text:
(metal clanking) (anthemic music) – [Narrator] This episode of
Film Jobs is made possible in part by the generous support
of our patrons on Patreon. – Hi, John Hess from FilmmakerIQ.com. Welcome to this, our first
episode, of Film Jobs, a brand-new series coming to Filmmaker IQ where I interview professionals
from a variety of positions in the motion picture
entertainment industry. I hope through these
conversations you get a taste of all the different jobs
and positions there are in the entertainment
field and how they go into producing the content, the
films and television shows, that we love to watch every day. My first guest is veteran Hollywood editor Lawrence Jordan, ACE, who has cut over 45 different
movies and television shows. We'll talk about the details
of working in features and television, look at some of the roles and responsibilities of those who work with him in the editing suite, talk about what skills you
need to have to be successful as an editor, how to
break into the industry, and a little about his
site, Master the Workflow, and how you can get training
in the editorial process. You've worked in both feature film and you've worked in television. Can you describe for me what
is the schedule and timeline when it comes to actually
editing a feature film? – Well, features and
television, I mean, look, editing is the same. When you're in there and
you're cutting a scene, there's really not a lot of difference. What's different about
features and television is in a feature, you get somewhere
between six, eight months, sometimes a year to work on a film. And they shoot a feature over two, three, sometimes four months
on the biggest films. I mean, we know the story
about Apocalypse, Now and it took three years to shoot. So that was a lot of footage. In television, they shoot
an episode in seven days basically like clockwork,
seven, eight days. So you're not dealing
with as much footage. A feature you get to spend a lot more time with the director. The Director's Guild of America
gives directors 10 weeks to do their cut before they have to show it to the producers and the studio. So you're dealing with
a lot more material. You have to make a lot more
decisions about performance. On television, again, it's just, it's sort of like factory work, in a way. Although, very creative and
fulfilling in a lot of ways, but, again, you're just not
dealing with as much material. So you don't have as many choices to make. – And when you're working on
a feature, I mean, I realize every movie's probably
different, but is it something where, are you starting to edit the film as the production's still going? Or do you wait till all
the production's done and then you're given the
whole bunch of footage and then you have to sort it all? – Sure, in the Hollywood system, in the feature film production system, and when I say Hollywood I
could mean New York, London, Sydney, wherever a major
production center is. The way it works is the
editor, 99% of the time, will start cutting the day after they get their first day of dailies. The day after the first day of production. It's the most economically efficient. That way when the director
finishes shooting, when production wraps, the
editor will be able to deliver the first cut to the
director within a week or a couple weeks' time.
– That's fast. – Yeah, well, it's pretty fast. Sometimes you have to do it faster. A lot of times on independent films, sort of low-budget
films, they won't really kind of scope out the timeline. They don't want to hire an editor. Sometimes they imagine that the director's gonna be cutting the film. It kind of sometimes
it works out that way, a lot of times it doesn't. And then you'll have 10,
15, 30 days of material to cut all at once. Kind of makes it a little
bit more of a daunting task, but the fact of the
matter is you can still only cut one scene at a time. – Now, in that situation, would you, if you were handed a bunch of footage after production's complete,
how would you approach? What would be the first
thing you would want to edit? Would you just go in chronological order? Or is there a strategy for
picking a scene to start with? – I guess because I've come
up in the studio system I would probably just
approach it one day at a time, starting on day one to day 30. Now, that's a good question. I mean, maybe I would look at
scenes that were more complex and want to attack those first
because (laughs) I'd be fresh and not burnt out after
30 days of cutting. Because you get fatigued just looking at material 10, 12 hours a day. So maybe I would want to kind
of take on the big monsters first, and then sort of deal
with the easier scenes later. I do that when I'm cutting anyway. Sometimes my assistant will
deliver a day of dailies and there will be a
couple of little scenes that I'll just able to
knock out real quick and I'll be able to check off on my board. And it'll make me feel like (laughs) I accomplished something quickly. But you still have to
get through every one. – So when you get a script
and you're sitting down to some footage, I mean, obviously again, every director behaves differently in how they shoot coverage and all that, but do you look at the script and say, "Well, I can imagine,
here's where I'm gonna cut from a master to a close-up?" Or do you just kind of feel it in the, I mean do you even look at the script as far as judging where the cuts are? – Absolutely, yeah, I
understand the question. And it's a good one
because you read the script and you find out whether or
not you want to be involved in something like that. The crew goes out, 150, 200 people go out, and they start shooting the movie. And you start getting the stuff back. And it's nothing like you
imagined it (laughing). Not always, I mean sometimes
it's a little bit more, but a lot of times the
film is very different than what was on the page. And that's for a number of reasons, the limitations of the
production, the daylight, the rain, whatever, the actor. So what I do is once I get the dailies in, I let the film talk to me. And I just sort of try to
interpret what the director was shooting for by looking
at the film, the performances, the angles, the types of
shots that he or she got. And that's the exciting part
because that's when you're sort of kind of not making
something out of nothing, you've got a palette to work with, but you can really be
creative and you can really kind of problem-solve
and go back to the script and see if you're getting across what the original intention was combined with what ended up on film. – I mean, it's kind of a
