The city has released its first building numbers report of the New Year, and it shows the value of construction in January was down slighly from the same month last year.- Advertisement -Seven permits were issued resulting in construction value of $788,000, as compared to $873,000 from thirteen permits in January of 2010.This year’s total did exceed both the 2009 and 2008 totals, but none of them came close 2007.That was the year eleven permits issued in January had a total value of $8,708,000 and that was nearly three times the combined January totals of last four years.City revenue from the seven permits issued last month was $3,940, also down from last year, when the thirteen permit revenue was $5,212.
VANCOUVER, B.C. — Alberta’s NDP government initiated a huge oil and gas industry sigh of relief at the end of last week with the release of its first royalty review.It got high marks from both the Canadian Association of Petroleum Producers — which called it ‘a balanced report’ resulting from a fair and credible process which Albertan’s can trust; and the Petroleum Services Association of Canada — which said it’s a framework which provides certainty to the industry and clearly sets the stage for a strong partnership with the government.It was the subject yesterday of business analyst Michael Campbell’s weekday financial commentary on CKNW.- Advertisement -The 200 page report was the result of a five month review by a government appointed advisory panel — which included Beaverlodge Mayor, Leona Hansen.
Check out this hilarious video of Wales’ players performing the haka in the changing room!Midfielder Joe Ledley has been the one busting the moves for the Welsh side for the majority of Euro 2016 but now it seems the rest of the squad have had a go.Players such as goalkeeper Wayne Hennessey, Neil Taylor and Dave Edwards paraded around the Welsh dressing room in their underwear, doing an impression of the New Zealand rugby team.Watch the video above!
Brian Mc Cormick pictured presenting the Cup to Kieran Brennan captain of Castlefin Celtic. Included are League Executive members Terry Leyden and Christina O’ Donnell, Ciara Mc Cormick and Leah Brennan. Pic.: Gary Foy, League PROCastlefin Celtic 2 Milford United 1 (a.e.t.)The Brian Mc Cormick Cup will reside at Park View, Castlefin for the first time in the club’s history. What a difference a week can make and these very same players who stood defeated and deflated in Diamond Park, Ballyare just seven days ago, having lost the Promotion / Relegation Play-Off against Cranford United, are now on top of the world.Milford United from the Premier Division were many people’s favourites going into the Brian Mc Cormick Cup Final and it was little surprise to them that Milford United took an early lead in this match which was switched to Dry Arch Park, Bonagee due to Diamond Park becoming unplayable on Saturday evening. Gary Merritt’s free-kick may have taken a slight touch on its way through the Castlefin Celtic penalty area but Merritt was rightly credited with breaking the deadlock.As the match progressed both sides had to settle for mainly half chances as neither outfit could find the killer final ball when well positioned. It was the stubbornness of Castlefin’s striker JP Malley that brought about his side’s leveller. Defiantly he chased down a back-pass to Caolan Mc Gettigan in the Milford net and after bringing a great save from the keeper he followed through to deflect the ball into the net after Mc Gettigan parried it away. Whether or not it took a touch off Brendan Murray matters not as Malley was credited with the strike.The remainder of the game saw both keepers make very fine saves and in doing so each kept their side in the match. The loss of Ciaran Mc Ginley was a blow to Milford as the right-back had carried a threat along the right wing until his dismissal. Damien Casey then saw red when he was yellow carded for the second time by match referee Marty Mc Garrigle.Despite going down by numbers Milford battled well and indeed created some good openings without reward. Castlefin never really made their numerical advantage count and the game went to extra time. Castlefin Celtic’s Simon Mc Glinchey was also dismissed for receiving two yellow cards. With time running out and a penalty shoot-out looking likely Castlefin found a winning goal. Emmett White went on a rare forward mission and when he received the ball thirty five yards from goal he displayed the coolest head on the pitch as he looked up and curled his pass between two Milford defenders to JP Malley who stole in behind the Milford rearguard. Malley composed himself before curling the ball past Mc Gettigan high into the Milford net. A killer blow at the worst possible time for Milford who had no time to respond. A celebration invoking signal for the Castlefin faithful who had watched their teams loose the Promotion / Relegation Play-Off seven days earlier and less than twenty four hours ago watched their Reserves side narrowly lose the Downtown Cup to Glenea United Reserves. Brian Mc Cormick was present to present the Cup on a fine day for football at the