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Japanese post house Imagica has installed has a Baselight Four color grading system from FilmLight into one of its existing digital intermediate suites at the Tokyo Imaging Centre. The new system is equipped with parallel GPU processing 3D stereoscopic toolset temporal grain reduction and RAW file format handling of images shot with the latest digital cameras. The system will be used to color-grade 2K and 4K features for both film and digital release including 3D stereoscopic productions. "On a daily basis we do color-grading on various categories including feature films re-mastering of film archives trailers stereoscopic content and TV commercials " says Takehiko Ochi manager digital imaging group post production department. "Inevitably we chose Baselight to play a leading role in our DI workflow. We are very excited about the flexible functions and high performance of Baselight Four; it will allow our colorists to demonstrate their creativity without any stress. "FilmLight is committed to providing world-class solutions to the top facilities in Asia and around the world " says Scott Craig managing director of FilmLight's regional office in Singapore. "We are delighted to be working closely with Imagica." ,1704
Malibu Film Festival Screens its First 3D Film,2010-05-13,The Caretaker 3D starring Dick Van Dyke marked the first time that the Malibu Film Festival has included a 3D film into the program. The short film is fantastic in 3D says festival producer Ryan Levee. Jeffrey Amaral of Demand Z Content who co-wrote the film with director Sean Isroelit produced the movie. The movie was produced as a tribute to the role of the Hollywood Sign Trust as the custodians of the global icon and is based on 1930s legend of a caretaker who lived behind the letter L of the famous landmark. Van Dyke portrays the mystical handyman whose job it is to replace the light bulbs that once illuminated the HOLLYWOODLAND sign. A standing room only crowd gave the film and TV star a warm welcome after he made a personal appearance at the Festival. Fifty years after Mary Poppins the 84-year old star is still enthusiastic about working on the cutting edge of cinema technology. It's great to actually be here in 3D says Van Dyke a Malibu resident marking his first appearance in a 3D film. I love this 3D stuff. I'm ready to jump right back into 3D again. I was born to be seen in three dimensions. Director of cinematography on The Caretaker 3D was Allen Daviau ASC (E.T. The Color Purple Bugsy) in his first stereoscopic effort. The stereo camera technology was provided by 3ality Digital post-production was by Fotokem and visual effects were by Hydraulx. The Caretaker 3D is director Isroelit's second award-winning S3D effort. We gave every aspect of The Caretaker 3D top shelf production value says Amaral and Dick Van Dyke's warm portrayal of the title character is the kicker. Based on the enthusiastic response we've had to this short film we're fast-tracking our next feature length effort Magic Carousel 3D a Mary Poppins-style 3D family musical tent pole that will drive people wild with joy. ,1706
MPEGIF and ISMA Announce Merger ,2010-05-13, The boards of directors of the MPEG Industry Forum and the Internet Streaming Media Alliance have entered into a binding agreement to merge the two organizations by allowing MPEGIF members to become ISMA members and going forward as MPEGIF within the ISMA California non-profit corporation. MPEGIF's current structure as a Swiss association will be dissolved. "ISMA delivered massively important technology contributions resulting in great value and lasting benefit to our industry over the years " says Sebastian Moeritz president of MPEGIF and CEO at Dicas. "We are absolutely delighted to see the long cooperation and mutual admiration between ISMA and MPEGIF result in this agreement." MPEGIF is pleased to take this opportunity to increase its strength and to gain the operational efficiencies we will be able to bring to our members says David Price vice president of MPEGIF and vice president at Harmonic. The industry is facing huge changes in the way video is enjoyed and the advocacy of MPEGIF for solution wide standards is more vital than ever. "ISMA's highly successful standards will gain additional visibility through the merger and will continue to be widely available to the broader industry through the success and influence of MPEGIF " says Yuval Fisher chair of ISMA and CTO of RGB Networks. ,1707
Mytherapy Creates 3D Cinema Commercial for Panasonic 3DTV Launch,2010-05-13,Central London post facility Mytherapy D-Cinelab recently beat the clock to complete a stereoscopic 3D commercial for Panasonic Viera 3D HD TVs. Panasonic struck an unprecedented deal to sponsor all 3D movies in every VUE and Odeon cinema in the UK. But because the deal started in April they had only three weeks to come up with a 3D commercial to announce their arrival in the 3D world with the launch of their VT20 3D TV. The decision was made to convert an existing 2D spot to 3D. "Having worked with Mytherapy D-Cinema on other projects including the creation of Panasonic's idents for their sponsorship of Live At Abbey Road he was our first port of call " says Ash Bendelow group account director at Panasonic's agency Brave. "Our close working relationship with Mytherapy's managing director Dado Valentic meant we already knew he was at the forefront of 3D production in the UK. If he couldn't do it no one could." Mytherapy used existing 2D-to-3D conversion tools alongside their own proprietary systems. The spot was depth graded and 3D mastered on Iridas Speedgrade. Digital cinema mastering was accomplished using the Mytherapy's D-Cinema mastering system and testing was carried out using the Dolby 3D Digital Cinema system. "Working with Dado is like watching a surgeon at work – he's precise honest in terms of what can be achieved and able to produce miracles " says Bendelow. "Not only is the client ecstatic with the result but cinemagoers have been blown away by the spot. It really cements Panasonic's position as the leader in 3D technology. Going forward we shall be working closely with Dado and Mytherapy to produce specific 3D content and advertising – because he's the best in the biz." Mytherapy www.mytherapy.tv ,1708
Coming Soon to a Theatre Near You ,2010-05-13,By Melissa Keeping As we filed in with our glasses of wine and found programs on our seats the atmosphere in the cinema was buzzing with anticipation. On the screen in front of us you could see a similarly excited crowd filing into London's National Theatre and an empty stage in front of them the set for Alan Bennett's The Habit of Art. We were about to see the work of one of the greatest living playwrights' live featuring some of the UK's finest actors from the comfort of our reclining seats in Clapham South London. http://www.nationaltheatre.org.uk/ntlive Anyone who scoffs at the prospect of a live show beamed into a local cinema think again. The applause was genuine the laughter sincere. Even the occasional satellite glitch causing sound dropouts caused audible frustration such was the engagement of the audience. This packed cinema on a Wednesday night is just a glimpse into the limitless world of alternative content and as Rosemary Desiati Sales & Marketing Director at Deluxe Laboratories Italy reminded me recently 'It's the future of cinema.' The alternative content revolution has been making steady progress in line with the gradual deployment of digital screens worldwide but is only now beginning to receive the attention it rightly deserves. The term 'Alternative content' was being discussed vaguely in the early 2000's; Christie for example predicted the varied use of digital projectors and its benefits to industries other than the major studios even then but the actual idea for live and recorded content such as music events and opera had already been germinating widely for some time. Christine Costello Managing Director of More2Screen one of the premier alternative content distributors in the marketplace explained that the approach in the US has been more live and music focused while in Europe the bias has tended toward opera ballet and the arts. But this is unlikely to remain this way for a variety of market-driven reasons. Fast forward to November 2009 and in a study conducted by Screen Digest the alternative content market is estimated globally to be worth $104.6 million. By 2014 it is projected to be worth $526.5 million. The global aspect is key. Whereas the inward-looking major studios took decades to exploit the international market (and only in the 90s did international box office revenue finally surpass the 'domestic' market) globalization accelerated by advancing technology from VoD to Twitter from 2K projectors to satellite broadcast has opened up a vast market just waiting to be tapped. Communication is better and faster than ever the world is a lot smaller and the savvy alternative content providers and distributors have leapt at a golden opportunity. Although certain major studios are gradually tailoring their business to accommodate alternative content – Sony's Hot Ticket for example – much of the business is still very much US-focused concentrating predominantly on live music acts like Miley Cyrus and Celine Dion. International opera theatre and ballet meanwhile flourishes in cinemas from Australia to South Africa Japan to Israel. New markets are opening up all the time and while the major studios are certainly aware with the exception of Sony and Disney in the US so far little has been done to capitalize on this market. Opera is probably the best example of alternative content's success. The Met has been aggressively moving into new territories with huge success closely followed by the Royal Opera House La Scala Teatro Liceu Barcelona etc. The big pull is live shows but the satellite link up is still a burgeoning concept for many exhibitors still bruised from costly projector upgrades so we are a few years away from blanket coverage. The Royal Opera House has overcome this obstacle by offering a combination of recorded and live opera and the two complement each other perfectly. Eventually 3D will be part of the package but this may be some time away yet. From an exhibition viewpoint the Odeon cinema chain in the UK is offering weekday matinee screenings of recorded opera and branding it Odeon Senior Screen. By offering free tea and coffee to a regular audience they are effectively killing three birds with one stone: filling an otherwise empty cinema at very little cost maximising a PR opportunity by giving something back to the local community and marketing the product by trailering live opera to the audience in situ. Opera fans are willing to spend more than the usual ticket price to see both live and recorded content so Odeon and the numerous other cinema chains worldwide are finding the initiative pleasing on many levels. Rather than threaten the monopoly of the majors alternative content is peacefully co-existing alongside them. For now. More2Screen's Christine Costello agrees principally as the nature of alternative content tends to appeal to off-peak times in the cinema so there is little for the majors to worry about. The danger she says is when we reach a critical mass of good quality alternative content available but we are a few years away from that at the moment. The studios shouldn't get too comfy; as alternative content's umbrella extends to cover celebrity Q&A frequent live music (in 3D) political debate and even religious services demand for high profile alternative content sporting events such as the as the FIFA World Cup the 6 Nations Rugby and the Olympics may cause studio execs concern from time to time as schedules inevitably conflict. One-off events are already a headache for exhibition to schedule so Costello suggested creating a channel of sorts to stream this content into cinemas as and when it is available. However all content requires marketing and that's where the majors have a huge advantage. A well-respected studio executive in the US told me recently "It is very exciting to see some theatres try this [alternative content] out and succeed in ways we would not have imagined. I think they have all found out that it still requires advertising and marketing in some form or fashion. You are competing for people's entertainment time so you have to get the word out. If you can create that demand like opera did then I think it opens a whole new avenue for entertainment." Food for thought but what of the effect on the major studio output? "Great movies sell tickets and there is still a good demand for great movies " our insider went on. "Perhaps it could push some of the weaker performing films off of the screen and move them to Home Video sooner but that is happening now even without alternative content at the multiplex. What it can do is enhance the business I think. If theatre owners can gain some profits by taking advantage of great content to supplement their core business then it could be a very positive outcome. It may not be a good fit for everyone but it is certainly worth experimenting with." If a happy by-product of healthy competition between the alternative content market and traditional Hollywood fare means the bar has been raised at the cinema let's celebrate. But let's not be too simplistic – this is Hollywood after all and money talks louder there than anywhere else. The alternative content market has a lot of catching up to do yet. With a total of up to 10 000 screens to be upgraded in the near future this seismic shift in exhibition can't be underestimated and the emerging perception of cinema-as-cultural centre can only be a good thing for the exhibitor the audience the content provider and the distributor. Maybe even the majors eventually. Ultimately it's a win-win situation and a very welcome revolution indeed. ,1709
