first_imgA six-week course is being held to train anyone who is interested. It will be held six hours a week, on Monday and Wednesday evenings, beginning in April.To help out, volunteers can call 250-787-2814 and leave a message. Visiting Volunteers work with a team of health-care professionals to provide comfort and support to the individual and the family members affected.Duties range from running errands to simply having a conversation with the patient.Robbins helps out from time-to-time, and she says volunteers learn to cope through compassion. [asset|aid=2657|format=mp3player|formatter=asset_bonus|title=575d0e9c8d0fbff3f1916c850976bc88-Jennifer Robbins 1_1_Pub.mp3] Advertisement By Christine Rumleskiecenter_img A local group is searching for volunteers to bring comfort to some of the City’s most vulnerable citizens. The Fort St. John and District Palliative Care Society has put out the call for Visiting Volunteers. – Advertisement -Volunteer and Board member Jennifer Robbins says the volunteers spend time with individuals who are facing life-threatening illnesses. She says the best traits a volunteer can have is patience and understanding. [asset|aid=2656|format=mp3player|formatter=asset_bonus|title=575d0e9c8d0fbff3f1916c850976bc88-Jennifer Robbins 2_1_Pub.mp3] Advertisementlast_img read more


first_imgAfter beating the Utah Jazz on a last-second tip-in earlier this season, the Warriors fell to the Jazz 108-103 in Salt Lake City Wednesday.The loss, which drops the Warriors to third in the rough-and-tumble Western Conference, was their third this month and second in five games.Stephen Curry led the Warriors with 32 points, Kevin Durant — after a tough first half — chipped in 30, but Klay Thompson, Jonas Jerebko, and Draymond Green had rough offensive games against one of the NBA’s best …last_img


first_imgThe San Francisco Giants may have to wait a couple extra hours to take the field at the renamed Oracle Park Friday afternoon.With a weather system moving through the Bay Area late this week, there’s rain in the forecast for Friday morning, and that may continue throughout the day as the Giants plan to take on the Rays at 1:35 p.m.In a Thursday release acknowledging the possibility of a delay, the team affirmed that gates will open at 11:05 a.m. Friday regardless of what time the first pitch …last_img


first_img4 July 2014The world premiere of A Snake Gives Birth to a Snake, the much-anticipated documentary debut of celebrated television/film/theatre director Michael Lessac, is set to be one of the highlights of this year’s Durban International Film Festival.Some of the country’s foremost peace mediators will join the director, special guests, and members of the cast and crew for the world premiere screening, followed by a Q&A session, at Durban’s Suncoast Cinema on 20 July.A Snake Gives Birth to a Snake follows a group of South African actors as they tour war-torn regions of the world to share their country’s experience of reconciliation. As they ignite dialogue among people with raw memories of atrocity, the actors find they must confront once again their homeland’s complicated and violent past – and question their own capacity for healing and forgiveness.‘Can we forgive the past to survive the future?’In 2001, Lessac returned to the Colonnades Theatre Laboratory, which he had founded 25 years before in New York City, to find a way of telling the story of South Africa’s Truth and Reconciliation Commission (TRC).“Can we forgive the past to survive the future?” This profound question, posed by Nelson Mandela, become a mandate by which other nations could live. Lessac wanted to bring the story of the TRC to a wider audience while exploring its potential as a concept that could be exported to other post-conflict zones.Seeking to better understand the subtleties of the TRC process, he found himself looking beyond the presentations of victims and perpetrators and focusing instead on the the role of the interpreters who translated the commission’s proceedings into South Africa’s 11 official languages.Lessac was intrigued by the fact that the interpreters, simultaneously translating in the first person, could never turn away from atrocity. Fascinated with what the TRC must have looked like through the eyes of people who, for two-and-a-half-years, verbalised every moment of the hearings, he met with a number of TRC interpreters as they relived their stories and memories for the first time.Truth in TranslationIn 2003, after interviewing over 350 actors in South Africa, Lessac held a three-week workshop with a core of chosen actors who developed script material out of their own life-experiences intertwined with the lives of the interpreters.The theatrical vehicle for these conversations was a production entitled Truth in Translation, a hard-edged, multi-award winning theatrical production, with accompanying workshops, that was created between 2003 and 2006. It opened in Rwanda before going on to tour to three continents, 11 countries and 26 cities. It has played to more than 55 000 people and facilitated conflict transformation workshops for more than 10 000 participants.A Snake Gives Birth to a Snake gives its audience a glimpse into the lives and minds of a group of South African performers who shared and listened, facilitated and responded to the heartbreaking real-life personal stories of the human casualties of global conflict.As South Africans representing various facets of South African society, they were forced to look at whether they themselves had successfully “reconciled” their own individual pasts, and came to realise how complex and challenging it is to engage with the multifaceted concept of forgiveness.