side-step of a question, but you ever get to a scene where it works so well in a
master and you think, "I don't want to do anything with this. "I just want to, (laughs)
I'll just let this play out." – All the time (laughs)! All the time, I don't want to cut that. It's beautiful. A lot of times you'll get a medium shot or even you'll get a
close-up, you'll get one take and you're just like,
I just, this is great. But that's not my job. My job is to cut the film. So, as much as I want to play
things out in a long take, I will usually do a version
with it cut together utilizing the other material in the scene. And then I'll do an alternate version, sort of like the pie in
the sky idea version. And I'll show the material
cut to the director, but then as the process goes
on and you're in that 10 week of his or her cut, I'll
say, "Hey, by the way, "I tried this as an alternate." And that's when those kinds
of things get the most mileage because sometimes they've
racked their brains with it for a while and they're looking
for a fresh perspective. – Obviously it's gonna change
from director to director, so a person might love a busy cut and some person might
just love the single take. And maybe they shot the
coverage just to have it, just to give you the option. – Yeah, and a lot of
times you will hear that. "I only got the coverage to cover my ass "and to make the studio happy. "And I want to play this in the one shot." And that's fine also. I mean, sometimes it's
suicide (laughs), but. – Let's transition, who is
the team in a feature film? What kind of team do you
have in the editing suite? – When I start a film I have my assistant, and more often than not these days you have a second assistant. Now, the union rules used to
be you would have an assistant, and an apprentice, but the
apprentice position has kind of gone the way of the dinosaur. The apprentice position has been replaced by a post-production PA. And, again, that's a way for
productions to save money because an apprentice is a
union job and there's pension and benefits and things like that. So, usually it's an assistant, and if you get into crunch time
and there's a lot of dailies and you need help, you
get a second assistant. – So what does an
assistant editor do then? – Well, the assistant editor's role has really, really
changed over my experience in the film industry. I started on 35 millimeter film. Basically we sunk dailies,
we coded everything in a code book, and we logged. It's essentially sort of like
a glorified film librarian. You kept track of all the material. You had to keep track
of every frame of film. And you still have to do that, but with digital technology
and the explosion of complex visual effects, obviously there's all sort of sub-genres of assistant film editing, like on an animation film,
on a big effects film, things like that, you have to
have sort of special skills. But the assistant editor is really kind of like the hub of the whole cutting room. They have to be able to
locate anything at any moment that I need or the director needs. And the way they do that is
they keep a digital version of the old hand-written code book. With my assistant, Richard Sanchez, he created a digital code
book in File Maker Pro. I've seen these before, other
assistant have had them, but Richard's is kind of
like (laughs) on steroids. And he can keep track of everything, literally down to from the most complex visual effects shot to petty cash. – Switching over from motion
pictures to television, okay so now, we talked a little bit about how that was different. Obviously you don't have
the 10 weeks of lead time, so are you editing right
when they're shooting, right along as they're shooting the daily? – Yeah, yes, yes. Same thing, they start shooting and you get the dailies the
next day and you start cutting. And it's a very fast process. And the editor, from my experience, isn't as involved in the follow-through. You only get to work with
the director for three days. And I've been on series where the director's only come in for a day. And then you work with the
producers and the writers. Television is a producer
and writer medium, so they're calling the shots
and they're locking the show and they have to do it in a
relatively quick period of time. So, again, it's kind of like banging stuff out, you know what I mean? There's not a lot, and also,
in television a lot of times, there's just not as
much variety of coverage and material to work from, so it makes it less
complicated in that respect, but you have to do it fast and
you have to do it good, fast. But for me, if the material is good, that's all that matters. – Exactly. – When I cut the first season,
the pilot in the first season of NYPD Blue, it was just
like, the writing was so good and Greg Hoblit, the director,
was using that sort of shaky camera which had
really not been used before. So that was really a thrill. – Did you cut that on Avid? – We did, that was one of
the first Avid shows, yeah. – [John] Nice. – Yeah, that was a great
bunch of people up at Botchco. – So, what do you think
are the essential talents or strengths that you need to have to be working in the editorial field? – From my perspective, I really think it's important to know the tools. I think that you kind of have to have a little bit of a passion for the tools because you're gonna spend
so much time with them and problem-solving with
them that if you don't, your life's gonna be kind of miserable. If you don't enjoy doing that (laughs), why spend all day doing it? So that's sort of one thing. I think the other thing
is, and more important is, you gotta love movies. To be a film editor you have
to love stories and movies and you have to be a
bit obsessive-compulsive about people's performances
and how they might be delivered one way versus another. I think you kind of have to sort of have an intuition about human nature. You have to know when, you kind
of have to have some sort of instinct about when
somebody's bullshitting you or lying to you or just not
being genuine and authentic. So, it's sort of part
storyteller, part tech geek, part filmmaker because most editors are sort of closet directors in a way. We're always saying, "Oh, they should have
put the camera here." (laughing) – Well, that famous
saying, I think it was Lou, one of the Russians, the film was really created in the edit. – Yeah, I mean, Kubrick said