Dry Arch Park, Bonagee.Castlefin Celtic: Anthony O’ Hagan, Michael Dunnion, P.J. Mc Menamin, Emmett White, Kieran Brennan, Dominic Mc Glinchey, Mark Carlin, Simon Mc Glinchey, J.P. Malley, Matthew O’ Rourke, Ronan Tourish. Subs: Colin Carlin, Anthony White, Damien Mc Annaney, Peter Bryson, Damien Doherty, James Mc Menamin, Cormac O’ Brien, Milford United: Caolan Mc Gettigan, Ciaran Mc Ginley, Paul Shields, Mark Flood, Paddy Peoples, Damian Casey, Jamie Henna, Joey Cullen, Gary Merritt, P.J. Hagan, Brendan Murray. Subs: Cathal Mc Gettigan, Peter Doherty, T.J. Evesson, Lee Burke, Ciaran Gibbons, Christy Mc Cafferty, Gavin Grier, Ciaran Blaney, Johnny Sweeney. Referee: Marty Mc Garrigle. Assistants: Joe Mc Hugh & Marty Quinn DONEGAL LEAGUE: CASTLEFIN CELTIC PIP MILFORD IN BRIAN McCORMICK CUP FINAL was last modified: May 11th, 2014 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:Brian McCormick CupCASTLEFIN CELTICDOENGAL LEAGUEMILFORD UTD
The Raiders surprised some people by taking Clelin Ferrell at No. 4 in the NFL Draft.Not that the Ted Hendricks Award winner wasn’t a great player for national champion Clemson. It’s just that most people pegged him as a mid-to-late first-round pick since Khalil Mack, for example, had gone No. 5 overall.Ferrell, the youngest of nine kids, sat down to discuss the term “rookie,” criticism over how high he was drafted … CLICK HERE if you are having a problem viewing the photos on a mobile device
This Netflix original series relies on vertical cell phone footage and animated social media conversations, giving us a glimpse of future documentaries.All images via Netflix. In a mockumentary investigation series about spray-painting genitals on cars, Netflix somehow manages to show us the future of documentary films and docu-series. American Vandal is a true-crime spoof series that investigates the whereabouts of teenagers during a high school prank.I just finished binge-watching every episode. Not only was it incredibly funny in the most juvenile ways, the series is very well done. The fact that they could stretch the premise to eight episodes and keep me captivated was astonishing. Not only that, the show is beautifully shot, edited, and colored, capturing the purest form of adolescence: acting like an idiot with your friends.I can go on and on about the show, but I’ll let you dive into that yourself. You can watch the (NSFW) trailer here.What I want to break down is how the mockumentary perfectly makes fun of the true-crime drama while making a legitimately well-crafted series. From subtly poking fun at the overuse of sliders and drones to using vertical cell phone footage and social media, this series has it all. I’m also going to show you ways you can create social media interfaces, so you can animate conversations and use these techniques as well.In the show, I found myself relating most to the high school students shooting, editing, and narrating the series. In what may come as a shock to you, I also was not very cool in school, was not good with girls, and spent way too much time with a camera in my hands.The reason I bring this up is that cinematographer Adam Bricker perfectly captured the series in the way a high schooler would, though in a much more professional manner. High school filmmakers would use mirrorless cameras, and in the series it looks like a Sony a-series body inside of their camera cage. In addition, the students would have captured b-roll with sliders and establishing shots with drones.(If you haven’t already watched our video tutorial on not overusing drones, by Zach Ramelan, I highly recommend checking it out. He makes some great points about the overuse of drones and sliders in today’s filmmaking world.)Above is a glimpse of episode six, in which we see the feaux-filmmakers prepare to shoot undercover by using an iPhone camera placed in a shirt pocket — a trick that obviously isn’t very sneaky. You can also see the camera rig they used to capture most of the other footage in the show.In reality, American Vandal was mostly shot in 6K on the RED WEAPON DRAGON. Bricker lensed the series with the Leica Summicron-C primes and a Fujinon Cabrio zoom lens. But that’s not all. Too keep up an authentic teenager scenario, the crew really did use the mirrorless camera, iPhones, and GoPros to capture party footage and prank videos.As for the aerial footage in the show, that is the work of the very talented crew over at Drone Dudes.Over at The Verge, Megan Farokhmanesh interviewed American Vandal co-creator and director Tony Yacenda. During their conversation, you see how the focus of the show shifted by examining the modern teenager.The common threads were that high school kids don’t use Facebook much … Certainly not with their own friends. They use a lot of Snapchat. Instagram is the main one. But I guess you learn that kids have their public Instagram, and then they’ll have a private Instagram for just their close friends, so they can post memes or whatever.By understanding the apps these characters would actually use, this subtle use of real interfaces actually goes on to show what a real documentary film would look