Rising Sun Pictures Hopes to Benefit from Tax Breaks,2010-05-13,Rising Sun Pictures which has produced visual effects for more than sixty feature films including the Harry Potter series expects to be a chief beneficiary of newly expanded trade rebates designed to promote film production in Australia. The Australian government announced this week an update of its Screen Production Incentive program which provides rebates for various activities related to film and television production. Among other things the update includes a dramatic lowering of the threshold for PDV (post digital and visual effects) work completed in Australia. Previously the incentive applied only to productions spending more than $5 million on PDV work. Going forward the tax break will be available to productions spending just $500 000. This rebate of 15 percent applies to all qualifying costs within Australia not just labor. The new lower threshold promises to pay huge dividends for Rising Sun the largest independent provider of visual effects services in Australia. It will allow the company to compete effectively for many more film projects that previously considered the $5 million threshold an impediment for completing their work in Australia. The cyclical nature of large-scale VFX contracts means that companies such as Rising Sun need to compliment this kind of work with numerous smaller contracts to achieve a consistent workload. The lowering of the threshold will enable Rising Sun to not only attract new clients but also maintain the capacity to create high volumes of complex visual effects on packages of work greater than $5 million. PDV has evolved into a global industry over the past several years. Innovations in technology such as Rising Sun's cineSync have made it possible to collaborate remotely with film producers in Hollywood London and elsewhere. A workforce of highly skilled and talented post-production and visual effects artists has also emerged worldwide. Additionally governments in many parts of the world have enacted tax rebates and other measures to attract production work. The Film Incentive program developed by the Australian government allows a large company like Rising Sun to compete on a level playing field with the top visual effects suppliers in the US UK & Canada. Rising Sun Pictures www.rsp.com.au ,1710
Starplex Cinemas Adds 123 Digital Screens ,2010-05-13, Starplex Cinemas of Dallas Texas will convert 123 additional screens to digital cinema using Barco's new Series-II projectors. As part of Cinedigm's Phase 2 digital cinema deployment program the conversions are underway with full deployment expected by November. Barco's turnkey installation which also includes servers by GDC Technology will be supported by Barco's Network Operations Center and 24/7/365 Call Center. Barco's new DP2K-C series projectors will be used in Starplex's small and mid-sized venues. For their large-scale auditoriums Starplex will employ the new DP2K-32B projector. As the flagship of the Series-II lineup the DP2K-32B is the ultimate 3D machine delivering the industry's brightest image. All six new Series-II projectors include next-generation electronics specifically designed for DLP Cinema Enhanced 4K. These projectors will be connected to central library servers which will store content and will use Cinedigm-developed software to manage and program each auditorium's playlists from a central location using the movies trailers advertising and other content stored on that central server. Starplex Cinemas first installed Barco digital cinema projectors in 2008. "Starplex is excited about the continued relationship with Barco " says Steve Holmes CEO of Starplex Cinemas. "Since our first conversion to digital the entire Barco team has provided us with excellent support and service. Based on this proven track record Barco was the clear choice for Starplex to convert our entire circuit." "Starplex is a highly respected exhibitor that's no stranger to the digital cinema space and we're proud to say that they're a very satisfied Barco customer " says Joe DeMeo director of sales for Barco Digital Cinema NA. "Across the entire Starplex circuit they're a great company with a superb technical staff and we look forward to implementing their migration to Barco Series-II projectors." Barco www.barco.com Starplex Cinemas www.starplexcinemas.com ,1712
Uptown Entertainment Converts to Digital,2010-05-13,Uptown Entertainment has converted 19 screens in their two Birmingham Michigan locations – Birmingham 8 and Palladium 12 – Sony Electronics' 4K digital cinema technology. "This conversion is in line with our goal to be the best " says Barb Zanetti senior director of Uptown Entertainment which includes the Palladium12 and Birmingham 8 theatres. "From our seating to our concessions and especially when it comes to sound and viewing we want to deliver the very highest quality. This conversion will mean that our customers get the best viewing experience for a wide range of digital entertainment – whether it's the latest motion picture or something as unique as watching their favorite sports team or band perform." With the conversion which is expected to be completed by summer 2010 Uptown will also outfit several screens for 3D digital projection combining Sony's single-projector 3D lens system with RealD 3D technology. "This will really revolutionize the movie-going experience and it will revolutionize our business as we are able to bring a whole new level of entertainment options to our customers " says Zanetti. Sony's Digital Cinema Solutions and Services group will work with Uptown Entertainment on the integration installation maintenance and service support for its 4K conversion providing the exhibitor with a complete turnkey solution for converting to digital technology. "We are excited to be working with Uptown Entertainment " says Gary Johns senior vice president of Sony Electronics' digital cinema division. "They are committed to enhancing every aspect of the theater experience specifically by expanding their focus on a broad alternative content program to bring fresh innovative entertainment options to the big screen for its guests and create new business opportunities for its operations." ,1713
Wildwood Theatres Converts Two Theatres,2010-05-13,Wildwood Theatres is installing Sony Electronics' 4K digital cinema technology at its Beloit and Janesville Wisconsin locations. The exhibitor has already completed its digital conversion at 20 of its 26 screens. Wildwood's 4K roll-out also includes outfitting four screens for 3D digital projection combining Sony's single-projector 3D lens system with RealD 3D technology enabling the exhibitor to present the highest-quality 2D and 3D digital projection. Anthony Groh owner of Wildwood Theatres was convinced that the Sony 4K systems and Real D 3D technology delivered the right equipment mix to meet the new demand of 3D movies. "We were really pleased to have converted up to 20 of our screens in time for the recent blockbuster Avatar " says Groh. "Sony's 4K technology provides unprecedented resolution contrast and image quality. The result is a unique and dynamic entertainment experience for our theater customers." "Our 4K technology offers real benefits for exhibitors and their customers " says Gary Johns senior vice president of Sony Electronics' digital cinema division. "It elevates the theater to a more engaging and immersive entertainment environment and it also allows exhibitors to provide exciting additional programming that perfectly complements their current offerings." ,1714
Macao Digital Cinema Festival Convenes May 27 in China,2010-05-14, The first annual Macao China International Digital Cinema Festival and Entertainment Technology Expo and Macao 3D Summit is being held May 27-29. China's State Administration of Radio Film and Television is running the event with the help of Americans Jeff Greene and Randall Dark. With a population of 1.3 billion people – a full 20 percent of the world population – China represents an enormous market for cinema and the country has a thriving movie industry of its own. And the country has already embraced digital cinema. Guangdong's Dadi Digital Cinema China has more than 300 digital screens installed by Barco. Guangdong is China's most populous province with over 90 million inhabitants. Barco also installed about 300 digital cinema systems for Jinyi Zhujiang Movie Circuit China's sixth largest cinema chain and has signed a contract for the deployment of 100 digital cinema systems for Zhejiang Time Cinema China's seventh largest cinema chain. Dark is a member of the Academy of Television Arts and Sciences and is one of a select few members of the Consumer Electronics Association's Academy of Digital Pioneers a group recognized for their efforts implementing Digital Television in the United States. Dark also received one of the International Electronic Cinema Festival's top honors: The Pioneer Award bestowed in recognition of extraordinary contributions to the success of HDTV. Dark also serves as the Artistic Director for the Macao China International Digital Cinema Festival which he co-founded in 2009 to showcase films from around the world. Recognized globally as an expert in emerging technologies Dark has spoken to audiences at events including: MIPCOM ASBAA-Hong Kong Tokyo International Film Festival Banff World Television Festival National Association of Broadcaster's Convention International Electronic Cinema Festival Infocomm Consumer Electronic Show HDExpo World Television Forum CreaTVty Zurich Canadian Association of Broadcasters Convention Hollywood Post Alliance New York State Bar Association Bear Stearns Media Conference and NATPE. Randall recently gave a Key Note address at the Creative Storage Conference in Las Vegas the HD Summit in Los Angeles and the Production Innovations Forum in Toronto Canada. Regarded as an authority on a number of aspects of international military and aviation history Greene has been developing writing and producing documentary television programming on these subjects since 1994. Projects developed by Greene have been filmed in Russia the Ukraine Britain Germany Israel and the People's Republic of China. Also with the cooperation of Yunnan provincial authorities and a number of Chinese governmental institutions and agencies Greene has co-written and is developing a digital 3D motion picture project for the large and giant/Imax screen Shimalaya – The High Road to China 3D an aerial adventure that will portray China's fabled Second World War trans-Himalayan aerial supply route. Macao China International Digital Cinema Festival ,1716