that, if I was to be frivolous, really all production is is a way to get me in the editing room. (laughing) Paraphrasing. But there have been some brilliant editors who have become directors, Robert Wise, Hal Ashby, and others. David Lean said that, "The editor is "the final author of the film." When I read that, when I was
young, and I was working for Dede Allen, I said, Dede,
have you ever seen this quote? And she said, "Get that out of here. "We don't want anybody
to see that (laughs). "That's gonna cause problems. "Put that away." So, but (laughs) getting
back to what we were saying, I mean, a lot of times it's
pretty rare for an editor to get bumped up to director, whereas it's not as rare
for a cinematographer to get bumped up to director. – Mm-hmm, yeah. – And I think that's primarily
because working on set is an art form unto itself. I mean, you need to know how
to handle hundreds of people. – [John] And the pressure. – And those kinds of pressures. And obviously editors have
a tremendous contribution to make, but they're working in a very sort of insulated world, thank God, and they're a little more protected. – Let's get to the film school angle because how does someone come up and get to become an editor? I have a lot of people that said they love the editing aspect. How do they make it actually a career? – Yeah, well, good question. You've got to really want it. You've got to really want
it, and you've got to really focus in on it
as quickly as you can. I mean, a lot of people
come out of film school, and, I didn't go to film school. I told you I kind of grew
up in an editing room, so I kind of knew I wanted
to be in the movie business. My grandfather was a projectionist in the nickelodeons in Times Square. So it's a family disease with me. (laughing) But my father was in commercials, and I wanted to be in features. I did not want to be in
the advertising business. So, but I didn't quite know how to get into the feature world. I didn't know what was required. And they don't teach that at film school. They give you more of the global view of how to be a filmmaker. And of course you can focus on writing or producing programs,
directing, obviously, editing. But you don't step out of film school and get a job as an editor. It just doesn't happen that way. It's not the way, that's just not the way the industry works. – Say this guy graduates from film school, and he shows up in LA,
how do I get a job now? What am I looking for? Do I just pick up a newspaper
or Craigslist and jobs wanted? – Well, that's a good question. I mean, does that person have experience? Did they go to film school? Have they ever worked
in a local TV station where they came from? Did they ever fool around
with Final Cut Pro or Premiere or even the Avid and teach
themselves some stuff about it? And what that person
has to do, essentially, is go out there and start networking. LA of course is sort of the
ultimate place to go do that because there are so many people trying to make their own films and you can try to get a
job as a PA or a runner and usually you won't get
paid on those kinds of things, but that's what almost all
of us had to do at the start. So I suggest coming
out, having a direction. If you want to be a writer, find your way into
writing networking groups. If you want to be a costume designer, figure out how to get in with that crowd. If you want to be a film editor, find out where film editors network. Now, there are more and
more things coming along, like AC has an internship program now and you can apply to that. The Guild has several internship programs and mentoring programs. So there are more
opportunities these days than, for example, when I
started coming out cold. But you have to put yourself out there. And you have to kind of
get your foot in the door. Now, once you've gotten
your foot in the door of any particular job, you've got to learn how that job is done and
what that job consists of. And in film editing, that's
not a simple process. The job of the assistant
editor, for example, is complex and it holds
a lot of responsibility, and you've got to get good at it before people are gonna give you a shot. – Is assistant editor a stepping stone to becoming an editor? Is that the process? Or is that something that
you're assistant editor, that's really what you should focus on? Is that the reality? – Yeah, I mean, that's how it works. That's how it has worked historically from the beginning of the craft. Again, I think I
mentioned, there are people who just get a shot, figure out a way to put together a great reel,
and then get a shot at cutting somehow with the director or whatever. That's the rarity though. Most people come up
through the assistant ranks and they develop a
relationship with an editor or several editors, and, eventually, they get a shot to cut a scene. And what's great about digital
technology for assistants is you can cut a scene on your own at night. I mean, it's usually a good
idea to ask your editor and not sort of take too much (laughs). But you say, "Hey, look,
I'm gonna stay here late. "Would you mind if I played with a scene?" And, look, every editor is different. Some are not gonna be open to that. Others are gonna be like,
"What the hell, go ahead." I mean, "Maybe I'll get
something good out of it." The other thing is the
way I was brought up was I did work for editors who gave me a shot, and this was on film,
so it was even dicier. Yeah, but they gave me a shot at cutting, and they threw some scenes my way. And that's how it's traditionally
been in the industry. The craft has been handed
down from editor to assistant, assistant to apprentice or
second assistant, whatever. – You were talking about, is it an editorial
production assistant PA? – That is sort of one of the
better ways, smarter ways, to get into post, which is
called a post-production PA. And basically it's a runner. You do a lot of administrative work. Hook up the copy machine, make sure the coffee
maker's working, get lunch, and if you're smart and
savvy and diplomatic, usually the assistant will
let you hang out with them. And if they're a halfway decent person, usually the assistant'll
let you hang out with them. – But you're on the floor
and you're learning the shop. – That's the whole thing, man. You want to be in the room. You want to be, because people
are gonna walk in and out of those rooms, and depending on your age, you could know those
people your whole career. – Exactly, yeah. – I mean, and it gets back
to the networking thing. You're not like an Amway salesman when you're working in a cutting room, but you're meeting people and you're developing relationships