like in another ten years. Think of the modern news segment, bloated with random tweets from viewers or live footage of massive storms shot vertically on cell phones.In that same Verge interview, Yacenda went on to say the following:We always wanted to have logic of why a high-school kid would be shooting a video in the first place. Maybe it’s somebody taking a selfie in the foreground, and something’s happening in the background.American Vandals other co-creator and writer Dan Perrault develops that idea further,We wanted a ton of B-roll from the iPhone … And so we would clear the crew out of the room and basically play out the party as it naturally would go, and just give separate kids iPhones to get footage from that.With the large amount of footage shot by individuals on their phones, American Vandal makes you think about the future archive of footage. This is literally the way the world works now, and with the mass amount of media that will be available to future documentary filmmakers, they will struggle to make the various media formats work together cohesively.That said, American Vandal already nailed it. Even though everything in the show is scripted, editors Ali Baron, Andrew McAllister, and Jessica Brunetto seamlessly made everything work. Not only does it work, it’s incredibly compelling. Viewers will relive moments in school or at parties through many angles and various times through cell phone footage — both horizontal and vertical.Like I mentioned before, American Vandal already makes use of footage shot on iPhones and GoPro cameras, but it also uses footage and images captured in Facebook, Instagram, Twitter, SnapChat, Twitch, and YouTube.The presence of social media and online platforms in this series is staggering, and I don’t mean this in the way other films and shows have made minor references to sites like YouTube. Each different site in American Vandal plays a different role, and it may be one of the most accurate representations of online life I’ve ever seen.If you’re interested in recreating and animating social media platforms, we’ve recently put together a series of After Effects tutorials showing you how to create the user interfaces for Instagram, Facebook, Twitter, and YouTube.Create and Animate the UI of Instagram with Adobe After EffectsCreate and Animate the Facebook UI in Adobe After EffectsLearn How to Animate Twitter Conversations in After EffectsCreate and Animate the YouTube UI in Adobe After EffectsEven if this series isn’t your type of comedy, it’s well worth the research, so at least watch the first episode. It’s likely you will experience what the future of documentary film has in store.Thanks for reading! If you’re interested in more piece like this, I’d suggest checking out some of the following articles:How Editor Paul Machliss Cut Baby Driver in Real Time on LocationA Look Inside the Post-Production Process Behind “It”Inside Atomic Fiction: An Exclusive Interview With a VFX PowerhouseThe Media Machine Behind the Dallas StarsInterview: Director of Photography Behind HBO’s The Defiant OnesInterview: Director of Photography Jake Swantko of Netflix’s Icarus
Audio swells are a dynamic way to add some punch to your transitions. In this video tutorial, we cover how to work with them in your own editing suite.When it comes to editing my movies, using musical swells has become a dynamite (must use) addition to my tool belt. In this tutorial, I’ll go over how to use them, why they’re important, and why you’re missing out (if you haven’t tried them already).Music swells are essentially auditory ramp-ups created by taking the last section of a song and reversing it. Note, this trick will only work on a song with a long fade-out at the end; it needs to close on a single key hit. I would say 80 percent of songs end like this, so it shouldn’t be much trouble sourcing them. (If you’re looking for some examples, here’s a good playlist.)Here’s how to do it. Finally, line up the swell with a clip you want to cut to. I recommend using this at the tail end of shots, scenes, and videos.That’s it! If the swell doesn’t last as long as you need it to, you can easily stretch it by slowing down the speed and checking off the “Maintain Audio Pitch” box.This technique can help you enhance your scenes with more pronounced transitions, as well as provide a better closing note. Auditory swells are an incredible multipurpose tool in the editing suite, and I suggest that every editor should begin using them.Looking for more video tutorials? Check these out.Which Camera Movement Should You Use — And When And Why?Video Tutorial: Build Your Own $50 Car-Side Camera MountThe Benefits of Working with 4K Footage in a 1080 SequenceWhat Else Can You Do with Your 360° and VR Video Footage?Everything to Know About Layer Styles in After Effects Trim the last section of your song, and place it in a new track on your timeline. This will be that final note hit we were talking about earlier. The length of the final note is different from song to song, so the duration of this clip will vary. Next, take this clip, and reverse it using the Speed Duration drop-down menu.