New Roxio 3D Survey Shows Strong Consumer Interest in 3D for Home ,2010-05-28,Roxio a division of Sonic Solutions has released the results of a web survey that indicate significant consumer interest in not only watching 3D entertainment in the home but also capturing and enjoying personal photos and home movies in 3D. Of those polled 84 percent indicate they are interested in viewing Hollywood 3D movies in the home while almost 80 percent believe they will be taking 3D video or capturing 3D photos of family events within the next five years. The results of the web survey reaffirm our conviction that the dramatic impact 3D is having on the big screen will translate to the small screen and reshape how consumers interact with personal media and premium entertainment in the home says Mark Ely executive vice president strategy Sonic Solutions. We look forward to the year ahead and using our complete Hollywood-to-Home 3D products services and technologies to help fuel the market for home 3D. Select survey findings: The Roxio 3D survey revealed some of the award-winning movies popular TV shows and key sporting events that consumers would be most interested in viewing in 3D. From a list of sporting events that included the Super Bowl NBA Finals and the World Series the Olympics ranked as consumers' top pick to see in 3D. As well as looking at consumer interests related to premium entertainment the survey looked at the appeal of 3D for personal media enjoyment. In addition to the almost 80 percent who believe they will be taking 3D video or capturing 3D photos within the next five years a staggering 75 percent indicate they would be interested in converting some of their existing 2D personal videos into 3D content. In addition the survey explored price sensitivity related to 3D digital camera purchases and asked consumers which family events they would be most interested in capturing in 3D. The informal Roxio 3D survey was conducted in March 2010 and collected responses from almost 2 000 Roxio software users residing in the U.S. Click here to view the complete survey and results www.roxio.com/enu/company/3d/survey.html. ,1725
Apollo Carmarthen Cinema Claims Europe's First All-3D Multiplex,2010-05-28,The Apollo Carmarthen Cinema in South West Wales which opened its six-screen picture house earlier this spring says it has become the first all digital 3D-ready multiplex in Europe. The multiplex has Harkness Screens Spectral 240 3D screens in all six theatres. "We have been using Harkness Screens in our cinemas for some time now and we are delighted with its quality and service " says Rob Arthur managing director for Apollo Cinemas. "As Sony 4K digital projectors are introduced into our cinemas it is essential that we have a projection surface capable of providing breathtaking images. Harkness' Spectral 240 3D screen allows us to give cinema patrons an enhanced viewing experience never before seen." With a total of six screens and a seating capacity of 1 000 the Apollo Carmarthen Cinema features luxury stadium seating and other amenities. "While other cinemas in Europe that are currently "all 3D" only have one screen the Carmarthen Cinema is the first that can show 3D on all of its multiple Harkness Screens " adds Arthur. Apollo's Carmarthen multiplex is the ninth of Apollo's 14 U.K. sites to introduce digital projection and follows installations in Redditch Altrincham and Fareham. Since the company switched to digital it has transformed 27 percent of its business to 3D. Among the first films that will be shown at the cinema will be comic book sequel Iron Man 2 and fantasy remake Clash of the Titans. Apollo Cinemas http://www.apollocinemas.com Harkness Screens www.harkness-screens.com ,1727
Band Pro Offers FGV 7D-PL for Cinematographers,2010-05-28, Band Pro is offering the new FGV 7D-PL camera modified by FGV Schmidle. This versatile cinematography tool is a standard Canon 7D permanently retrofitted with a one-piece lens/sensor/base-mounting element made of solid steel. Unlike most DSLR modifications the FVG 7D-PL comes with a one-year limited warranty from FGV Schmidle. The camera's mirror and optical viewfinder are removed and the original sensor block is rigidly reinstated in connection with the one-piece 3/8-inch threaded steel mounting bracket and PL lens mount which ensures that all critical elements of the camera move as one. A three-pin Fischer connection is added to allow start/stop control when using a handgrip system or remote camera controls. This makes the modified 7D ideal for remote rigs car rigs and cranes/jibs. The 7D utilizes an APS-C sensor closely matching the size and depth-of-field characteristics of other single-sensor digital cameras. The new FGV 7D-PL is a professional moviemaking tool that can accept most popular PL lenses. Band Pro Film & Digital www.bandpro.com ,1728
Cinema Advertising Creative Excellence Awards Announced ,2010-05-28, The Cinema Advertising Council has named the winners of its 2009 CAC Creative Excellence Awards. Awarded annually the council recognizes the achievement of high-quality and entertaining advertising that appeared during the past year on a national regional and local scale. "With record-breaking box office results 2009 was a great year for the movie business and the advertisers who chose the cinema platform " says Michael Chico president and chairman of the CAC. "Congratulations to the latest recipients of the CAC Creative Excellence Awards. We have already seen some stellar work hit theatres in 2010 and look forward to seeing what the industry comes up with as the rest of this year unfolds." The CAC Membership chooses nominees and the winning creative was determined by votes from the CAC board of directors marketing committee members and creative directors from select member companies. Eligibility was determined providing the advertisement appeared in the theatre between January 1 2009 and December 31 2009. Following are the winners of the 2009 CAC Creative Excellence Awards: Top Regional or National Commercial Spot (ran in more than one theatre in two or more markets) – LG Mobile Communications: LG Cars (enVTouch) (creative: Y&R) Top Regional or National Long-form Advertisement – Breyers: Smooth + Dreamy (creative: Mindshare Entertainment) Top Integrated Cinema Advertising Campaign – Sprint: Now Network / Mobile Previews (creative: GSP; Media: Mindshare Entertainment) Top Local Commercial Spot – The Detroit News: Time To Engage (creative: Harvest Productions) Top Digitally Animated Still Cinema Advertisement – Mercedes-Benz: MB of Arrowhead (creative: in-house) Top Still Image Advertisement – Atomic Toys: Toy Shop (creative: in-house) Awards are given to the advertiser and/or the creative agency responsible for the advertisements with the exception of the integrated campaign awards which are given to the advertiser creative agency and media agency. Cinema Advertising Council http://www.cinemaadcouncil.org ,1729
Cinedigm Signs Six CBG-Member Exhibitors,2010-05-28, Cinedigm Digital Cinema has signed six Cinema Buying Group member exhibitors representing 94 screens to its 10 000 screen Phase 2 digital cinema deployment program. With these recent screen additions Cinedigm will have contracted almost 400 CBG-member screens to participate in Phase 2. All of the members of the National Association of Theatre Owners' Cinema Buying Group are eligible to work with Cinedigm using a master license agreement developed especially for CBG members. The CBG represents more than 600 members that collectively have over 7 000 screens. AJAY Theatres based in Memphis Tennessee already a customer of Cinedigm's screen advertising business UniqueScreen Media is the largest of the six with 56 screens in four locations. AJAY will be purchasing Cinedigm Certified digital cinema systems including Barco projectors for all 56 screens. Other independent exhibitors include: West Orange 5 with five screens in Ocoee Florida; Athena Grand with 11 screens in Athens Ohio; Great 8 Cinema with eight screens in Union Missouri; Sullivan 6 Cinema with six screens in Sullivan Missouri and Keystone Cinema with eight screens in Bardstown Kentucky. Bill Campbell CBG managing director says "The CBG team has worked hard with Cinedigm to create the opportunity for independent exhibitors to gain the benefits of digital cinema technology for their theatres. Our members get the same advantages as larger exhibitors while utilizing the unique and flexible financing options available in the Cinedigm Phase 2 deployment program. Knowing that they will be able to participate in the future of bringing digital movies and alternative content to their loyal customers is extremely gratifying." "Digital cinema is a unique opportunity for all exhibitors regardless of how many screens they operate who want to grow their businesses in the coming years. Cinedigm is proud to have been chosen to work with the CBG and its members to bring our Cinedigm Certified networked digital cinema systems to independent theatres across the country. The flexibility created via digital cinema not only enables feature movies to be more easily delivered and shown but also enables exhibitors to expand their programming with alternative content and special events. It definitely can enhance the future of the independent exhibitor who is looking to create an entertainment destination " says Chuck Goldwater president of Cinedigm's media services group. Cinedigm www.cinedigm.com ,1730
Cinedigm Closes $172.5 Million Credit Facility,2010-05-28, Cinedigm Digital Cinema has closed a $172.5 million credit facility co-led by Société Générale Corporate & Investment Banking and GE Capital Markets. This new credit facility will refinance all existing senior and mezzanine non-recourse debt in the Company's Phase 1 deployment subsidiary Christie/AIX through a newly formed bankruptcy remote subsidiary called Cinedigm Digital Funding I LLC. The facility has received a provisional rating of Ba1 from Moody's Investor Service. The new credit facility will replace the Company's credit facility led by GE Capital Markets in 2006. "We are very pleased to complete this refinancing and to have a provisional rating of Ba1 by Moody's " says Bud Mayo chairman and CEO of Cinedigm. "This successful refinancing of our existing debt reaffirms the value of the Phase 1 digital cinema asset base and the critical role Cinedigm plays in driving the exhibition industry's conversion to digital cinema." Adam M. Mizel CFO and chief strategy officer of Cinedigm says "This refinancing marks the next step in our efforts to strengthen Cinedigm's balance sheet to improve our access to capital and to continue to position the Company for growth. We appreciate the strong capital markets execution and lending support from our long time partners at Société Générale and GE Capital." "We are excited to have successfully delivered institutional investor commitments for the refinancing of Cinedigm's Phase 1 digital cinema deployment " says Richard Knowlton managing director Sociéte Générale leveraged media and telecom finance. "Together with GE Capital we have expanded funding options for the Company's current and future digital cinema rollouts." Michael Rhea vice president GE Capital media communications and entertainment says "GE Capital is a long-time supporter of the exhibition industry and of digital cinema. We are pleased to be helping Cinedigm with their Phase 1 refinance and look forward to continuing our strong relationship." GE Capital www.ge.com Société Générale Group http://www.sgcib.com ,1731