and you're finding out where the next meet-up might
be for assistant editors, and that's the way to do it. Put yourself out there. Don't be shy, and don't doubt yourself. Be honest with people,
"Hey, I just came out here. "I don't know that much,
but I really want to learn. "Do you know any PA jobs?" – As Larry explained, networking is key to breaking into the industry, but if you want a career, you kind of have to
know what you're doing. And that's where training comes in. No stranger to the online
filmmaking community, Larry Jordan's latest venture
is Master the Workflow. Their online course,
Assistant Editor Immersion 1.0 Feature Film, is designed to show you everything that an assistant
editor needs to know in order to be successful. But I'll let Larry tell you more about it. – The cool thing, or
what I like to believe one of the cool things
about Master the Workflow is and our training is, is
that you can literally come from an entirely other field or be on another life
trajectory and take our course and really learn what the
feature film editing workflow is. Granted, we talked about,
you have to have sort of an interest in computers
and things like that, but almost, who doesn't have an interest? You have to have an interest in computers. But if you want to be a
film, if you're interested in filmmaking and you've always liked movies and maybe you just had another job that you somehow went into
and you're really hating it. You can take our course
and you'll be qualified, if you work hard and study,
you'll certainly be qualified to work on a feature film. Maybe not as the first
assistant right away, but you would certainly have
all of the knowledge and skills that an assistant editor needs to go from the beginning
of a film to the end. We want to give people the opportunity to have their voices heard as filmmakers and also give opportunity to people who might never have had the opportunity. That's why we're supporting
diversity programs and women in film and internship programs and mentoring programs. We would love to see more talented people get a shot at making movies. One last thing that I
would mention, though, and this has come up a little bit since we started talking
about the course to people and being involved in social media. Obviously, Master the
Workflow has a Facebook group and a public Facebook group and
we also have a private group for people who actually
enroll in the course. I think something that's sort
of not appreciated very much sometimes is just being a nice person. Sometimes there's this whole idea that if you're a nice person you're gonna get chewed up and spit out. And that could be the case, also, but you want to work
on teams of filmmakers, especially in the crafts, don't be a dick. Don't be a dick to your coworkers. Don't be a putz online and
spout off your philosophies that are alienating everybody else. You've got to learn how
to work with people. You've got to learn
how to work with teams. A lot of people, especially editors, they think that they're just
working in this little capsule. The fact of the matter is is
you gotta come out of the room sometimes and people gotta
wanna talk to you (laughs). If you're a jerk, it's
not in your best interest. And obviously we all have
egos and things like that. – That's probably one of the
best pieces of advice (laughs). It's like, all of the stuff,
don't give up and all that, the starving, struggling artist
is not really a filmmaker. If you want to do that,
be a painter or something where you just focus, be a writer. But, in this world, you
have to collaborate, part of that's being an
agreeable person, at least. – Yeah, I mean, it's a
collaborative art form and I guess there's some
people who can be dicks and dictators and things like that. But nobody likes to work for those people. And I think that they sort of like– – I think and ultimately the
art of the film suffers for it because you're not getting
the best of the people. You might get lucky once or twice, but I think if you're really that bad, it's probably people are
not gonna watch your movies. – You're not gonna get the
best people to work around you. Because the best people are
usually pretty smart people and they're not gonna wanna
put themselves through that. – And they have options (laughs). – Yeah, they have options. The job's hard enough (laughs). – Thanks to our guest
Lawrence Jordan, ACE, for a wonderful conversation. Make sure you check out
MasterTheWorkflow.com for more information. If you like this video,
hit the Like button. Hit the Subscribe button,
and click that little bell so you get notified every
time we post new content. If there's a film job that
you're interested in us exploring or if you yourself are a professional and you would like to share your experience with our
audience, leave a comment below and we'll keep in touch. If you want to support
this channel further, consider becoming a patron on Patreon. We post a lot of behind-the-scenes video and every little bit there helps. Well, I'm John Hess, and I will see you next
time at FilmmakerIQ.com. (relaxed music)


text:
Sabine Konrad was a panel speaker and Arne Fuchs was a panel moderator at a conference that McDermott co-sponsored prior to the Frankfurt Investment Arbitration Moot 2018. Ms. Konrad's panel addressed third-party funding in investment arbitration, while Mr. Fuchs' panel considered investment arbitration costs.
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subset: commoncrawl


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One person was missing after flash floods rampaged on Sunday through the downtown of a Maryland community that was devastated by flooding nearly two years ago.
The community, Ellicott City, about 15 miles west of Baltimore, experienced floodwaters six feet deep in some places, according to witnesses. Heavy rains that started around 3 p.m. prompted residents to seek shelter in upper floors and the authorities to dispatch swift-water rescue teams.
On Monday, officials said they were searching for Eddison A. Hermond, 39, who was last seen around 5:20 p.m. on Sunday in a parking lot, Mark Miller, a spokesman for Howard County, said.
"Some people said they thought they saw him get swept away by the water," he said, adding that the man's family reported him missing at 12:30 a.m. on Monday.
The battering rains on Sunday prompted county fire and emergency medical services to call in swift-water units from as far away as Northern Virginia. "If you are trapped, we are coming," it said on Twitter.