When an asteroid or comet slammed into Earth about 66 million years ago, most of our planet’s species were wiped out in a mass extinction—including entire groups such as the nonavian dinosaurs, marine reptiles such as mosasaurs, and their flying kin the pterosaurs. But not all ecosystems suffered equally, and the dramatic difference in survival rates between marine species and freshwater ones has been particularly puzzling. A new study weighs in on the long-standing riddle.According to some estimates, about three-quarters of the plant and animal species on Earth disappeared during the end-of-the-Cretaceous dino-killing impact. But marine ecosystems lost only about half of their species, and freshwater environments lost a mere 10% to 22%, says William Lewis, an aquatic ecologist at the University of Colorado, Boulder. For instance, only about 10% of the major groups of bony fish died out, but species from all six groups of turtles alive at the time—and from most if not all groups of amphibians—survived the impact. The disparity with marine ecosystems began to make sense, he notes, when researchers began thinking of the mass extinction as a one-two punch: the fiery aftermath of the extraterrestrial impact, followed by a “nuclear winter”-like cold spell triggered by the smoke, soot, and myriad other tiny particles flung high into the atmosphere.In the wake of the impact, creatures in marine and freshwater ecosystems experienced three particularly strong stresses: starvation brought about by the collapse of the food chain (and especially by the lack of photosynthesis), the reduction or loss of dissolved oxygen in the water, and low temperatures. But in many cases, species living in freshwater environments had advantages over sea creatures that bolstered their chances of survival, Lewis and his colleagues explain this month in the Journal of Geophysical Research: Biogeosciences. Not that the animals living in lakes and rivers escaped unscathed, Lewis says: “A lot of them died, too, it’s just that many species as a whole were able to persist until conditions returned to something near normal.”Sign up for our daily newsletterGet more great content like this delivered right to you!Country *AfghanistanAland IslandsAlbaniaAlgeriaAndorraAngolaAnguillaAntarcticaAntigua and BarbudaArgentinaArmeniaArubaAustraliaAustriaAzerbaijanBahamasBahrainBangladeshBarbadosBelarusBelgiumBelizeBeninBermudaBhutanBolivia, Plurinational State ofBonaire, Sint Eustatius and SabaBosnia and HerzegovinaBotswanaBouvet IslandBrazilBritish Indian Ocean TerritoryBrunei DarussalamBulgariaBurkina FasoBurundiCambodiaCameroonCanadaCape VerdeCayman IslandsCentral African RepublicChadChileChinaChristmas IslandCocos (Keeling) IslandsColombiaComorosCongoCongo, The Democratic Republic of theCook IslandsCosta RicaCote D’IvoireCroatiaCubaCuraçaoCyprusCzech RepublicDenmarkDjiboutiDominicaDominican RepublicEcuadorEgyptEl SalvadorEquatorial GuineaEritreaEstoniaEthiopiaFalkland Islands (Malvinas)Faroe IslandsFijiFinlandFranceFrench GuianaFrench PolynesiaFrench Southern TerritoriesGabonGambiaGeorgiaGermanyGhanaGibraltarGreeceGreenlandGrenadaGuadeloupeGuatemalaGuernseyGuineaGuinea-BissauGuyanaHaitiHeard Island and Mcdonald IslandsHoly See (Vatican City State)HondurasHong KongHungaryIcelandIndiaIndonesiaIran, Islamic Republic ofIraqIrelandIsle of ManIsraelItalyJamaicaJapanJerseyJordanKazakhstanKenyaKiribatiKorea, Democratic People’s Republic ofKorea, Republic ofKuwaitKyrgyzstanLao People’s Democratic RepublicLatviaLebanonLesothoLiberiaLibyan Arab JamahiriyaLiechtensteinLithuaniaLuxembourgMacaoMacedonia, The Former Yugoslav Republic ofMadagascarMalawiMalaysiaMaldivesMaliMaltaMartiniqueMauritaniaMauritiusMayotteMexicoMoldova, Republic ofMonacoMongoliaMontenegroMontserratMoroccoMozambiqueMyanmarNamibiaNauruNepalNetherlandsNew CaledoniaNew ZealandNicaraguaNigerNigeriaNiueNorfolk IslandNorwayOmanPakistanPalestinianPanamaPapua New GuineaParaguayPeruPhilippinesPitcairnPolandPortugalQatarReunionRomaniaRussian FederationRWANDASaint Barthélemy Saint Helena, Ascension and Tristan da CunhaSaint Kitts and NevisSaint LuciaSaint