‘Warriors of the most special kind’“For me, this film pays homage to a very special group of South African actors and interpreters who were warriors of the most special kind,” says Lessac. “They allowed themselves to travel through worlds that were often more painful than their own worst nightmares.”The documentary’s title refers to the answer given by perpetrators in conflict situations when asked why they kill babies. Their response, irrespective of their cultural background, is always, one way or another: “A snake gives birth to a snake.”“The film was originally titled Truth in Translation, just like the play,” says Lessac. “We changed it to A Snake Gives Birth to a Snake because, no matter how true that might be, when revenge is celebrated as heroism it is a poor excuse for killing.”The film was edited by Joel Plotch (In the Company of Men, Nurse Betty, Gone), produced by Jacqueline Bertrand Lessac and Emma Tammi, and executive produced by Jonathan Gray and Robert Lear. It features never-before-heard original music by jazz legend Hugh Masekela, with lyrics taken from personal testimonies before the Truth and Reconciliation Commission.The Durban International Film Festival takes place at venues in and around Durban from 17 to 27 July.Source: National Film and Video Foundationlast_img read more


first_imgMany Solar Decathlon designs are elaborations on the cube, in part because houses conforming to that shape tend to be relatively simple to dissemble, transport, and reassemble. Team Belgium, representing Ghent University, saw the cube as a starting point — but also as a destination — for its Solar Decathlon 2011 entry.Simplicity is a watchword for Team Belguim’s project, E-Cube, which is in fact designed to be a build-it-yourself starter home that, as its occupants’ needs change, can be enhanced relatively easily with an addition or reconfiguration, upgraded finishes, or a bigger photovoltaic system. The two-story, two-bedroom home’s metal skeleton — along with windows, floor, wall, and roof components engineered and factory-made to fit together in predictable tile-like patterns — is designed to be shipped and assembled efficiently by the owner.Another goal for E-Cube’s creators is to make the house affordable. Project manager Michael Arens tells GBA that “currently we are aiming at $200,000 to $250,000. We’re trying to be the most affordable house of them all.”Celebrating right angles and an open interiorE-Cube rests on a steel frame leveled by a system of adjustable foundation jacks. Once the frame is placed on site and adjusted to level, structural insulated panels — rigid polyurethane sandwiched between two MDF plates — are slid into place to create the floor of the house. An all-steel pallet-rack skeleton is then bolted together and anchored to the floor plates, defining the building’s cube shape. For an overview of the Solar Decathlon teams, see GBA’s 2011 Solar Decathlon Resource Guide Follow Team Belgium if (WIDGETBOX) WIDGETBOX.renderWidget(’69e8aecc-fd2e-4bbd-bb70-6bd97f749cab’); Get the Ghent University Solar Decathlon 2011 – widget and many other great free widgets at Widgetbox! Not seeing a widget? (More info)SIPs and Saint-Gobain triple-glazed windows are secured to the frame in a uniform-tile pattern, creating both the exterior walls and the roof and, to reduce thermal bridging, fully enclosing the steel frame. The SIPs on the exterior walls will be clad in Eter-Color fiber-cement panels, and the roof will be sealed with a layer of EPDM (ethylene propylene diene monomer, or M-class) rubber. The home’s all-electric mechanical systems will be powered by photovoltaic modules mounted at very slight angles over almost the entire roof surface.Arens says the E-Cube interior – with a large open area crisscrossed by skeleton braces and bordered by steel-grate walkways on the second floor – is 1,000 sq. ft., the competition maximum.The team has no definite plans for the house once Solar Decathlon 2011 is over. “We haven’t decided yet,” Arens says. “All options are still open for now.”last_img read more