Photos and video from the downtown area showed a white flag with "SOS" on it hanging out a window, piles of debris and at least one car that was mangled in the flooding. Max Robinson, who lives on Main Street in the community, tweeted that the water reached above six feet in spots.
"We had a very, very heavy cell move over us, and it just unloaded and did not let up," Mr. Miller said.
A local business, Tea on the Tiber, posted on Facebook that it had 30 people trapped. "Send help," it said. Rescuers later confirmed on Twitter that everyone had safely evacuated the building.
Mr. Miller said the episode equaled or perhaps exceeded the July 2016 flooding in which two people died after more than six inches of rain fell in two hours.
That flooding ripped up sidewalks, gutted many of the town's quaint shops and carried off vehicles, depositing some of them blocks away.
The flooding in 2016 caused catastrophic damage, but 96 percent of the businesses downtown rebuilt and reopened. To see the damage on Sunday was "heartbreaking and devastating," Mr. Miller said.
Sally Fox Tennant, the owner of Discoveries, a craft and jewelry shop, said she felt "completely numb" and in shock.
"I was putting sandbags in front of the shop doors, watching the street flooding out front, thinking, Wow, I don't think those street drains are keeping up."
Ms. Tennant, who lives in an apartment above her store, left her cat behind and escaped to another shop across the street once her basement began to flood. With waters rising, she said, she climbed through a third-floor window of that shop, then sought shelter in a stranger's home. She was later transported to the Howard County Police Headquarters.
She tried to call loved ones using her waterlogged cellphone.
"I've owned that shop for 38 years," she said. "During the flood two years ago, I almost lost everything. This time, it looks so much worse. I think my store is completely gone. I just don't think I can start all over again."
Founded in 1772 as a mill town, Ellicott City has for the past several decades catered to tourists with its historical charm and antique shops. Its location in the Patapsco River Valley and its position on a granite bedrock make it susceptible to flooding "with terrific force," Mr. Miller said.


text:
Report Time and Expenses in the Outlook Calendar. No extra app need. Complete Outlook-based time reporting where reports are sent to local MS Access database, created by the application. PDA integration. Powerful statistics tool. Also for Workgroups.
License:Shareware, $190 to buy Size:6MB. Latest Update:2013-12-16
Report time and expenses from inside the Outlook Calendar. Complete time reporting for workgroups. Report to MS Access or SQL database. Statistics reports. Expenses. Subscription $180/month and company incl. support and upgrades. No user fee.
License:Shareware, $2200 to buy Size:33MB. Latest Update:2013-12-16
Easy Tracker is a full-featured time & expense tracking suite designed specifically for schedule notification, project & expense management, work measurement and timesheet entry, with powerful reporting.
License:Shareware, $69.95 to buy Size:86MB. Latest Update:2013-02-02
Izenda Reports lets ordinary business users create and customize reports without needing help from technical experts. Instantly plugs into an existing database without the need to build a model or universe.
License:Demo, $0 to buy Size:8MB. Latest Update:2008-08-01
Silverlight Viewer for Reporting Services: the first product intended for displaying Reporting Services reports directly in Silverlight applications. SV is a native Silverlight control which is easily integrated into any Silverlight application.
License:Shareware, $450 to buy Size:11MB. Latest Update:2009-10-20
CyberMatrix Timesheets Client/Server is a simple to use Windows-based multi-user time sheet entry program that allows employees to easily enter time spent on various projects and tasks. Contains a custom reporting feature.
License:Commercial, $75 to buy Size:11MB. Latest Update:2013-05-07
Using TimeCompanion Desktop Edition you can easily keep track of your time for reporting and invoicing. It includes a desktop application and a Palm OS application.
License:Shareware, $39 to buy Size:4MB. Latest Update:2003-10-13
Silverlight Viewer for Reporting Services: the first product intended for displaying Reporting Services 2008 reports directly in Silverlight applications. SV is a native Silverlight control which is easily integrated into any Silverlight application.
License:Shareware, $495 to buy Size:12MB. Latest Update:2013-04-03
The MYtime Standard Edition - automated timesheet application providing minimum user effort in recording time and detailed reporting of time and costs. Simple time tracking for Programmers, Writers, Lawyers, Consultants.
License:Demo, $7.95 to buy Size:6MB. Latest Update:2009-04-04
The MYtime Free Edition - automated timesheet application providing minimum user effort in recording time and detailed reporting of time and costs. Simple time tracking for Programmers, Writers, Lawyers, Consultants.
License:Freeware, $0 to buy Size:4MB. Latest Update:2009-04-04
Mobile and secure time tracking for small businesses or major corporations. Simplify payroll and track time from your smart phone, online, dial-in or even text message. Powerful time and attendance reporting. Free trial. As low as $10/month.
License:Demo, $10 to buy Size:<1MB. Latest Update:2012-03-15
Easy to use electronic time clock system for the office. Allows your employees to clock in and out at their workstations. Tracks time by department or project. Maintains history for long-term reporting requirements. 25 Employee license $139.
License:Demo, $139 to buy Size:5MB. Latest Update:2006-07-01
SharpShooter Reports.WPF is a powerful reporting component able to create even the most complicated reports from multiple .NET data sources with just few mouse clicks and deliver these reports to Windows Presentation Foundation.
