ROME (AP):Andy Murray celebrated his 29th birthday by beating Novak Djokovic on clay for the first time to win the Italian Open title yesterday in a match that Djokovic argued should have been stopped due to rain.Gaining a measure of revenge for his loss to Djokovic in the Madrid Open final a week ago, the third-ranked Murray defeated the top-ranked Serb 6-3, 6-3.”The finals of a Masters series on clay is something that’s a new experience for me,” Murray said. “It’s nice to still be sort of achieving new things and reaching new goals at this stage of my career.”During the trophy ceremony, Murray was presented with a birthday cake. He dedicated the title to his three-month-old daughter, Sophia Olivia.”I feel like that’s what I’m playing for now, so that in a few years, hopefully, she can be proud of what I have achieved,” Murray said.NINE-MONTH TITLE DROUGHTEarlier, Serena Williams ended a nine-month title drought with a 7-6 (5), 6-3 win over Madison Keys in an all-American women’s final.Williams’ previous title came in Cincinnati in August a month before her attempt at a calendar-year Grand Slam ended with a semi-final loss to Roberta Vinci at the U.S. Open.”It feels great,” Williams said, pointing out that she’s only played four tournaments since Cincinnati. “So it’s not like I was playing every week. That’s kind of how I look at it, but it feels great to win a title, especially on clay.”It’s Murray’s first title in Rome and it comes exactly a week before the French Open begins.”The last couple of years, clay has probably been my most successful surface, which I never expected,” Murray said.The only other British man to win the Italian Open was Pat Hughes in 1931.”It’s mostly great players who have won this event, so I’m very proud to have my name on the trophy,” Murray said.Djokovic had won all four of their previous matches on clay, but had to fight fatigue following draining wins over Rafael Nadal and Kei Nishikori.Djokovic also played with a bandage on his left ankle after bruising himself with his racket a day earlier.”It was a week with a lot of emotions, a lot of hours on the court,” Djokovic said. “It wasn’t easy to be fresh today and have the strength to play with Andy. He was just too good today, and he deserved it.”For much of the men’s final, steady rain fell and fans covered themselves with ponchos and held up umbrellas to keep themselves dry.Djokovic argued several times with chair umpire Damian Steiner over the court conditions, saying it was too slippery.”I don’t want to play anymore,” Djokovic told the umpire late in the second set.”I didn’t ask to postpone the match,” Djokovic explained later. “I asked to have a little break, where we would give a little more time, maybe five more minutes, to people to arrange the court.”For Williams, it was her fourth title in Rome, which puts her in position to defend her title at Roland Garros.”I’m feeling pretty fit, so I’m looking forward to it,” said Williams, who won’t have to answer any questions about a potential calendar-year Grand Slam in Paris this year. “I’m going to definitely go in there and feel more calm and (not) feel stress to have to win.”Williams addressed the crowd in Italian during the post-match ceremony then took a selfie as she posed with the trophy.It was the first time two American women would have met in a final on clay since Serena beat older sister, Venus, in the 2002 French Open.When they met at the net after the match, Serena told the 24th-ranked Keys that she could be No. 1 one day.”Too bad what she says doesn’t just happen,” the 21-year-old Keys said. “But it’s always great to hear that from her. … Hearing that is definitely something that makes me just work harder.”