first_imgMuch of a movie’s tone, narrative, and look are decided long before scheduling shooting, and often before writing the script — but not always.From Disney to Pixar, Warner Brothers and beyond, the demonstrable value of storyboards and previs efforts in production is undeniable. The most dynamic alterations that shape a franchise can sometimes happen in post-production — in the midst of creative collaboration, with multiple minds at work in a video review session. Speaking with users of the video review tool, cineSync, we’ve collected some of the most unexpected, impactful post-production moments that changed the direction for the world’s biggest blockbusters.Jon Favreau – Iron ManImage via Iron Man (Marvel).Video review tools were indirectly responsible for the very first character crossover in what later became the Marvel Cinematic Universe (MCU). During post-production for Iron Man, an ILM artist added Captain America’s shield into a scene — a little joke for Jon Favreau. From there, the crossover grew exponentially. Favreau told MTV News the following:We introduced Captain America’s shield briefly in one shot in the last film. An ILM artist put it in there as a joke to us for our cineSync sessions, when we’re approving visual effects. They got a laugh out of it, and I said, ‘Leave it in, that’s pretty cool — let’s see if anybody sees it.’ Of course, everybody saw it — so now it really was in his room, so we had to figure out how to deal with the reality that the shield was in his workshop.The MCU now encompasses twenty films, with twelve more in various stages of production. It’s the highest-grossing film franchise of all time, having grossed over $17.5 billion at the global box office.Peter Chiang – Exodus: Gods and KingsImage via Exodus: Gods and Kings (Chernin Entertainment).Ridley Scott‘s retelling of Moses leading the Israelites out of bondage in Egypt, Exodus: Gods and Kings, stands out as a movie for which video review was invaluable. The pipeline led Ridley Scott to pick up a Wacom Cintiq tablet and annotate directly on set images from anywhere in the world. This was especially important as shooting took Scott from Mexico, to Morocco, and even to Fuerteventura. Peter Chiang, the film’s VFX supervisor, recalls the following:Ridley Scott draws brilliantly. We would draw several versions of a scene in cineSync to accurately meet his vision, saving a lot of time in post-production, even when Ridley Scott was traveling abroad.Ridley’s annotations pushed the quality of scenes to a new level — sometimes with minor refinements, and sometimes into an entirely new direction — allowing for full creative exploration so the VFX team could find the best solution to the shot. Chiang continues:The plague and Red Sea sequences went through a series of particularly dynamic changes.Swarms of locusts and parting oceans aside, the main VFX work on Exodus: Gods and Kings involved accurately portraying Egypt in 1300 BC, with all its grand architecture and magnificent environmental assets. All scenes in the movie passed under the artistic eye of Ridley Scott.We researched the time period early on in production, taking photos of existing temples and Egyptian monuments in Luxor. But, we had to imagine what those structures originally looked like without centuries of decay, and then introduce textures to hit what the audience understands as 1300 BC architecture. The sheer scale of the film relied heavily on a digital extension to Arthur Max’s sets, and plenty of work went on behind the scenes in post-production that changed the direction of the end look.Jake Morrison – Thor: RagnarokImage via Thor: Ragnarok (Marvel).From superpowers to capes and tights, every comic book hero has their own iconic look. Color plays an important part in creating that look within the Marvel Universe. Besides adding a bit of personality, a standout color scheme for each character can help audiences keep track of what’s happening in the midst of a heated battle royale.So, how does Marvel cycle through infinite shades of red, blue, yellow, green, and everything in between? Video review helped filmmakers isolate almost any color within a shot using a combination of contrast, saturation, and the hue wheel in cineSync.For example, in the last few weeks of production on Thor: Ragnarok, Marvel and Image Engine teamed up to create an interdimensional portal introducing the film’s main antagonist, Hela. The result was a rolling mass of energy called a “curly crackle,” almost like a three-dimensional lava lamp crafted through particle simulations. But something in the scene still didn’t look quite right. Jake Morrison, Marvel’s VFX Supervisor, explains:We grabbed hold of the color wheel, then and there, with all decision-makers present — the director, the executive producer, everyone — and we just started spinning through all possibilities for the portal. Then, we got to Hela’s signature green.Best of all, the team didn’t have to go back and do another fifty rounds of particle simulation to pinpoint Hela’s one, iconic color. Her character quickly developed into a different style than originally proposed.Cover image via Iron Man (Marvel).Looking for more insights into the film and video industry? Check these out.“The Lucas Effect”: When Filmmaking Creativity Goes UncheckedE3 2019: How Video Games Are Changing Cinematic Storytelling10k Vs 100k Vs 500k: Feature Film Budgets ComparedThe Cameras and Lenses Behind the Marvel Cinematic UniverseThe Cameras Behind Netflix Originals: Films and Serieslast_img read more


