of over ₹4,432 crore to Odisha, Karnataka and Himachal Pradesh for the damage caused by natural calamities in these States during the last financial year.Assistance approvedIn a statement, the Home Ministry said a high-level committee, headed by Union Home Minister Amit Shah, has approved additional Central assistance of ₹3338.22 crore to Odisha for the damage caused by the cyclone Fani; ₹1029.39 crore to Karnataka for drought; and ₹64.49 crore to Himachal Pradesh for avalanches and hailstorm during 2018-19.The funds will be disbursed from the National Disaster Response Fund (NDRF). This additional assistance is over and above the funds released by the Centre in the State Disaster Response Fund (SDRF) already placed at the disposal of States.During 2018-19, the Central government had released ₹9,658 crore to all States, and during 2019-20, till date, it has released ₹6,104 crore to 24 States from the SDRF, the statement said.The meeting also reviewed the ongoing flood situation in different parts of the country and the logistic support provided by Central agencies, including the deployment of the NDRF and Defence forces.
Advertisement LEAVE A REPLY Cancel replyLog in to leave a comment Advertisement Login/Register With: Facebook In the first two weeks of January, Toronto music venues seemed to be dropping like flies.First there was the announced insolvency of favourite folk hangout Hugh’s Room and the DIY punk venue Soybomb HQ, and then last week, dance club and indie band venue The Hoxton announced that it’s closing its doors at the end of January.While the overall impression is that the 2017 Toronto live music scene is hurting due to dwindling attendance and interest, the reasons behind each venue’s closure seems to be more complicated than simply attributing them to audience apathy. Twitter Advertisement For example, businessman Richard Lambert, who co-owns the Hoxton with Toronto concert promotion firm Embrace and has hosted a wide variety of acts, DJs and after-parties ranging from The Chainsmokers to Skrillex to Zedd at the 627-capacity venue over the past five years, said that it wasn’t financial considerations that resulted in its closure.