Test your Rangers knowledge. See how many of these five questions you can answer correctly…[wp-simple-survey-7]Click here for yesterday’s QPR quizClick here for Monday’s QPR quizFollow West London Sport on TwitterFind us on Facebook
OAKLAND – Can the Warriors come back? That’s become a familiar and jarring question as they’ve trailed by double digits for six consecutive games.That comeback curiosity now goes for the Warriors’ three-peat hopes in the NBA Finals.As much as injury woes are impacting this two-time title defense, the Warriors constantly find themselves in need of a rally.They’ve trailed by 17, 18, 17, 12, 12 and 17 dating back to Game 2 of the Western Conference Finals against Portland. And, yet, they are …
9 September 2015Bafana Bafana beat Senegal in the Nelson Mandela Challenge, played at Orlando Stadium in Soweto last night. Mpho Makola, in his debut for the national side, scored the only goal of the game in the 78th minute.Coach Shakes Mashaba, who made seven changes to the team following the game lost to Mauritania in an Afcon qualifier on 5 September, will be well pleased with how the players acquitted themselves against a side that had not lost a match since the African Cup of Nations earlier in the year.Bafana produced some excellent football throughout the first half, with Sibusiso Vilakazi and Thamsanqa Gabuza linking up extremely well.The first half ended 0-0.South Africa started the second half much like they had finished the first, pressing for a goal but again wasted numerous scoring opportunities.A breakthrough came in the 78th minute, when Makola received the ball outside the area and unleashed a beautiful right-footed curler into the top-right corner.Senegal had chances to equalise, but a combination of poor shooting and some great work by Itumeleng Khune ensured that the Bafana captain secured the 31st clean sheet of his international career.Although only a friendly, a victory against such quality opposition will surely allow Mashaba to breathe a sigh of relief.Source: News24Wire
Share Facebook Twitter Google + LinkedIn Pinterest A new Purdue Extension publication examines the causes and effects of pesticide drift.Pesticide drift occurs when chemicals used to manage weeds or insects are blown or carried off target by wind during application, posing a potential risk to people, animals and plants on neighboring properties.Pesticide drift can happen in both residential and agricultural settings and under all types of weather conditions, even if wind speeds are low, said Fred Whitford, director of the Purdue Pesticide Programs and one of the authors of Options for Dealing with a Pesticide Drift Incident.“Whether it’s a next-door neighbor or a farmer who owns the field adjacent to your property, they have the legal right to apply pesticides to their property,” Whitford said. “However, pesticide applicators also have the legal obligation to keep those products on their side of the property line.”According to the publication, some crop damage attributed to drift might be the result of other factors, such as insect infestations, plant diseases or weather conditions. The authors say it is important to find out what actually caused the damage before reporting a possible drift incident.“Purdue Extension educators can help you determine the cause of injury symptoms,” the publication says. “The educators will look for any possible explanations for the damage, including nutrient deficiencies, insect, weed and disease problems, improper planting and cultivation practices and environmental conditions.”Readers will also learn about the steps for reporting a possible drift incident and what actions could be taken if a drift incident is confirmed.Whitford’s co-authors are Michael O’Donnell, an Extension educator in Delaware County; Roy Ballard, an Extension educator in Hancock County; and Joe Becovitz, an agent with the Purdue-based Office of the Indiana State Chemist.The publication can be downloaded as a free PDF from Purdue’s The Education Storeat https://edustore.purdue.edu/item.asp?Item_Number=PPP-110#. Single printed copies are also available at no cost.
Share Facebook Twitter Google + LinkedIn Pinterest The Fourth General Session featured presentations Ohio’s representative on the National FFA Officer Team Sydney Snider, creed speaking contest winner Austin Becker from Fairbanks, and prepared speaking winner Josie Montoney from Amanda Clearcreek. CDE winners, top Ohio officers and agriscience fair recognition and state officer parents were recognized. Josie Montoney, Amanda-Clearcreek,won the prepared speaking contest. Sydney Snider Austin Becker, Fairbanks, was the Creed Contest winner
PODCAST: An Interview With Martin Holladay, Part 1Ringside Seats on an Urban Planning RivalryIn Search of the Green EconomySlums of the Future The official transcript of the show is available to GBA PRO members. To become a member (or to take a free 10 day trial), go to the member sign up page. Subscribe to Green Architects’ Lounge on iTunes—you’ll never miss a show, and it’s free! You know how occasionally the comments section that follows certain blogs drifts off into “Big Picture” territory? When we do a podcast on something simple like air sealing or home energy monitoring, for some reason someone has to bring up population control, lack of focus on urban retrofits, or how Frank Loyd Wright was a racist. (For the record, I’m not trying to bring that one up again—so let’s leave it alone, please.)Anyway, this one’s for you, “Big Picture People.”Phil and I were very pleased to have James Howard Kunstler on for a discussion about where we’re headed as a nation and the role we architects, designers, and planners play.The HighlightsA Black Irish: Our drink (due to a last-minute change of plans). While recording, we wondered if this is a racist or slanderous term. Even after