With the first round of the NBA playoffs nearing its halfway point, much has played out according to pre-playoff expectations, and that’s been good news for the better-seeded team in each series. Six of eight matchups have had double-digit average per-game victory margins; hell, the San Antonio Spurs have thumped the Memphis Grizzlies by an average of 29 points per game. It’s a massacre out there.But not everything has followed that pattern. Using our Elo ratings (which measure a team’s strength at a given moment), we found the teams that have exceeded their regular-season expectations the most since the playoffs tipped off last weekend. And even given the lack of first-round surprises so far, some teams have managed to raise eyebrows with their play, as we highlight in the video below:Chief among those teams: the Miami Heat, who are, um, torching [One of you owes me 20 push-ups. — Ed.] the Charlotte Hornets in their series thus far. Although our model expected Miami to win by 3.9 points per game, the Heat have prevailed by an average margin of 22 a game. With guys like Hassan Whiteside and Justise Winslow in the mix, you might think the Heat’s defense — stingy during the regular season — is behind this run. But no, it’s an unstoppable offense that’s driving the Heat’s blowouts.That Heat attack is averaging 1.24 points per play, according to Synergy Sports Technology; that’s the best of any team in the playoffs. According to data from the NBA’s player-tracking SportVU tech, Miami’s pick-and-roll performance has jumped from 91.1 points per 100 chances created by those plays during the regular season to 121.8 per 100 chances in the playoffs. Luol Deng is hitting 55 percent of his 3-pointers; Whiteside is shooting 88 percent around the rim; and Dwyane Wade is scoring 22 points per game with an assortment of crafty, old-man moves.Josh Richardson is perhaps most emblematic of the Heat getting, well, hot [Forty. — Ed.]. The rookie averaged only 21 minutes over 52 games this regular season, but he’s second on the Heat in minutes during the playoffs and, according to Synergy, is tied for the league lead in spot-up attempts — and leads outright in makes.As a team, the Heat are shooting out of their minds. So on to the natural question: Can this last? According to SportVU data that estimates shot difficulty using variables such as location, shot distance and the defender’s proximity, the Heat are taking extremely difficult shots — their playoff shot selection is of a similar difficulty to the Minnesota Timberwolves’ during the regular season, which was third-worst in the league. The difference is, their effective field goal percentage on those shots is 14.2 percentage points higher than you’d expect, given the types of shots they’re taking. (For reference, no team finished the regular season more than 4.1 percentage points better than expectation.)But although the Heat will probably cool off [I’ll just let you know when you can stop. — Ed.] before their series against Charlotte is over, our predictions now list them as 82 percent favorites to advance into the second round. If Miami gets there, a matchup against Toronto — which has underperformed its own expectations in the first round — seems likely, so we might even get to witness a fun experiment in whether “momentum” can carry over from one round to the next.Check out FiveThirtyEight’s 2016 NBA Playoff Predictions. read more


LOS ANGELES – It only took an exceptionally bad basketball half to end an 11-game winning streak and Ohio State’s season. With its dreams of returning to the Final Four left to fester in the Los Angeles sun, the No. 2-seeded Buckeyes watched their NCAA Tournament run collapse as Wichita State toppled them, 70-66, at the Staples Center Saturday evening. The No. 9-seeded Shockers jumped OSU early, laying the foundation for a 20-point lead that would force coach Thad Matta’s squad to play from behind for nearly 34 of 40 minutes of play. In a dizzyingly woeful outing, OSU shot 31 percent and, more miserably, connected on just 5 of 25 tries from 3-point range in its first loss since Feb. 17. “I thought we had some pretty good looks – they just weren’t going down for us,” Matta said in a somber Buckeye locker room following the game. “It’s been a great season for this basketball team. It never ends the way you want it to, but I love the fact of what this team was able to accomplish in terms of sitting at 18-7 (on Feb. 17) and finishing 29-8. They hit their stride at the right time.” But against Wichita State, OSU finally stumbled. Deshaun Thomas led the Buckeyes with 23 points but struggled mightily to do so. The junior forward made just eight of 20 attempts in addition to missing all six of his shots from behind the arc. Sophomore forward LaQuinton Ross added 19 points, but he too found a well-glued Wichita State defense to be problematic. So did the rest of OSU. “Those are shots you have to make – that we’ve been making in this tournament, that we’ve been making in the Big Ten. Guys had good looks,” Matta said. “Unfortunately, they didn’t go down. And a lot of times that becomes contagious. A guy hits one, another guy hits one, things kind of pick for you. It just didn’t happen tonight.” In a first-half performance worthy of elimination, the Buckeyes clanked and clunked their way to 24 percent shooting and found themselves down by as many as 13. Namely, Thomas, a beacon of scoring consistency for OSU, found it difficult to connect on much of anything early. The