ContentFilm Acquires The Dog Squad: 3D,2010-05-28, ContentFilm International has acquired worldwide rights to The Dog Squad: 3D to be directed by Les Mayfield (Flubber Blue Streak Miracle on 34th Street Encino Man). Steve Carpenter wrote the original script. Voice-over and cast will be announced in the coming weeks. Principal photography is due to start in late summer 2010 in Canada. The film stars an overweight and lazy Bulldog (Donut) a disgraced former Police Dog (Clint) a sassy Lady Mutt (Samantha) an overly timid Guide-Dog (Bert) and a shamelessly womanizing Chihuahua (Hector) in a live-action family-oriented adventure. The movie is ContentFilm's first 3D production. Rick Benattar (Ironclad Shoot 'Em Up) is the producer. Mayfield says "Three of my five best friends are dogs; they always laugh at my jokes. I've found that dogs often have more humanity than most humans." Benattar says "Les is a great filmmaker with a real eye for comedy. This is a true family film one everyone can take the kids to and after all who doesn't love dogs in 3D?" CFI's president Carmichael says "The Dog Squad: 3D has just got something extra special about it. We've put together a studio level production at an independent price and its super high concept. It's a wonderfully strong idea that is really capturing everyone's imagination. We're very excited to be working with Les and Rick." ContentFilm International www.contentfilm.com ,1733
Deluxe Digital Media Upgrades to 4K ,2010-05-28, Deluxe Digital Media Hollywood has acquired a DaVinci Resolve from Blackmagic to provide the ability to color correct in the 4K environment. The new system will be added to their existing suite of Resolve 2K systems. Resolve also handles real time grading of raw Red files. The addition of the new Resolve upgrade will allow Deluxe's Sherman Oaks facility to improve workflow efficiency and productivity between projects working within different resolutions. "Our relationship with Blackmagic and their products has been excellent. The Resolve has allowed us to significantly enhance our flexibility and provide services we did not offer previously " says Gray Ainsworth senior vice president of operations for Deluxe Digital Media. Blackmagic Design www.blackmagic-design.com Deluxe Entertainment Services www.bydeluxe.com ,1734
Element Technica Introduces Ultra-Small Neutron 3D Rig,2010-05-28,Element Technica has introduced the ultra-small Neutron 3D rig which is designed to mount lightweight 3D camera packages for stereoscopic video capture from smaller jibs Steadicams portable camera and point-of-view positions. Live sports and entertainment production demand even smaller less obtrusive cameras for point-of-view camera angles where the camera must fit into a tiny and sometimes dangerous space where it is unseen and out of the way. According to the manufacturer the Technica 3D extra-small Neutron rig provides the smallest form-factor with the ability to mount the smallest 2/3-inch or 1/3-inch imager HD cameras such as the SI-2K MINI and the Iconix. Though the Neutron rig is much smaller and lighter weight than Element Technica's Quasar 3D rig it provides the same simplicity of assembly and operation ability to integrate with standard stereoscopic production controls and the ease of changing camera configuration quickly between side-by-side and beamsplitter modes. Like the Quasar the Neutron can be configured into both over/thru and under/thru beam-splitter modes. Whether a production chooses to employ the larger Quasar the very small Neutron the upcoming medium-sized Pulsar or a mix of both the crew will be able to assemble and align each rig in less than 30 minutes and convert from side-by-side to beam-splitter mode or vice-versa in less than 10 minutes. Element Technica www.Elementtechnica.com ,1736
Number of European Digital Screens Tripled in 2009,2010-05-28,According to the statistics provided by Media Salles the number of screens equipped with DLP Cinema or SXRD technology at the end of 2009 was 4 693 a 206.9 percent increase over the previous year spurred by the demand for 3D. The European Audiovisual Observatory estimates that gross box office for the European Union increased by 12 percent year-on-year to a new record high of EUR 6.27 billion in 2009 largely thanks to premium prices for 3D screenings. Currently most digital theatres are to be found in Western Europe: as many as 3 904 screens with a 198.2 percent increase compared to December 2008. The five leading markets in Europe in terms of admissions are also those with the highest number of digital screens: the top market France accounts for 19.3 percent of the digital total the United Kingdom 14.2 percent and Germany 12.6 percent followed by Italy with 9.1 percent and Spain with 5.1 percent. The remaining 789 digital screens are situated in Eastern Europe and the Mediterranean Rim where there has been a considerable shift compared to December 2008 and a higher rate of growth than in Western Europe (+258.6 percent): the countries where the greatest development has taken place are Russia with 352 digital screens (7.5 percent of Europe's total) Poland with 176 screens (3.8 percent) and Turkey with 62 screens (1.3 percent). Compared to the total number of screens in Europe at December 2009 digital screens had achieved a market penetration of 13 percent as against 4.1 percent the previous year (table 1). The number of digital sites in Europe at December 2009 was 2 374 with a 191.3 percent rise over the previous year. The total market penetration of digital sites amounts to around 16 percent as against 5.4 percent in December 2008. Also on the increase is the average number of screens in digital sites which has risen in Europe from the 1.6 screens per site registered in December 2007 to 2.0 in December 2009. The average number of digital screens per cinema varies a good deal in individual European countries. In December 2009 the highest figures were recorded in Belgium (5.3 screens per cinema) Luxembourg (4.4) Austria (4.2) France (3.5) and Portugal (3.4). The leading markets follow at some distance: United Kingdom (1.9 screens per cinema) Germany (1.8) Italy (1.5) and Spain (1.3). Analysing the development of digital screens from a more long-term perspective different growth trends are to be seen in European countries. Countries like the United Kingdom and Germany have recorded a strong tendency towards growth ever since 2006 and after a period of deceleration started to grow again in 2009. Other countries have experienced more gradual development followed by an exceptionally sharp increase over the last few years: since 2008 in the case of France or 2009 in the case of Belgium Italy Austria and Spain. Yet other countries such as Finland and Portugal have concentrated their development in the recent period with an annual yearly increase that has been particularly high over the past three years amounting to 263.4 percent for Finland and 230.8 percent for Portugal. In Europe the development of digital screens seems to be highly concentrated in terms of exhibition companies in view of the fact that at June 2009 5 percent of exhibitors were responsible for 33.6 percent of the overall number of digital screens. The top five players are the French company CGR (with 13.1 percent of digital screens) Kinepolis (6.8 percent) operating in Belgium France and Spain; Cineworld Group (5.6 percent) present in the United Kingdom and Ireland; Odeon and UCI Cinemas Group (4.8 percent) operating as Odeon Cinemas in the United Kingdom as UCI in Austria Germany Italy and Portugal and as Cinesa in Spain; Cineplexx (3.4 percent) present in Austria and in Italy. The motor for the growth that took place in 2009 is certainly 3D cinema: as the North American industry has substantially respected the calendar of releases announced and audiences have proven receptive and willing to pay a premium price to take advantage of the novelty exhibitors have invested in the technology that enables them to offer this new type of product. The penetration of screens equipped with 3D technology with respect to the overall number of digital screens has continued to increase: it was 54.4 percent in June 2009 and reached as high as 68.8 percent in December. In several countries in Central and Eastern Europe and the Mediterranean Rim such as Cyprus Croatia Lithuania Latvia Malta Serbia Slovenia and Slovakia where the numbers of digital cinemas are still modest 3D screens represent almost 100 percent of total digital screens. In fact the percentage penetration of 3D digital screens compared to the total number of digital screens is over 80 percent in many countries such as Russia Turkey the Czech Republic Denmark Italy Hungary Finland the Netherlands Switzerland Spain and Poland. The percentage is however lower in the United Kingdom where it amounts to 70.8 percent in Germany (62.3 percent) and in France (52.8 percent). ,1737
Hannover House Releases Racing Dreams Nationwide,2010-05-29, Partnering with Screenvision Hannover House the entertainment distribution division of Target Development Group last month released Racing Dreams an award-winning documentary that offers a poignant look into the lives of two boys and a girl who dream of one day racing in NASCAR. Screenvision digitally distributed the film to theatres owned by Rave Motion Pictures and Malco Theatres in Tennessee Arkansas Michigan Texas Alabama and Florida. Wider distribution is planned subsequently. Additionally Screenvision offered marketing support for the film through its pre-show programming and other in-theatre assets. Racing Dreams marked the second time that Screenvision has been involved in a film's theatrical release and the initiative serves as a further extension of the partnership between Screenvision and NASCAR. "Screenvision is committed to expanding the alternative programming offerings we bring to exhibitor partners and theatergoers alike " says Darryl Schaffer executive vice president exhibitor relations for Screenvision. "We are excited to partner with Hannover House to release Racing Dreams and believe our extensive digital network will allow the film to be delivered to more theatre locations in a cost-effective way." Academy Award-nominated documentary filmmaker Marshall Curry takes us into the lives of Annabeth Josh and Brandon as they compete for the championship in the World Karting Association's National Series – widely considered the Little League for professional racing. Clocking speeds of up to 70 mph these young drivers race their way through the year long National Series that spawned many of NASCAR's top drivers all while they simultaneously navigate the treacherous road between childhood and young adulthood. The film which won the Best Documentary Award at the 2009 Tribeca Film Festival and went on to win Best Documentary Awards at the 2010 Indianapolis International Film Festival and the Jacksonville Film Festival also took home the Silver Hugo Award at the 2010 Chicago Film Festival. Racing Dreams was executive produced by Jack Turner Dany Garcia and actor Dwayne Johnson. Screenvision http://www.screenvision.com ,1739
Landmark Cinemas Adds Christie 4K in Six Canadian Locations,2010-05-29,Landmark Cinemas has selected Christie Solaria Series 4K-ready digital cinema projectors for installation in six multiplexes across Western Canada. Landmark Cinemas is Canada's largest regional movie exhibition circuit headquartered in Calgary Alberta. Privately owned and operated since 1965 Landmark Cinemas currently operates 31 cinema complexes with a combined total of 108 screens in 27 locations throughout western Canada and the Yukon. The partners that make up the ownership group have strong roots to film exhibition. "Every Landmark Cinemas theatre offers its customers the very best in entertainment value. We strive to make the theatre-going experience the best possible " says Neil Campbell COO and partner Landmark Cinemas of Canada. "3D has become an enormous game changer that has revived the exhibition industry. Now with the additional Christie projectors we can maximize our 8- and 10-screen complexes by doubling up our 3D presentations." Campbell noted that he has been working with Christie for nearly three years and the relationship has grown every year. "We consider Christie our partner and part of our family. Landmark Cinemas selected Christie based on the quality of its products and the dedication of the Christie team. The key to purchasing the Christie Solaria Series for our 3D presentations was the fact that they are 4K-ready. In addition they offer the best options in the industry at the lowest cost of ownership. Christie has proven to us that they can deliver whatever we need when we need it " Campbell says. Preparing for the future Landmark Cinemas has plans for three new multiplexes to be built in Western Canada in 2011. "These new theatres will be 100 percent digital and 100 percent Christie digital projectors " Campbell says. King Cinema Services a division of Landmark Cinemas installed the Christie CP2220 and Christie CP2230 projectors. They also recently installed Christie LW400 digital projectors for on-screen advertising. "For the pre-show world we always use Christie projectors " Campbell says. "Landmark Cinemas has its finger on the pulse of the exhibition industry. They are constantly exploring new ways to service the communities in which they are located " says Dave Muscat senior director of sales Christie Digital Systems Canada. "As digital deployment moves across Canada Christie continues to support the vibrant independent sector with the widest choice in 3D projection solutions image brightness and resolution while also delivering the highest return on investment." Christie Digital Systems www.christiedigital.com ,1741