Googling it, I’m still not certain. We mean no offense. It’s a black drink (Kahlua added to Irish whiskey).What’s going to hit us first: the downfall of our global economy or the end of cheap oil? After some discussion, Jim seems to lean toward economic downfall, given recent history. Is the Occupy Wall Street movement going to have an effect? Jim discusses how the seed has been planted. Regardless of what happens, if anything, it has entered the consciousness of our culture.Is “green” a real movement? It began as a genuine movement, but Jim talks about its history and its co-option.New Urbanists vs. landscape-as-artists. Plenty of name-dropping (and name-calling) here. Good stuff.Who’s got a good bead on the right path forward? The New Urbanists, who are trying to correct the poor choices our society has been making for decades. The details are fascinating.Jim’s place. Phil and I were curious about where and how a guy with such dynamic visions for the future chooses to live.What’s the public’s impression of architects? We discuss the architect’s “PR problem.”What would Jim tell the architects and builders out there? We don’t need more “mystifying” buildings. And also, no more skyscrapers. A green skyscraper is a contradiction in terms, and possibly not for the reasons you’d imagine.Is there an architect out there doing great work? New Urbanists like Victor Dover. Jim explains why.Are any of our leaders on the right track? For Jim, one economist came to mind: Laurence Kotlikoff , of Boston University. Political leadership is failing. Architecture is failing (e.g., Rem Koolhaus’s “prank” on Harvard). Jim likens our current condition to that of the late 1850s. He explains.Will technology save us or bury us? Jim talks about his upcoming book, Too Much Magic, and the concepts behind this tenuous relationship with technology and the drastic mistakes we’re making.Be sure to visit James Howard Kunstler’s web page. There you can find links to his blogs, books, articles, paintings, and podcast. (If you subscribe to ours, chances are more than likely you’ll enjoy his as well.) Phil and I are especially fond of his Eyesore of the Month blog. Be sure to check it out. He also has a nice TED Talks Presentation, wherein he dissects suburbia. And of course he had a nice appearance on The Colbert Report.As usual, Phil shares a song at the end that he believes we should be listening to in the studio. This episode it’s “Holy Holy” by Wye Oak.Cheers! RELATED CONTENT
Let’s take a detailed behind-the-scenes look at how Steven Spielberg and company crafted one of the most iconic sequences in film history: The golden idol scene from Raiders of the Lost Ark.Top image via NY Daily NewsBehind-the-scenes peeks are a perfect way to understand everything that goes into making movie magic. Let’s look at the iconic opening sequence of Raiders of the Lost Ark, from previsualization to post-production.For reference, watch the scene one more time. The video below picks up just after the opening credits, as Indy and Satipo enter the temple and find themselves in the chamber of the golden idol.Video via Noble TreizeDevelopmentGeorge Lucas and Steven Spielberg developed the base concept for Raiders of the Lost Ark back in 1977, just as Star Wars was being released worldwide. It wasn’t long before Lawrence Kasdan was brought on to write several drafts of the script. The entire film hinged on setting the stage for the character and the narrative in the opening sequence.As for the character of Dr. Henry Jones Jr., Spielberg and company looked to Charlton Heston and his character from The Secret of the Incas. Then for the actual opening sequence itself, Spielberg remembered the seventh issue of the classic Uncle Scrooge Comic, “The Seven Cities of Cibola,” which gave him the inspiration to develop the temple sequence.Images via Paramount and MarvelOnce the final script was developed, Lucas and Spielberg shopped the film to the studios, which proved difficult given the budget needed for the film. Paramount finally took a chance on the film, though budget concerns were expressed. Lucas and Spielberg knew they were going to have to stay on task and on budget — something Spielberg had not done in his previous three films.Pre-ProductionIn order for Spielberg to stay on task and on budget, he had his artists craft storyboards for Raiders of the Lost Ark. These storyboards included the iconic temple sequence with the golden idol and out-of-control boulder.Image via Amblin EntertainmentStoryboarding isn’t for everyone — some directors like to use only a shot list — however storyboarding can be extremely helpful, as we’ve covered before here on PremiumBeat. Spielberg developed his traditional stick figures and then gave those drawings to his artists to convert into the final storyboards. These storyboards, as seen above, allowed the crew to see the director’s vision before a camera ever even rolled.Image via Elstree Film StudiosNow that everything was written out and storyboarded, the director and crew turned to production. The majority of the opening sequence was shot on set at Elstree Studios in the United Kingdom. However, exterior shots for this sequence were completed at Kauai island in Hawaii, the same location Spielberg would use years later to film Jurassic Park.Set DesignSet design is crucial to the success of a film, as quality set design will allow the audience to become lost in the world of the film. For the opening sequence of Raiders of the Lost Ark, Spielberg and company knew that converting the Elstree Studios soundstage into a Peruvian temple was going to be a tough task — but if done correctly, it would transport the audience to another place and time.Image via ScreencrushIn the image above, you can see the exterior shells of the set that make up the individual areas of the temple. The key for production designer