Martin (French part)Saint Pierre and MiquelonSaint Vincent and the GrenadinesSamoaSan MarinoSao Tome and PrincipeSaudi ArabiaSenegalSerbiaSeychellesSierra LeoneSingaporeSint Maarten (Dutch part)SlovakiaSloveniaSolomon IslandsSomaliaSouth AfricaSouth Georgia and the South Sandwich IslandsSouth SudanSpainSri LankaSudanSurinameSvalbard and Jan MayenSwazilandSwedenSwitzerlandSyrian Arab RepublicTaiwanTajikistanTanzania, United Republic ofThailandTimor-LesteTogoTokelauTongaTrinidad and TobagoTunisiaTurkeyTurkmenistanTurks and Caicos IslandsTuvaluUgandaUkraineUnited Arab EmiratesUnited KingdomUnited StatesUruguayUzbekistanVanuatuVenezuela, Bolivarian Republic ofVietnamVirgin Islands, BritishWallis and FutunaWestern SaharaYemenZambiaZimbabweI also wish to receive emails from AAAS/Science and Science advertisers, including information on products, services and special offers which may include but are not limited to news, careers information & upcoming events.Required fields are included by an asterisk(*)For instance, researchers have previously estimated that sunlight couldn’t reach Earth’s surface for at least several months after the impact. For the many species that depend on plants and photosynthetic microorganisms at the base of the world’s food web, that was catastrophic. Based on body size and metabolic requirements, Lewis and his colleagues estimate that all creatures weighing less than 100 grams (or measuring less than 10 centimeters long) would have starved to death if postimpact darkness lasted between 3 and 6 months—unless, they emphasize, the organisms were also adapted to scavenge for a living or if they typically became dormant in cold, harsh conditions. (Many ancestors of today’s mammals are presumed to have survived the mass extinction because they lived in burrows and were somewhat protected from the firestorm and then the global cold spell following the impact.)Those are the same adaptations that enable creatures living in lakes and rivers at high latitudes to survive a normal winter, when the bodies of water freeze over and 24-hour darkness reigns for weeks or months at a time, Lewis says.With so many aquatic plants and animals dying en masse after the impact, decomposition would have robbed the water of much of its dissolved oxygen, Lewis says. Again, however, creatures in high-latitude freshwater ecosystems often experience such conditions each winter when ice blocks the exchange of oxygen from the overlying air. In contrast, conditions in marine ecosystems are typically steadier, so creatures living there haven’t evolved much tolerance for dramatic changes in temperature or oxygen levels—and hence those species died out at much higher rates.And finally, while global temperatures may have plummeted after the impact, some portions of freshwater ecosystems may have been somewhat insulated from change. That’s because many lakes and streams get substantial amounts of their water not from surface runoff but from groundwater seepage—water that typically enters the streams at a steady temperature year-round, Lewis says.The new paper is “an extremely thorough review of the issues and patterns of freshwater versus marine extinction patterns and mechanisms,” says Thomas Holtz Jr., a paleontologist at the University of Maryland, College Park. “It looks like the [team] tied together a disparate bunch of lines of evidence into a nicely coherent whole.”Scientists have long suggested many of the characteristics that helped freshwater creatures survive the dino-killing mass extinction, but Lewis says that the new paper is the first one to put all the pieces together.The team’s analysis “basically tells the story I’ve been telling my students for years,” Holtz says: While many species in the marine realm starved when the base of the food chain collapsed, he notes, the bottom-feeders there—as well as many species in freshwater ecosystems—were taking advantage of stored sources of nutrients such as nutrient-rich runoff from the land and previously accumulated organic material. In a sense, he says, they were “eating from the pantry,” so they suffered less severely.