License:Shareware, $495 to buy Size:88MB. Latest Update:2013-05-06
MindFusion.Reporting provides applications targeting the .NET WPF platform with the ability to create and display various kinds of reports.
License:Commercial, $300 to buy Size:28MB. Latest Update:2013-04-18
MindFusion.Reporting provides applications targeting the .NET platform with the ability to create and display various kinds of reports.
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No more managing hours by hand! No more spending half a day trying to add up billed hours and pulling your hair out because you lost the notes that you kept your time on or cannot read them! Automation with our time Billing software is the answer!
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SharpShooter Reports.Web is the true cross platform report viewer intended for the creation and display of reports in any Web application. The product allows you to deliver reports to Windows, Linux, Mac OS, iOS and Android tablets and phones.
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Project Clock Enterprise is a simple to use multi-user project time entry software program. Project Clock will greatly benefit consultants, engineers, lawyers or any others that must enter time spent on different projects or tasks.
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JiJi web based Active Directory Change Auditing Reporting Tool provides tracking, auditing, reporting, scheduling, live monitoring and change alerting unauthorized Active Directory vital changes in real time without the overhead of native Auditing.
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Exchange Reporter Plus is a web-based analysis and reporting solution for Microsoft Exchange Servers. It is comprehensive and complete MS Exchange reporting software that provides over 100 different reports on every aspect of MS Exchange Server.
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DMReports - robust platform for enterprise reporting allowing the connection to most popular databases to present your data in the form of operational and analytical reports, interactive pivot tables, and visually compelling charts, and dashboards.
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Schedule SQL Server Reporting Services reports in daily, weekly, monthly etc. A single report in an e-mail, or a batch of reports in an email. Output to a folder, ftp, fax or a printer. Choose from Word, Excel, HTML, Acrobat (PDF), RTF and more.
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Earlham College's senior middle hitter Ashleigh Burton (Indianapolis, Ind. / Bishop Chatard) averaged 3.09 kills per set while hitting at a .475 clip to lead Earlham to a 3-1 mark at the Marietta River City Classic and has been named the Heartland Collegiate Athletic Conference Volleyball Player of the Week on offense.
Burton had 12 kills on 19 attacks with one error (.579) in Earlham's 3-0 win over Emory & Henry, with three total blocks and a total of 14.0 points. In a 3-0 rout of Franciscan (Ohio) on Saturday, the senior tallied 11 kills on 12 attacks with no errors (.917) with one block to her credit.
Burton completed the weekend with an 11-of-28 mark in the final match, a five-set triumph over West Virginia Tech.
The Earlham Quakers (3-1, 0-0 HCAC) will travel to Capital at 7 p.m. on Wednesday before hosting the Earlham Quaker Classic this weekend.
|HCAC Volleyball Offensive
|Week 1
|Ashleigh Burton, Earlham College
|Week 2
|Week 3
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Every Tuesday, without fail, we throw a spotlight on one of the hidden treasures of the travel world – the concierge – but there's a line of thought emerging which says we're underutilising or even misusing this valuable resource.
Kenneth Abisror, the head concierge at Mandarin Oriental New York in New York City, echoes this sentiment, saying "A hotel's concierge staff can help you fulfill a range of requests to make your trip that much better, but its services are often underused and sometimes misused".
Speaking to the "New York Times" last week, Mr Abisror said there are several ways for guests to get the most out of what concierges can offer and offered some top tips to do just that:
Expand your ask – the sky's almost the limit, if it's legal and ethical. The Concierges we interview for our weekly 'Ask The Concierge' column unfailingly respond 'restaurant reservations, tickets and tours' to the question about what is the most-requested thing asked of them. Mr Abisror challenges us to ask for assistance with tasks we may not expect, "such as finding a real estate agent in the city you're visiting or even in another city, tracking down your lost luggage, making a doctor's appointment and chartering a jet".
Touch base before you get there. "Contacting your hotel's concierge in advance of your stay has several advantages", Mr. Abisror said. If you are looking to get a reservation at a trendy restaurant, making contact with the concierge ahead of time may enhance your chances of getting a seat at the table you want. It will also start the process of bonding with your new – but temporary – best friend and that never hurts. If you establish a good rapport and they know who you are before you walk through the revolving doors, that will stand you in good stead as they serve you throughout your stay.
Be sure of your requests or don't make them. "Making a request that you're not fully committed to not only shows bad manners but can also damage the concierge's reputation if you back out at the last minute", Mr. Abisror said. If a guest asks for a hard-to-get dinner reservation at a highly sought-after restaurant, the concierge may need to leverage their professional relationship with the maitre d' to secure the booking. If the guest changes their mind and backs out, the concierge will burn a valuable contact, lose face and you'll be in the bad books, too.
Trust a concierge to know what's best – for you. "Guests commonly ask their concierge for 'the best', but in reality", Mr. Abisror said "there may be several that earn the distinction". "The most important criteria in determining the best is what is best for your taste," he said, "and if you're asking the concierge for help, convey your wishes and trust they're giving you the optimal options."
Tomorrow in 'Ask The Concierge', we feature Thomas Munko, from the Ritz-Carlton Berlin.