Screenvision and Muvico Expand their Relationship,2010-05-29, Screenvision and Muvico Theatres have expanded their relationship through a new long-term agreement. Through the deal Screenvision will continue to serve as the preshow provider and hold the exclusive on-screen preshow selling rights for all Muvico locations. Additionally Screenvision has been granted the right to sell in-theatre promotions to all Muvico locations. The deal with Muvico further solidifies Screenvision's presence in several top DMAs. Muvico currently owns and operates nine megaplex locations representing a total of 149 screens. The Muvico circuit spans the key DMAs of Los Angeles Chicago Tampa Miami and West Palm Beach. "Muvico is yet another marquee exhibitor turning to Screenvision for our ability to provide advertising technology and entertainment solutions that add value to exhibitors across the country " says Darryl Schaffer executive vice president exhibitor relations Screenvision. "Muvico Theatres joins an industry-leading group of exhibitor partners including Harkins Theatres Malco Theatres Marcus Theatres Paragon Theatres Rave Motion Pictures and Studio Movie Grill all who have recently signed seven to ten year contracts with Screenvision." Hal Cleveland president and CEO Muvico Theatres says "The superior quality and content of Screenvision's digital preshow along with its reputation as a leader in technology and service within the cinema advertising community have made Screenvision a natural partner for Muvico and one we look forward to working with for the next several years. We are confident that this new deal will continue to lead to a more rewarding experience for our moviegoers." Muvico www.muvico.com Screenvision http://www.screenvision.com ,1742
SD&A Calls for Papers for its Annual Conference,2010-05-29,The Stereoscopic Displays and Applications Association is calling for papers for its annual conference which will be held January 23-27 2011 at the Hyatt Regency San Francisco Airport Hotel just south of San Francisco California. Twenty-two other imaging conferences including three other 3D conferences share the symposium providing good synergy across the imaging community. The associations says it is looking for papers that describe recent results in stereoscopic display applications technologies systems cinema imaging human factors user interfaces or standards. Abstracts of 500 words are due by June 28. Final papers will be needed by December 13. This year the authors of the best papers will be invited to submit an updated and revised version of their paper for a special section of the Journal of Electronic Imaging to appear in 2012. The full call for papers and submission instructions can be found at www.stereoscopic.org/2011 ,1743
XDC Begins to Implement €100 Million Credit Facility,2010-05-29,XDC has begun implementing a €100 million credit facility to finance the rollout of digital cinema in Europe. "Finally this is the tangible result of 18 months of intensive cooperation between XDC the three banks and six major Hollywood studios " says Serge Plasch XDC's CEO. "With this loan we will now in practical terms be able to finance more than 2 000 screens across Europe." BNP Paribas Fortis structured the loan which consists of two tranches of €50 million with the participation of the European Investment Bank and KBC Bank. XDC has fulfilled all the conditions required and executed the first drawdown of this loan facility last month. The first tranche will be used initially for the rollout of digital systems at Belgian exhibitors. It will then be used for several digital installations already planned for the next few weeks in other countries such as Germany Spain Poland Hungary Czech Republic and Slovakia. This loan is the first important project finance deal in the European digital cinema industry. It is largely covered by insurance provided by the Belgian Export Credit Agency for 22 European countries. ,1744
Filmworkers Creates Budweiser Commercial from Still Photo,2010-05-29,Starting with just a still photograph Filmworkers built a world-class soccer stadium and filled it with more than 30 000 screaming fans for a new Budweiser spot promoting parent company Anheuser-Busch InBev's global sponsorship of the World Cup in South Africa. The soccer scenes that open the spot are meant to suggest a final World Cup match but neither the stadium nor the fans are real. Filmworkers visual effects artist Rob Churchill modified the panoramic still photograph of an empty stadium onto the interior of a sphere and then filled it with tens of thousands of digital spectators produced with the company's proprietary crowd simulation software. Conceived by DDB Chicago Swap shows Brazilian and Paraguayan soccer players exchanging jerseys at the end of a match. People in the stands do likewise; scenes of other people exchanging everything from dogs to toupees follow this. A guy in a bar is disappointed when a girl swaps her cocktail for his Bud—until a bartender hands him a fresh brew. Churchill placed live action shots of the soccer players inside the stadium and added artificial camera moves to create both wide angle and close-up shots. "By creating a 360-degree environment I could make the camera look anywhere—up down backwards or to the side " Churchill says. "There's a walk on shot of the field that looks as though it was shot with a Steadicam." Churchill added a lot of subtle touches to make the scene appear real. He "turned on" lights on the field in the stands and in tunnels; created signage including several Budweiser billboards and painted chalk lines on the grass. He also roughed up the field to make it look played on and even applied dirt to the players' jerseys. The crowd simulation is also enormously complex. Filmworkers' CGI team individually adorned the digital characters in the colors of the Brazilian and Paraguayan teams. They also introduced individualized behavior to the figures in the crowd making them stand sit cheer and wave flags. The spot is currently airing in Europe. ,1745
Entertainment Distribution Releases Sea Rex 3D,2010-06-14,Entertainment Distribution's Sea Rex 3D: Journey to a Prehistoric World has opened at select Imax 3D Theatres. The film will roll out at domestic and international Imax Theatres in both 2D and 3D throughout the year. European production houses N3D Land Productions and Mantello Brothers Productions produced sea Rex 3D which was four years in the making and cost five million dollars. The movie will roll out at domestic and international Imax Theatres throughout the year. It will open in Singapore in November and in Europe in 2011. In addition Luxor Group and Sarai Inc. have acquired the films rights respectively for Russia and Japan. The movie sheds light on the extraordinary ancient underwater universe and its larger-than-life creatures which with their daunting size and natural ability for predation were ruling the seas 20 million years before dinosaurs roamed the earth. Sea Rex 3D is truly the ultimate combination of science and entertainment say Pascal Vuong and Ronan Chapalain the film's co-writers and co-directors. We are thrilled to immerse moviegoers in an absolutely unique 3D film experience which goes beyond the traditional Imax documentary thanks to an original story-driven screenplay state-of-the-art CGI sequences historical re-enactments and top paleontologists who virtually bring science to life!" It's the perfect addition to our highly successful live-action underwater trilogy which has grossed $75 million to date at the box office says Francois Mantello chairman & CEO of 3D Entertainment Distribution. Marine reptiles are just as remarkable and captivating as their terrestrial counterparts the dinosaurs. We are very excited to share this awe-inspiring adventure with audiences who will get to see some of the most astonishing creatures of all time glide right off the screen. The incredible quality of its visual effects in 3D in ultra-photorealistic scenes makes this film utterly stunning. 3D Entertainment http://www.3DEfilms.com N3D Land Productions http://www.N3DLand.com Sea Rex 3D http://www.SeaRex-theFilm.com
Imagica Installs a FilmLight Baselight Four Color Grading System
Japanese post house Imagica has installed has a Baselight Four color grading system from FilmLight into one of its existing digital intermediate suites at the Tokyo Imaging Centre. The new system is equipped with parallel GPU processing 3D stereoscopic toolset temporal grain reduction and RAW file format handling of images shot with the latest digital cameras. The system will be used to color-grade 2K and 4K features for both film and digital release including 3D stereoscopic productions. "On a daily basis we do color-grading on various categories including feature films re-mastering of film archives trailers stereoscopic content and TV commercials " says Takehiko Ochi manager digital imaging group post production department. "Inevitably we chose Baselight to play a leading role in our DI workflow. We are very excited about the flexible functions and high performance of Baselight Four; it will allow our colorists to demonstrate their creativity without any stress. "FilmLight is committed to providing world-class solutions to the top facilities in Asia and around the world " says Scott Craig managing director of FilmLight's regional office in Singapore. "We are delighted to be working closely with Imagica." ,1704


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There are many reasons one might seek the help of a psychologist or therapist, with our anxiety treatment and stress management being among them, and an interesting technique that is growing in popularity among therapists and patients alike is biofeedback. New York psychologists such as Dr. Leah Lagos, who sees patients in both New Jersey… Read more »
Category: Psychology
Choosing The Right Psychologist For You
Therapy has so many benefits and can help people to overcome any number of issues, yet there are still those for whom the idea of finding and seeking help from a Manhattan psychologistor psychotherapist is a new process. The first step in moving forward with your decision to pursue therapy and/or biofeedback treatment is to… Read more »

subset: commoncrawl


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There was once a time when the Madden series wasn't a seasonal institution. That time was 1987. Seriously. The series has its roots back on the Commodore 64 and Apple II. In fact, there's a serious chance that you, dear reader, have never seen a year of your life pass without Madden NFL gracing a game console of some sort. Thirty years and billions in sales later, we are on the precipice of the latest installment. Can the team over at EA Tiburon continue to innovate, or will this finally be the year they stall on the goal line?