At least five persons died and more than 20 were injured in a stampede at a temple in West Bengal’s North 24 Parganas at 2.15 am on Friday.Thousands of people gathered at the Baba Lokenath temple at Kachua under the Basirhat police station on the occasion of Janmashtami. Amid long spells of overnight rains, people tried to enter the temple and a boundary wall in the compound collapsed triggering the stampede.Chief Minister Mamata Banerjee visited two hospitals in Kolkata where the injured were admitted to.“The accident is unfortunate and tragic. Occurred after heavy rain. I visited CNMC and SSKM hospitals to meet families of the deceased and the injured. Every death is a tragedy. But what we can do is to stand by the families in their moment of grief,” she tweeted.Ms. Banerjee told journalists that the accident had occurred when people tried to take shelter inside the temple because of the rain. She announced compensation to the families of the deceased and said medical expenses for the injured would be borne by the government. She also blamed the illegal makeshift shops that had come up around the temple for the congestion leading to the stampede.Three of the deceased were women. Except one man, all the deceased were elderly persons. The identity of an elderly man had not been ascertained so far. Aparna Sarkar and Tarun Mondal, both residents of Basirhat, were declared dead at the Calcutta National Medical College and Hospital while Poornima Gorai was declared dead at the R G Kar Medical College and Hospital. At the SSKM Hospital and Medical College Sonaika Das, a resident of Basirhat and the unidentified man were declared dead.Lakhs of devotees gather at the temple every year on this day to celebrate the birth anniversary of Baba Lokenath, an 18th century saint, who has followers in West Bengal and Bangladesh. State Food and Supplies Minister and district president of the Trinamool Congress Jyotipriyo Mullick said the temple authorities did not provide correct figures of the crowd to the district and police authorities. State BJP president Dilip Ghosh blamed the lack of proper planning and lack of infrastructure to deal with such a huge rush of pilgrims for the stampede.
Maxi Rodriguez celebrates after scoring in the penalty shootout against Netherlands Argentina reached the World Cup final on Wednesday after beating the Netherlands 4-2 in a penalty shootout. Goalkeeper Sergio Romero saved penalties by Ron Vlaar and Wesley Sneijder to give Argentina the win after the game finished 0-0 following extra time. Maxi Rodriguez put away the winning spot kick.Argentina will play Germany in Sunday’s final at the Maracana Stadium in Rio de Janeiro.Team Lineups(from):Netherlands: Jasper Cillessen; Ron Vlaar, Stefan De Vrij, Bruno Martins Indi (Daryl Janmaat, 46th), Daley Blind; Georginio Wijnaldum, Wesley Sneijder, Nigel De Jong (Jordy Clasie, 62nd); Dirk Kuyt, Arjen Robben, Robin Van Persie (Klaas-Jan Huntelaar, 96th)Argentina: Sergio Romero; Pablo Zabaleta, Martin Demichelis, Ezequiel Garay, Marcos Rojo; Lucas Biglia, Javier Mascherano, Enzo Perez (Rodrigo Palacio, 81st); Gonzalo Higuain (Sergio Aguero, 82nd), Lionel Messi, Ezequiel Lavezzi (Maxi Rodriguez, 101st)