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Tonight is the season premiere of the 2016 season of The Bachelorette, and JoJo Fletcher is looking for love. She is looking for it all in one place, though, as her 26 options are going to be presented to her by ABC. She then has to choose who will make it into the final four and then the single man who will have her hand. JoJo is going to make many decisions during the rose ceremony eliminations this season, and now you can know the order of all of them ahead of time.
Please let it be known that there are possible spoilers ahead for the new and upcoming season of The Bachelorette starring JoJo Fletcher. If you don't want to know them, stop reading now.
Everyone is ready for tonight's season premiere, but ABC knows that after the fans meet all the guys, they will want to know how long their favorites last this season.
After tonight's season premiere, there will be just 20 guys remaining of the original 26, and then it's on to next week and JoJo's next round of rose ceremony eliminations. Those that will be going home tonight are Jon Hamilton, Jake (not Pavelka), Coley Knust, Sal DeJulio, Nick S., and Peter.
Reality Steve has the full scoop on the rest of the season of The Bachelorette, and there will be more details coming each week with each new episode. For the quick rundown, though, here is a list of all the rose ceremony eliminations and who goes home each week after tonight's season premiere.
Episode 2 – May 10
- James Spadafore
- Brandon Howell
- Will Hadluch
Down to 17 men
Episode 3 – June 6
- Ali Zahiri
- Christian Bishop
- Nick Benvenutti
Down to 14 men
Episode 4 – June 13
- James Fuertas
- Daniel Maguire
- Vinny Venteria
Down to 10 men
Now, at this point, Reality Steve says there are 11 suitors remaining after the fourth episode, but then when he begins his spoilers for Episode 5, there are just 10. The reason for this is that Chad Johnson goes home during the 2-on-1 date in episode four.
Episode 5 – June 20
- Grant Kemp
- Evan Bass
Down to 8 men
Episode 6 – June 27
- Wells Adam
While only one guy goes home during the rose ceremony elimination, there will be another eliminated during the episode. Derek Peth is sent home while on the two-on-one date with JoJo Fletcher. Chase McNary ends up getting the rose on that one.
Spoiler alert: for the first time and extra 2 on 1 date in BsAs #bachelorette @RealitySteve pic.twitter.com/nBha9gXC5r
— Kelsey Kinser Evans (@kelskevans) April 9, 2016
Down to 6 men
Episode 7 – This is set to take place on July 4, but it may be delayed due to the holiday
- James Taylor
Alex Woytkiw will be eliminated earlier in the episode while on his 1-on-1 date with JoJo.
Down to 4 men
Episode 8 – Air dates not yet confirmed
- Chase McNary
Down to 3 men
Episode 9 – July 18
This will be the episode with the Fantasy Suite dates and it was filmed in Hua Hin, Thailand. Not a lot of details are known about the overnight dates as of yet, but JoJo does have one with each of the three remaining suitors on The Bachelorette.
- Luke Pell
Down to 2 men
Episode 10 – July 25
This will be the "Men Tell All" special, where there will be a lot of secrets spilled and no rose ceremony eliminations.
Down to still 2 men
Episode 11 – Season Finale
This is when everything is done and it will be time for JoJo Fletcher to make her final choice on The Bachelorette. When all is said and done, she eliminates Robby Hayes last and goes on to become engaged to Jordan Rodgers.
Please know that some things may change here and there depending on how ABC edits its episodes. If they choose to prolong the drama in one episode, then the rose ceremony eliminations may carry over to the next one. Still, this is the order that the men will be leaving the show, and how JoJo Fletcher gets rid of each of them before choosing Jordan Rodgers as her husband-to-be on The Bachelorette.
[Image via Craig Sjodin/ABC]


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保罗·里维尔(PAUL REVERE)在马萨诸塞州康科德(Concord)骑车,警告说"英国人来了!"英国人来了!据说,这拯救了美国的革命,从早期的失败中被证明是致命的。本文向您介绍有关《对英国英语消失的担忧被夸大了》的内容可悲的是,他的传奇故事大部分都是虚构的。但现在许多英国人怀疑英式英语正在输给美式英语。就像Revere的旅程一样,要想让真相大白是很难的。
PAUL REVERE'S ride through Concord, Massachusetts, warning that "the British are coming! The British are coming!", is said to have saved America's revolution from an early defeat that could have proved fatal. Much of the story, sadly for his legend, is myth. But now many Britons suspect that British English is losing a war to the American kind. As with Revere's ride, it can be hard to winkle out the truth.
2011年,英国广播公司(BBC)刊登了马修·恩格尔(Matthew Engel)的一篇文章,引用了五种常见的美式英语,并邀请读者用自己最不喜欢的方式发送。他们热情地这样做,并补充说,这些"美国佬"让他们"彻底恶心"之类的。恩格尔先生已经神经了,上个月他出版了《这就是它崩溃的方式》,一本书哀叹英国英语的美国化。他煞费苦心地说他不是反美的。他只是想保护自己国家独特的方言。
In 2011 the BBC published a broadside by Matthew Engel, citing five common Americanisms, and inviting readers to send in their own least-favourite ones. They did so with gusto, adding that these Yankeeisms made them "thoroughly disgusted" and the like. Mr Engel had hit a nerve, and last month he published "That's the Way it Crumbles", a book bemoaning the Americanisation of British English. He is at pains to say that he is not anti-American. He merely wants to protect his country's distinctive dialect.