Coming Back for Seconds
Last season was a fundamental shift in the Madden franchise, as they transitioned from their in-house engine to DICE's Frostbite. To the development team's credit, there wasn't the dip in quality that you might expect when breaking in a new framework for the first time. Now that the growing pains were firmly in their rearview mirror, it was time to once again push for new gameplay advancements. Let's just say that if you've ever complained about unresponsive controls, this will be the year for you.
The true star this season is the Real Player Motion system. This whole new way to approach controls emphasizes the skill of the person behind the controller. There is now a proper time and place to apply speed bursts, because it has an impact on the mobility of the character being controlled. Want to be able to cut on a dime? Just like in real life, this kind of an abrupt maneuver can no longer be done at a dead sprint. Human bodies can't sustain that sort of stress, unless of course, you prefer to be stretchered off the field with a couple of broken ankles.
It's now paramount to pay close attention the momentum of the ball carrier. In order to perform savage ninety-degree cuts, the direction of a player's motion must be slow enough for it to be humanly possible. This emphasis on physics interactions also extends to how bodies react when a brutal hit occurs. In the past, collisions were inconsistent at best, with reactions ranging somewhere between rigid bumps and marionette slap-fights. The goal was to deliver an experience that was consistent, regardless of the whether both players were in mid-air or mid-pivot.
In practice, I found these updates to be somewhat a mixed bag. Sure, character models did tend to careen off of each other in a more natural and consistent manner. However, there were still far too many oddities, primarily revolving around the ball itself, that kept the physics from stealing the spotlight. It wasn't beyond the realm of possibility for entire body parts to clip through the pigskin, or for a hit to send it flying so far in the opposite direction that it was borderline comical.
Imperfect Science
I personally witnessed a twenty-yard pass that went horribly awry, with hilarious results. When this attempted pass was broken up by the defender, the ball went easily another twenty yards in the opposite direction, not to mention just as high into the air. Unless the defender was shot out of a literal cannon, that shouldn't be possible. That is simply not how physics work. Granted, these oddities were far from commonplace, but did happen frequently enough for it to warrant a mention.
One area where the changes were an unquestionable success is in the franchise mode expansions. Introductions of both offensive and defensive schemes have a fairly dramatic impact on a team's success both on and off the field. It's extremely important to keep these factors in mind when building out a roster. If player is an all-star caliber talent but doesn't line up with the coach's areas of emphasis, this is something to seriously consider when configuring a lineup.
Schemes are not just limited to the coaching staff. There's a similar mechanic that applies directly to players, called archetypes. Team members that have an archetype that lines up with the management's key objectives can earn additional enhancement stat points, which will in turn allow them to progress quicker up the depth charts. Be sure to keep this in mind when trolling for talent on the free agency market. It can make or break an entire season.
Madden NFL 19 Review - Splits the Sticks (PS4)
Ultimate Time Suck
As always, the mode that still stole a vast majority of my time was the tried and true Ultimate Team. At our preview event a couple of weeks back, we had the chance to party up and take on the computer as a team of three. Each participant had one of three roles to choose from: offensive captain, defensive captain, and head coach. Responsibilities for each role range and are meant to allow for members of the squad with less experience to take on lesser challenge. The respective captains call the plays for their side of the field, where the coach is relegated to making decisions on penalties.
Additionally, each role has a direct impact on the lineup that actually takes the field. As might be expected, the offensive and defensive masterminds provide their players directly from their respective Ultimate Team starting lineups. Those that were shunned to the coaching box only get to contribute the head coach (which doesn't impact the playbook), the stadium, and the uniform. Offensive captains also get one exclusive perk: controlling the quarterback. Aside from that single limitation, the rest of the game plays out exactly as would be expected. Everything is more fun in coop, and this is no exception to the rule.
One last improvement to Ultimate Team is the inclusion of Solo Battles. Each week, players around the globe will face off against curated teams that were designed by developers, notable members of the Madden community, or even celebrities! Leaderboards will keep track of everyone's progress, while simultaneously progressing through the tournament. This is an easy way to earn big-time roster additions, fast. There are even difficulty sliders available in the pre-match setup, so that you can adjust the challenge mounted by the opposition. The higher the skill level, the more leaderboard points that are earned with a victory.
Far From a Longshot
The last pillar of the Madden 19 formula is the sophomore outing of Longshot. For the uninitiated, this new mode is a single-player only, narrative-driven football experience. Once again, the story will revolve around the two very divergent storylines of Devin Wade and Colt Cruise. Devin is continuing to follow his dream of breaking into an NFL starting lineup, while Colt is back to square one, returning to Mathis to lend a hand to their faltering program.
While yes, it's weird to see a scripted cutscene in an honest-to-goodness gridiron experience, it doesn't take long to grow accustomed to how the storyline weaves together seemingly disjointed in-game scenarios. The supporting characters have fairly meaty roles, and the outstanding motion and facial capture help add nuance and believability to each performance. Even Rob Schneider managed to make it through his scenes without gnawing on the scenery. Homecoming is far from Citizen Kane, but it certainly is more than sufficient enough to deliver a compelling experience both on and off the field.
Also, I would like to take a moment and specifically commend the writing for the Mathis Bullfrogs commentary team. Their dialog is meandering, yet directed. Flippant, yet heartfelt. Disarmingly earnest, yet effortlessly hilarious. And above all else, endlessly entertaining. Anyone who grew up in a small town knows these two characters, only under different names. I found myself just wanting to set down the controller and let these two local-yokel chuckleheads shoot the shit, instead of playing the next down. They even managed to weave pieces of the actual storyline into the narrative of each game. I would take those two lovable nimrods over Joe Buck and Troy Aikman, any damn day of the week.
A last point that is worth calling out is that this is a game that might as well require a persistent internet connection. Other than Longshot and the standard exhibition mode, the game is damn near unplayable without being able to phone home to EA's servers. Online dependence isn't necessarily a bad thing given that most people have access to at least passable broadband speeds, but it will significantly impact the experience any time a connection is lost. Specifically speaking, without the internet Ultimate Team is completely unplayable in any form and the franchise mode is heavily crippled without updated rosters and cloud assisted simulation results. Most likely this will affect very few, but know that you've been warned!
If you were to look up the word "consistent" in the dictionary, there should be annotation referencing the Madden franchise. EA has cranked out solid installments year-after-year, and this iteration is no exception. They've made strides forward on many fronts, including more realistic controls, new ways to interact with lineups in franchise mode, and several additional Ultimate Team experiences. Sure, there still might be the occasional physics quirk, but Madden NFL 19 still cements itself as the premier football simulation on console.
Madden NFL 19 review code provided by publisher. Version 1.0 reviewed on a standard PlayStation 4. For more information on scoring please see our Review Policy here.


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Industry News
First look at Imperial Bottle Shop & Taproom's new NE Alberta St. Location
The successful urban Imperial Bottle Shop & Taproom has been open for four years on southeast Division in Portland and sometime this week will quietly open their second location on northeast Alberta St. We previewed the new location here, but finally got to see it open to and serving with the pictures (and a few pints of beer) to prove it.
Imperial's NE Alberta location trades the concrete and glass of their urban mixed use space on Division for a dimmer, wood paneled and more modern bar lounge atmosphere more art gallery than new cold development. A big open/closed glass wall will soon have seating on the street and the brick walls still show where developers knocked out areas to expand the space which gives it a more lived in-feel than the pristine new construction of the original taproom.
You could say that nearly every aspect of Imperial Bottle Shop & Taproom's original location is improved on here, except for open windows for light and people watching (if that's your thing.) Owners Alex Kurnellas and Shawn Stackpoole have poured their own sweat and tears into the space from salvaging lumber for the back wall to building the wood stools, barrel top tables and copper bar top.
The space is larger and more open than the original with large mirrors hung along one side and a matte black wall on the other for displaying temporary and rotating art and a projected beer list. The taplist, controlled from powerpoint ran on a laptop is projected with just basic info like style and abv onto the black wall behind the bar. It might not seem like a big deal but for me it really changed the vibe of the place and draws a clear line of where Kurnellas and Stackpoole wish to not become cookie cutter by adding just another digital tapboard. The original Imperial does utilize a DigitalPour tapboard but as Kurnellas told me, he's tired of staring at screens and it's become generic and expected. Rather than stare at a tv screen, the wall projection is a bit more classy and subtle yet reads clear, printed menu's with full description and specs of the beers are also available.
The new draft system has twenty-eight draft lines (including one cask engine), up eight more lines from the original spot. Sick of pouring out stale wine that was served by the glass at their other location, this Imperial has a red and white wine on tap from Cooper's Hall. As a Sake fan, Kurnellas is excited to be keeping one on tap and for the first time have a cask engine for real a (though it's not installed yet.) Like the original location, eighteen of the tap lines are from hand installed Blichmann Beer Guns that can pressurize and purge a growler or container before filling with beer or cider to keep it fresher and more carbonated.
The bottle section of the bottle shop is behind a knocked out brick wall to a back room with both dry and cold storage and a larger selection than the first spot. But the major improvement is not selection, it's that the back room is noticeably cooler when you walk in, that's because it's kept at cooler cellar temperatures so the beer that are not refrigerated are still staying fresh.
Adding a bit of style and fun to the new Imperial Bottle Shop & Taproom is a heat sensitive retro-psychedelic mural near the entrance with color changing lights and two (soon to be three) retro arcade games from Quarterworld. No food is made on site but there are tons of local options to bring in, including Via Chicago, Bunk Sandwiches, Bollywood Theater and Salt & Straw just across the street.
Imperial Bottleshop & Taproom's northeast Alberta location will open sometime this week to the public after passing inspection at 2006 NE Alberta St. Portland, Oregon.


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For Fathers Day, I decided to make a key lime pie as a dessert. My father loves key lime pie, and I figured I would give it a go! It was actually pretty easy. I found a recipe on the food network website by Paula Deen, and it was delicious! Here is the recipe. If anyone wants to cheat, I would make the crust and then make an instant key lime pie filling, which you can find in most grocery stores. Then just do the meringue and you are good to go!