Big Ten’s leading scorer mustered nine points on 4 of 13 shooting and 0 for 5 from 3-point range in the first 20 minutes. “(It was) very frustrating, very, very frustrating,” Thomas said. “And, you know, it’s just crazy.” The recent development of scoring accomplices like Ross and junior guard Aaron Craft were missing, too. The two combined for seven points on 2 of 11 shooting in the game’s first act. Also nowhere to be found was the swagger that often comes with a team playing for a chance at venturing back to college basketball’s mecca. On the boards, the Buckeyes (29-8) were outmuscled, 27-17, in the first. Any attempt to puncture the Shockers’ interior defense, headed by senior forward Carl Hall, who finished with six blocks, was rendered futile. Admittedly, OSU players have said they’re at their best when playing in transition. But against Wichita State (30-8), such movement was non-existent in the first period as the Buckeyes failed to score a single point off fast breaks. “The funny thing about it, I looked at the box scores, we didn’t have no fast break points,” Thomas said. “You ain’t got no fast break points, you can’t (get them to turn the ball over) and you’re shooting 24 percent. It’s hard to win in the Elite 8.” They went into the half down, 35-22. Matta said his message in the locker room during intermission was simple. “We talked about it at halftime, let’s just cut (the lead) under 10 in the first four minutes,” he said. “We got off to a not-so-good start in the second half and it got kind of deep.” Deep as in the worst deficit OSU had faced since its lost to Wisconsin in Madison more than a month earlier. The shooting woes continued. So did the inability to attack the basket and – perhaps more importantly – defend its own. Time and again, Wichita State gashed OSU’s interior defense for the type of layups you might see during shootaround before the game. On the other end, Hall defended the rim and refused the advances of Craft, among others. “They played Big Ten defense, that’s what you see in the Big Ten,” Matta said. “It’s a loaded box and what you have to do is be able to knock a couple shots down and get some points in transition. Unfortunately, we couldn’t do either today.” Thomas said the Shockers’ defense reminded him of a particular conference foe. “They packed it real well. They was physical. That was a physical team. They reminded me of a Michigan State a little bit in the Big Ten. They was physical, they had shot blockers. They packed it in, they dared us to shoot the 3,” he said. For most of the contest, it worked. But Behind Ross and Thomas, though, the Buckeyes would rally and cut the hole to eight points with 3:55 to play. “We was down like that against Michigan State in the first half, like 12 or 13 points. When we dug ourselves (in a hole), we came back. And we tried to do that this game,” Thomas said. While the momentum continued and brought fans clad in scarlet and gray to their feet, it would ultimately come to a halt against a Shockers squad that remained posed down the stretch. Sophomore forward Shannon Scott hit a pair of free throws to make it 62-59 with 2:49 remaining, but Wichita State sophomore guard Tekele Cotton answered with a gut-punch 3-pointer to again extend the Shockers’ lead. After a layup by Thomas on the ensuing possession, Shockers freshman guard Fred VanVleet’s jumper would make it 67-61 with a minute to play. While the Buckeyes heaved desperate shots in the game’s final 60 seconds, it was ultimately too little, too late against a Wichita State squad on the cusp of reaching its first Final Four since 1965. In his last game, OSU senior forward Evan Ravenel said had his team put the pieces together Saturday, it might’ve been a different story. “If we played a complete game of basketball today,” he said, “we would definitely would be going out to Atlanta.” Instead, the Buckeyes will travel about 2,250 miles back to Columbus. read more


first_imgManchester City manager Pep Guardiola believes Douglas Luiz has real potential and that he is excited by it.Luiz is currently in the United States as part of City’s squad for the pre-season tour.He was also featured in the debut International Champions Cup game against Borussia Dortmund at Soldier Field in Chicago. However, he was not in Wednesday night’s clash with Liverpool as a result of an injury.Guardiola believes the injury was not serious, adding he has been impressed with the youngster so far.“He has potential – real potential,” Guardiola told press as quoted in Man City.Premier LeaguePremier League Betting: Match-day 5 Stuart Heath – September 14, 2019 Going into the Premier League’s match-day five with a gap already beginning to form at the top of the league. We will take a…“He’s physically strong and he wants to learn. It was a good experience but he didn’t play regularly in Girona.“I knew him very well from Brazil and he has trained with us for ten days.“He was in the first game. In the second game, he had a little problem in his ligament and that’s why he didn’t play.“I don’t know (if he will play against Bayern Munich). Hopefully, he can play and we’ll see what will happen at the end of this month.”last_img read more