But in that article from 2011, four of five of Mr Engel's "Americanisms" were, in fact, of British origin. So were many of the ones readers sent in. "Gotten", one wrote, "makes me shudder." Yet it is the original English participle, replaced later in Britain by "got". "Fall" for autumn and "mad" for angry, too, were born in England, before fading there in the early modern era. Mr Engel is more careful in the new book to point out such round-trippers.?
It is true that America is influencing British usage. "Smart" is increasingly describing the intelligent as much as the well dressed. (Never mind that "smart" first was used this way in Britain in 1571.) Many Britons prefer "movies" to "films". And "fries" and "cookies" are now appearing alongside "chips" and "biscuits". But are they always replacing them?
No: "smart" is savvy, whereas "clever" is swotty. "Fries" are thin and crispy, and "cookies" are American styles like chocolate-chip, notes Lynne Murphy, an American linguist at Sus*** University writing her own book about the relationship between British and American English. "Movies" tend to come from Hollywood; "film" is still preferred for the latest gritty cinema from Europe. In other words, these Americanisms are not an impoverishment of British English. They are additions to it.
The traffic goes both ways: "scones", both the things and the word, have made their way to America (though not the pronunciation: most Americans make it rhyme with "cones"). Ben Yagoda, an American academic, keeps a website of "Not One-Off Britishisms" used by stylish Yanks, from "ginger" hair to "nick" for "steal". Mr Engel replies that these are limited to intellectuals in America. Americanisms, he says, are taking deeper root among ordinary Britons.
English has always sucked up words from around the globe. Mr Engel's fear is that in the past half-century, one source has come to dominate: America, thanks to its cultural, technological and political heft. But he goes even further in saying that, in a century, it is possible to imagine "American English absorb[ing] the British version completely".
This is—to use another Americanism—horsefeathers. American and British English differ on many levels: spelling, pronunciation, vocabulary, style and grammar. Mr Engel focuses on showing that some British words are giving way to, or making room for, American alternatives. But these are a fraction of the huge vocabulary otherwise shared by the two dialects. It is easy to find a newspaper article in which not a single word (spelling aside) is distinctly British or American. In other domains (recipes and car-parts, for example) differences are frequent. But these domains are local and personal, and highly resistant to change.
Overall, British English is in rude health. Pronunciation differences affect virtually every word, and British pronunciation is hardly converging on American. The few grammatical differences (for example "I will" in America, versus "I will do" in Britain) show little sign of changing either. There is little appetite in Britain for American spelling. And that ineffable quality of style makes articles by British or American writers distinct, even in the absence of obvious shibboleths.
不:"聪明"是精明的,而"聪明"是swotty。苏塞克斯大学(Sus*** University)的美国语言学家琳恩?墨菲(Lynne Murphy)在自己的一本关于英美英语关系的书中写道:"炸薯条"是一种薄而脆的食物,而"饼干"则是美国风格的巧克力片。"电影"往往来自好莱坞;"电影"仍然是欧洲最新的坚韧不拔的电影的首选。换句话说,这些美式英语并不是英国英语的贫困。它们是增加的。
这两种方式都有:"烤饼"("烤饼"),这两种东西,以及这个词,都已经传到了美国(尽管不是发音:大多数美国人都把它与"锥"押韵)。美国学者本·亚格达(Ben Yagoda)保留了一个"不一次性的英国风格"的网站,由时髦的美国佬使用,从"姜"的头发到"尼克"的"偷窃"。恩格尔先生回答说,这些仅限于美国的知识分子。他说,美国主义在普通英国人中根深蒂固。
American influence on global (not just British) English is rising. But varieties from Ireland to India to Australia retain a clear identity. Even within America, local dialects, especially the southern one, are going strong. All of these, and British English too, are constantly innovating. Mr Engel is right to dread a "linguistic monoculture". He is wrong to think that it is likely.美国对全球(不仅仅是英国)英语的影响正在上升。但从爱尔兰到印度到澳大利亚的各种品种都保留了明确的身份。甚至在美国国内,当地的方言,尤其是南方的方言,也越来越强。所有这些,以及英式英语,都在不断创新。恩格尔先生对"语言单一文化"的恐惧是正确的。他认为这很可能是错误的。
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Only 1 km from the Bologna Fiere Exhibition Centre, B&B A Casa di Andrea features free WiFi and colour-themed rooms with a flat-screen TVs. Pre-packaged sweet produce for breakfast is provided. Ro... read more
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Featuring free WiFi throughout the property, Casa Gino offers accommodation in Bologna, 100 metres from Bologna Train Station. The room features a seating area for your convenience. For your comfo... read more
Centrally located in Bologna, Bologna Center Town provides free luggage storage. It offers free Wi-Fi and classic-style accommodation with views of the city. All units at Bologna Center Town come ... read more
Guests at the bed and breakfast can enjoy a continental breakfast. B&B Selvarossa features a terrace. La Macchina del Tempo is 6 km from the accommodation, while Santo Stefano Church is 6 km away... read more
Bed and breakfasts. And great places nearby
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