Norman Reynolds was to make sure that each of the sets looked authentic while giving Spielberg and cinematographer Douglas Slocombe the freedom to frame and capture the images they desired.Practical EffectsSpielberg wanted to utilize practical effects as much as possible for the project, as this would give the film a very classic serial adventure type of feel. The VFX team from ILM worked closely with the director and set designer Norman Reynolds to ensure that every element on set felt real and authentic.Image via ScreencrushJust like set design, visual effects, no matter if digital or practical, have to fit within the existing mise-en-scène. Effects must not stand out — rather, they must blend seamlessly into the set design.Image via ScreencrushLuckily for Spielberg, he had an amazing group of VFX artists who had recently wrapped up duties on another little project called Star Wars. While there aren’t a wide range of special effects in the opening sequence, it does have its fair share: the prosthetic Satipo, the small arrows in the idol chamber, the fiberglass boulder (that weighed around 800 lbs), and even the Golden Idol with mechanical eyes.CinematographyThanks to storyboards, Spielberg and cinematographer Douglas Slocombe had the entire film already mapped out, which allowed them to begin shooting quickly, instead of searching for the shot.Image via Paramount PicturesEven though Spielberg and his artists crafted the storyboards and notated where movement was needed, Slocombe added his own visual flair to the film as well. Throughout this sequence, Slocombe utilized longer takes, some of which dolly in or out. These are utilized to convey a sense of tension, or in the case of Sapito, a sense of relief.This visual construction is in stark contrast to the twelve quick cuts that Slocombe used moments earlier to introduce Indy to the audience, as well as the composition of the images to come.Image via Paramount PicturesWhen Indy finally makes his way to the idol and swaps it out for the bag of sand, Spielberg and Slocombe change the pace and framing of the film. While there’s one dolly shot as Indy runs through the chamber, a majority of the shots are locked down on sticks and are short in duration. This escalates the pacing of the film to coincide with the frantic action. However, it still takes an editor to put this all together.EditingMichael Kahn is an absolute genius when it comes to editing. For Raiders of the Lost Ark, he utilized Spielberg’s storyboards and Slocombe’s perfectly paced visuals to craft an amazing story. However, it’s more than just trimming and pasting into place.Image via Paramount PicturesKahn utilized the all important technique known as the J-cut, plus the occasional L-cut in some instances. In the image above, Indy is about to exchange the bag of sand for the idol. As the idol sinks and triggers the booby-traps, sound effects created by Ben Burtt hint at something dangerous — then there’s jump cut to a wide shot as Indy realizes the walls are crumbling around him. This ends the slower pace of the scene’s beginning and unleashes a new frantic pace for the remainder of the sequence.Image via Paramount PicturesKahn didn’t just stop with the chamber destruction either. He utilized another J-cut as Indy hears something happening behind him. Kahn jump cuts to a wide shot, revealing a boulder rolling toward Indy. So, even though everything was “laid out” for him in the storyboards and in-camera cuts, Kahn still had to go through the edit and make sure everything made sense and that specific techniques were used to aid the audience experience.Musical CompositionJust as cinematographer Douglas Slocombe and editor Michael Kahn utilized the pacing of the film to emotionally effect the audience, conductor John Williams had to do the same thing with the film score.Image via IMDbKnowing where and how to use the right music is crucial. Williams starts the sequence with a slow, tension-filled score. When the idol drops, the music changes and the brass section rises as the score picks up pace. So, as apparent above, there are several components that go into crafting a scene. The key to pulling off these scenes is planning, planning, and more planning. Once you have your vision, put it down in a tangible medium. Once you do this, then you can really begin to build your scene before you ever even roll on a single camera. This will aid you greatly during principle photography and post-production alike.What other iconic movie scenes would you like to see from behind the scenes? Let us know in the comments below!
Eurotech announces a technical partnership with e-Lios – a company based in Camerino (Macerata, Italy) specialized in software development for small and medium-sized businesses – for a draft study on interconnection and remote control of coffee machines.The partnership has begun within an innovative project involving Simonelli Group, a company based in the Marche region which exports coffee machines worldwide. Eurotech IoT Edge Gateway family (ReliaGATE) and e-Lios customized software allowed Simonelli Group to gather data transmitted from globally-deployed coffee machines and process to them in a 4.0 perspective.IoT Edge Gateways collect and process data related to pressure, temperature and coffee supply and send them to the e-Lios software, which analyze data-related stats and turn them into valuable information to ensure flawless machine operations. The goal is to remotely monitor every significant parameter to improve performances and consumptions and to ensure quality assistance.Share this:TwitterFacebookLinkedInMoreRedditTumblrPinterestWhatsAppSkypePocketTelegram Tags: Boards & Modules Continue Reading Previous Parasoft launches MISRA Compliance Pack and ISO-26262 Qualification KitNext Vecow: Coffee Lake based workstation-grade fanless Embedded system