Bubba's Key Lime Pie
5 tablespoons butter, melted
1 -1/2 cup graham cracker crumbs
1/2 cup slivered almonds
1 (14-ounce) can sweetened condensed milk
1/2 cup Key lime juice
1 teaspoon grated lime zest
2 egg yolks
2 egg whites
1/4 teaspoon cream of tartar
1/4 cup sugar
1 teaspoon grated lime zest
Preheat the oven to 350 degrees F.
For the crust: Combine ingredients and pat down into a 9-inch pie pan. Bake for 5 to 10 minutes. I left out the almonds from the recipe as I have an allergy to nuts, and it still turned out really yummy!
For the filling: In a medium bowl, combine the milk, lime juice, and 1 teaspoon zest; blend in the egg yolks. Pour the filling into the crust. When I decided to make the filling, I bought a bunch of key limes and juiced all of them. It was a lot of work and was quite tedious. I think next time, I would see if I could buy some key lime juice. I also used the zest from the key limes, which worked, but it was quite bitter. I feel like the lime zest would not have been as bitter. It still added a great lime flavor though!
For the meringue: Beat the egg whites with the cream of tartar until soft peaks form.
Gradually beat in the sugar and zest until the mixture is stiff.
Spread the meringue over the filling; spread it to touch the edge of the crust all around.
Bake for 12 to 15 minutes, or until the meringue is golden brown. Then enjoy!
Recipe courtesy of Paula Deen
Read more at: http://www.foodnetwork.com/recipes/paula-deen/bubbas-key-lime-pie-recipe.html?oc=linkback


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Meet the U of I Musicologists Whose Advice Helped Shape "33 Variations"
The starting point for the play "33 Variations" and the music its title refers to is a little waltz by composer and music publisher Anton Diabelli, from which Ludwig von Beethoven wrote his Diabelli Variations.
The play is in performance through February 7th in a production by the Celebration Company at the Station Theatre, 223 N. Broadway, in Urbana
Moises Kaufman's drama looks at Beethoven's struggles in composing the work, and a modern-day musicologist's efforts to figure out why he did it.
"33 Variations" had a short Broadway run in 2009 (with Jane Fonda playing the musicologist). But its local history predates that.
The playwright work-shopped the play at the University of Illinois in 2007. And he turned to two U of I musicologists for scholarly advice.
William Kinderman has written books about Beethoven, including one devoted to the Diabelli Variations. His wife Katherine Syer researches opera production and European cultural history. They discussed their participation in the play with Illinois Public Media's Jim Meadows.
Kinderman and Syer (pictured at right) are also scheduled to appear in a "talk-back" session as part of the Friday, January 29th performance of "33 Variations" at the Station Theatre.
UPDATE: William Kinderman, along with tenor Jerold Siena, will give a presentation about political satire in the music of Beethoven, entitled "Flea Circus on the Keyboard", Tuesday, February 10th at 4 PM at the University of Illinois' Smith Memorial Hall, 805 S. Matthews Ave., Urbana, upstairs in the Smith Memorial Room (Room 220). Admission is free.


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Why I detox
Having just come off my annual 7-day detox I'm feeling inspired to share some thoughts on the vast and often confusing topic of detoxing or cleansing. I'm not going to pretend I know everything there is to know and how it all works but I do feel that my experience to-date gives me some level of expertise. I have personally done in the region of 8-10 detoxes in the last 6 years. I've also worked at a detox center supporting guests through their experience, designed detox programs for health coaching clients, friends, colleagues and yoga students, and supported them through the experience, observing their results.
Samahita Retreat is where my detox journey began back in January 2010 as a student, when I embarked on 3 days of what felt like deprivation, hardship and suffering with a touch of nausea on top! It was only 3 days! I remember it so well but what stuck with me more was how I felt after those 3 measly days: lighter in my body and yoga practice, full of energy, brighter and feeling like I'd won a contest with myself. That was it - I was sold. The hardship was more than worth it and the challenge was never as tough as the first time.
Since then no two detoxes have looked the same or felt the same but the results have always been great. I have tried a number of different methods ranging from home detoxes with food, to juice fasting, to a low sugar detox, to staying at an Ayurvedic panchakarma center in India. Most were 7 days with the occasional 3-day refresher mid-year. Practically all have included forms of colon cleansing: colon hydrotherapy, colemas, and / or enemas, plus a blend of natural herbs and drinks to support the process, including psyllium husk and bentonite clay, herbs to help kill bad bacteria, and probiotics to replace the good bacteria. Holistic treatments are generally also a part of a typical detox program at a center. What I have not done are the extreme detoxes such as water fasting or any program without some form of nutrition, whether through juices, food or supplements.
The reason I continue to detox is simple: from my experience, it works. But I can only speak for myself and from what I see when working with others. Here's a compilation of the things I've learned along the way:
Tailoring is Smart
At Samahita Retreat our detoxes are based on the Ayurvedic principle that we're all unique, have different dietary requirements, and therefore it's important to tailor a cleanse to a person's needs and body type. As a student and coach of Ayurveda this makes total sense to me. Not all body types can handle fasting e.g. those who are underweight or struggle gaining weight will likely need more nourishment during a cleanse. I can handle a fast and have done on several times but this time I chose to add some food as I was working and needed more energy. Each time my goals and needs have been different.
Length is Relative
3 days was enough for my first time but I now do 7 days once a year, with an occasional 3-day refresher in between. 7 days feels effective as I've observed a pattern: feel bad, start to feel better, feel rough again and want to give up, stick it out and fly high! In addition, I try to add on some pre and post cleanse days, reducing certain foods and drinks to help ease in and come off without shocking the system. I have known people who have detoxed for 10-14 days, specifically for a more intense clean out or weight loss, and they've experienced great benefits.
Planning is Key
Rest becomes really important during a detox so taking time off work is ideal, but of course not always possible. I have worked through most of mine and survived but it can become difficult to focus and I always need to sleep more than usual. So I try to clear the diary as much as possible, inform colleagues, friends, and family in advance so that I can get as much space and rest time as possible. As there are days when I simply want to be on my own and not have to engage with the world, while other days feel normal.
Keep it Simple
I've learned that keeping the plan simple with the same foods or juices every day, i.e. a mono diet, is a good idea as it's much easier on the digestive system. The aim is to give the system a break from having to work so hard, removing certain foods such as meat, dairy, wheat and sugar plus alcohol and caffeine, replacing them with easy to digest fruit and vegetables whether in soups or juices.
Clean that Colon
From what I've read, been taught and experienced it's super important to clean the colon as well as simply changing the diet, in particular if the body is likely overloaded or quite toxic from an unhealthy lifestyle. If healthy already, a simple cleanse removing certain foods, can of course still be beneficial. But for maximum benefit some form of colon cleansing is wise as, apparently, any toxic overload in the intestines will start to seep back into the blood stream unless cleared out simultaneously. I have always, always, without fail, had excess build up come out during colon cleansing and felt so much lighter and clearer afterwards, in particular with colon hydrotherapy. I've had digestive issues most of my life but as I continue to heal my system through the right diet, detoxes and yoga the build up seems less each time.
There Are Bad Bits
Never have I detoxed without experiencing most of these symptoms: low energy, fatigue, weakness, headaches, body aches, stiffness and nausea. I know for me that the headaches are from lack of coffee. I only drink one or two a day and am pretty attached to them but every time I give it up I definitely feel it at the start.
The nausea always accompanies the liver flush if I choose to do one towards the end of the detox. This involves drinking Epsom salts then an olive oil / lemon mix to stimulate the liver and release any build up of stones of various sizes and colours which apparently can turn into gallstones. I have released hundreds of green chalky stones (the first time) and small black ones (last year), which are apparently older. This last time hardly anything came out. Hopefully this means my liver is getting cleaner! I've heard of people releasing seriously big ones – eek. Some things help these symptoms such as lots of water, moving and sweating daily.
There Are Good Bits
During a detox I already start to feel the benefits, even if the process is a bit up and down. My skin and eyes get clearer, I feel lighter, and cravings are reduced. I even kind of enjoy the process now, it's familiar, not so daunting, and I understand that the lows don't last and that the temporary symptoms are more than worth it when they will be proceeded by bundles of energy and a feeling of clarity after the brain fog lifts. It also feels good to be taking control of my health by not indulging and giving my system a break for a bit.
Post Detox is Hard
You're excited to get back on food and coffee and all the yum things you've missed, you're feeling energetic and strong, but it's a really, really bad idea to rush back to your normal diet. Slowly does it. I've made the mistake before of adding in too much too soon and it felt like my digestion practially stopped working. The key is to get the digestive system working well on it's own after it's had the assistance of colonics / enemas by continuing with simple foods and only eating when hungry and stopping when full. This is what I've found to work. It can take a day or two or up to a week to get back to my normal eating routine. I always take high strength probiotics for a month after detoxing and I find they help my digestion. Plus triphala, an Ayurvedic herb in tablet form, if things feel a little stuck.
What I Don't Know:
Like I said, I don't know it all, nor do I feel I need to.
I really don't know the exact ins and outs of what's going on during a detox. I learn by doing, by experimenting and by observing others. Each time I go through the process I feel more connected to what's going on in my body but that doesn't mean I have all the right terminology or understand what each of my cells are actually doing.
I don't know what toxins actually look like or where they are hiding. Some say in the blood, some say in fat cells, some say in the digestive system, or all of the above. During my detox I always feel aches in the parts of my body where I store the most fat, and also in my lower back and abdomen where my small intestine is. So it makes sense to me that something is happening there.
Some say it's a scam and that medically speaking toxins simply don't exist in the body. I have no doubt there are scams out there - the detox industry is huge. And I don't trust fads. But I challenge doubters to undertake a respected, well-planned and tailored detox program and to report back what they find. I believe the human body is perfectly designed to expel waste but I also believe that we all have our weaknesses and that most people dabble in excess from time to time, which can overload the body. Since I started detoxing I hardly ever get sick and when I do I recover fast, so much faster than I used to.
I also don't know whether detoxing is for everyone. I've seen people become a little too fond of the high they get from fasting and questioned the need and healthiness of them doing too many. And I know people who are extremely healthy and lead a very clean life who don't believe they need to detox. Fantastic. But I probably know a lot more people who I reckon could do with a little cleaning out, given my own past lifestyle and how it has benefited me.
I couldn't possibly know all there is to know about detoxing and I don't have the time or inkling to try every different kind out there, especially not the extreme ones. My aim is simple to apply intelligence to my own approach, gaining more insights so I can support others in their cleansing journeys.
Please get in touch if you have questions.
What's the Skinny on Fats?
Not all fats are created equally, as we know. There are the good guys and the bad guys. Bad fats can indeed make you fat, not to mention bring on a host of other health problems - high cholesterol, risk of heart disease and inflammatory diseases, to name but a few. Good fats on the other hand are not only good, they should be positively embraced for their amazing ability to prevent or slow down certain health issues, in particular those associated with ageing. Consuming good fats in moderation can actually slow down cell degeneration and prevent loss of memory. Now that, I feel, is information worth knowing! As, let's face it, we're all ageing and loss of memory is a scary prospect.
Since the low fat craze obesity numbers have actually doubled and many other serious diseases have dramatically increased. So clearly avoiding fat completely doesn't necessarily work. Why? Because fat, both good and bad, is often replaced by sugar in low fat diet foods. Which is even worse. Fat cells that produce cancer are fuelled by insulin and high sugar diets.
So replacing bad fats and low fat, high sugar, processed foods with good fats is one of the best things you can do to benefit your long-term health and support disease prevention.
Bad fats are the saturated and trans fats. Think sticky, solid fat that stays solid at room temperature – meat fat, butter, cheese, processed baked foods, pastries, cakes, muffins, packaged snack foods and fried foods.
Good fats are essentially monounsaturated and polyunsaturated fats, which include omega 3 fatty acids. In terms of foods that means: olive oil, sesame oil, avocados, olives, nuts, sunflower and pumpkin seeds, and for non-vegetarians, fatty fish (e.g. salmon, mackerel).
The best fats to add in for that extra goodness are the omega 3's. Known to reduce depression, protect against memory loss, reduce risk of disease, ease arthritis and support healthy pregnancy. If taking a supplement, which could be fish oils or algae based, ideally aim for at least 1000 milligrams of omega 3 fatty acids per day.
So don't forget it peeps - get your good fats on!
This is not an anti-raw food rant, just to clarify! I simply want to look at the bigger picture when it comes to raw vs. cooked food. The way I see it is that many of us grew up eating mostly cooked food and I know I will probably continue to eat cooked for the rest of my life, not because raw is 'just a craze' but because it feels natural for me. The raw food movement has been and still is wonderfully creative and inspiring, providing so much choice in terms of cleansing and healing the body through whole, natural foods. I love experimenting with juices and smoothies loaded with superfoods and goodness. Yoga and raw food also seem to go hand in hand with retreats popping up all over the place. Eating raw food can definitely be extremely beneficial for cleansing certain body types and many people feel fantastic after a raw cleanse, but as a daily way of eating probably not sustainable for most people. It seems even some of the biggest raw food advocates are promoting eating some cooked food now and that a broader perspective is coming to play within raw food circles.
From an Ayurvedic and Macrobiotic perspective it would never make sense to eat only raw food. Both highlight the need to eat right for the seasons. It's completely natural to want to eat more raw salads and fruits during hot summers, but in cold, wet winters, eating cold uncooked food is simply not healthy for the body. It needs nourishment and warmth from food during these months. Even for me living in tropical Thailand where there is no traditional winter I just do better with some cooked food in my diet. Yes, I eat loads of salads but there's a reason curries and delicious cooked cuisine forms a key part of traditional Asian diets. Raw is actually harder for our systems to digest. The idea that raw contains more nutrients that are otherwise lost in cooking may be somewhat true but cooking food can also ensure better nutrient absorption as it increases your internal fire or 'agni'. Raw can of course be very healthy and energising but it can also be very unhealthy if, for example, someone needs more grounding and warmth for their body. In the same way cooked food can be unhealthy if deep-fried, microwaved, barbequed or healthy if cooked well in good quality oil or steamed, for example. Raw is perfect for hotter climates or during the summer, for those with more heat in their body, to support weight loss, during a detox, for cleaning up your diet in general, and for healing certain diseases – as a temporary diet. But in my mind it simply does not make sense to eat raw 100% of the time nor is it sustainable especially in colder climates or seasons, for anyone who has low body fat, those with colder constitutions, anyone who is ungrounded or very active.
So personally I say flirt with raw, yes, and enjoy occasional 'flings' when it feels right, definitely add in more raw to your diet to cleanse the body, but long term, consider committing to some healthy cooked food as well. Extremes are never the answer anyway! It doesn't have to be raw vs. cooked - you CAN have your (raw key lime cheesecake OR baked chocolate) cake and eat it!


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Kaitlan Collins Biography
Nationality: American
Boyfriend: Will Douglas
Famous: Journalists American Women
Age: 28 Years, 28 Year Old Females
Sun Sign: Aries
Born in: Prattville, Alabama
Famous as: Journalist, Writer, Blogger
Height: 5'8" (173 cm), 5'8" Females
father: Jeff Collins
siblings: Brayden, Cole, Lena Grace Collins
U.S. State: Alabama
education: Prattville High School, University of Alabama
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Kaitlan Collins is a prominent American journalist who is best recognized for being the White House Correspondent for the popular news channel CNN. Popular for her attractive personality and bold interviewing style, Collins started out as a freelance blogger and writer. She then went on to serve as an entertainment reporter and eventually the White House Correspondent for the news and opinion website 'The Daily Caller'. Today, she has emerged as one of the top young journalists in the country. Her interviewing style and bold questions have always been the talk of the town. Despite the criticism she sometimes faces, Collins continues to work with dignified confidence. She is a straightforward journalist who asks what she feels like without caring about others' opinions and views. She is a graduate of University of Alabama. She is a down-to-earth and charming woman. She is currently rumored to be the girlfriend of Crimson Care Pharmacy Care founder Will Douglas.
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- After graduating from University of Alabama in 2014, Kaitlan Collins started working as a freelance blogger and writer. During this time, she wrote for various journals and news papers. In June 2014, she was hired by the news website, The Daily Caller as their entertainment reporter. After working as a reporter for three years, Collins was later promoted as the website's White House correspondent in 2017. Then in June 2017, she moved to CNN and continued with her previous position of the White House correspondent, but for CNN.Till date, Kaitlan Collins has appeared on numerous television and web shows with Ticker Carlson, Ben Shapiro, Brian Williams, Anderson Cooper, Kate Bolduan, Jake Tapper and Erin Burnett among others.You May LikeRecommended Lists:
Recommended Lists:Continue Reading BelowWhite House Press Conference Suspension
- In July 2018, Kaitlan Collins was suspended from an executive White House press conference. The officials of the White house later claimed that the journalist shouted questions and refused to leave the conference despite repeatedly being asked to do so. However, the American news networks, including the conservative news channels, stood in support of Collins on the issue.Personal Life
- Kaitlan Collins was born on April 7, 1992 in Prattville, Alabama, the United States to a senior mortgage banker, Jeff Collins. She has two brothers named Brayden and Cole and a sister named Lena Grace. She studied at the Prattville High School and later attended University of Alabama. There at the university, Collins initially studied chemistry and afterward transitioned to journalism and political science.Talking about her love life, the American journalist has been supposedly dating Will Douglas, the owner of Crimson Care Pharmacy Care since 2016. Her family has a pet dog named Baxter.Translate Wiki to Spanish, French, Hindi, Portuguese
How To CiteArticle Title- Kaitlan Collins BiographyAuthor- Editors, TheFamousPeople.comWebsite- TheFamousPeople.comURL- https://www.thefamouspeople.com/profiles/kaitlan-collins-42003.php
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Product Description
**Please note this is a PRE-ORDER fabric, it is due to be available for delivery in MAY 2020, however this is only an estimated date and could arrive later. If your order includes fabric that is already in stock we won't send it out to you until the pre-order fabric has arrived. If you are happy to wait we can put the fabric aside for you and send it all as one parcel once the pre-order fabric arrives but if you would like to receive your in-stock fabric straight away make sure you order it in a separate transaction.**
Clementine: This fun and fruity collection pays homage to the humble orange, and comes in pastel shades of blue, pink and yellow.
Collection: Clementine
Designer: Melody Miller
Colour: Blue background with multicoloured detail.
Width: 112cm/44 inches
Fibre: 100% Lightweight Cotton - Ideal for Patchwork and Dressmaking.
When you add a fabric to your Cart it will automatically add 1 Fat Quarter. You can adjust the size of your order using the Quantity box in your Cart by typing how many quarters you need.
For example, if you would like 1 ½ Metres please type '6' into the Quantity box, the fabric will all be cut as one continuous piece.
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Learner-centered mentoring for new researchers ¶
By: William R. Phillips on Feb. 7, 2018, 8:44 p.m.
For mentors working with authors who are new to research, writing and academic medicine, this innovative model can be a big help.
Phillips WR. Pursuing personal passion: Learner-centered research mentoring. Family Medicine. 2018; 50:7. https://doi.org/10.22454/FamMed.2018.952474
Mentors can use the P3 Interview tool to help researchers identify their key concerns and focus their interests into researchable questions that are aligned with their personal and professional priorities. Built on the foundations of learner-centered teaching and patient-centered care, the P3 Mentoring Model can help researchers organize their curiosity into researchable questions, successful studies and organized programs of scholarship.
The P3 Mentoring Model is particularly helpful for:
- new researchers
- early career academics
- students and trainees
- clinician-educators
- community based researchers
- generalist scholars