first_imgSammy thanked Daren is a St Lucian icon and has been a fantastic servant of both St Lucian and West Indian cricket. The Stars management would like to stress that Daren remains an important part of the St Lucia Stars squad and his performances with both bat and ball will be vital for the rest of the 2017 tournament and in the future. “I would like to thank Daren for all of his hard work over the years and this season. We look forward to a long and fruitful relationship going forward. He is a proud son of St Lucia and we have been delighted to be associated with him.” Former Australian captain After six successive defeats in the 2017 season the time is right to make a switch in leadership and incorporate some fresh thinking as the team completes this season and builds for 2018. Time for leadership change center_img The Stars management would like to take this opportunity to thank Daren Sammy for his contribution as Captain this season and throughout the last four editions of Hero CPL. Jay Pandya, owner of the St Lucia Stars franchise said: “If it were not for Daren, St Lucian cricket would not have the standing it does in world cricket and his ability to lead both on and off the field remains unquestioned. However, after the results that we have seen over the first half of the 2017 Hero CPL a change is needed to freshen things up as we look to win the remaining four fixtures this season. The management of the St Lucia Stars have appointed Australian all-rounder Shane Watson as their captain for the remainder of the 2017 Hero Caribbean Premier League (CPL). Marlon Samuels will be his vice-captain. Shane Watson, 36, is a former Australian professional cricketer and captain. He played as a right-handed batsman and a right-handed fast-medium swing bowler. He debuted in 2002 in a One Day International and retired in 2016 as world No. 1 T20 all-rounder. He is the last player to retire from Australia’s golden era of early 2000s.Watson holds several records in T20s. He held the world No. 1 position for a record 150 weeks, including a record 120 consecutive weeks (13 October 2011 – 30 January 2014; and 31 January 2016 – 26 August 2016) in T20I all-rounder rankings. He is the only player to win Australian “Player of the Year” award in all formats and won 7 such awards in three formats (3 T20, 3 ODI, 1 Test), which is the most by any player.last_img read more

first_imgEureka >> It was a perfect start to the North Coast Section football playoffs for the Humboldt-Del Norte League.And now with another team entering the fray, the quintet of local squads have one thing on their minds.A spot in their respective division’s semifinals.A perfect four wins in four opportunities last week — all of which coming within Humboldt County lines — means that all five of the H-DN teams participating in the NCS playoffs are playing for a spot in their respective division’s …last_img read more

first_imgSAN JOSE — With 28 players still in training camp at that point, defenseman Ryan Merkley didn’t have a stall of his own inside the Sharks’ dressing room at SAP Center this weekend. So he was given a chair to sit in right in the middle of the room.On his right were Marc-Edouard Vlasic and Erik Karlsson. On his left were Joe Thornton, Joe Pavelski and Brent Burns.“It’s pretty cool. Just sitting here, getting dressed with all of the guys, watching them play,” Merkley said Sunday. “Watching …last_img read more

first_imgSanlam is justifiably proud of their starfund manager.(Image: Sanlam) Kooyman, centre, has shied away fromWestern markets in favour ofdeveloping countries.(Image: Pixelink 24) MEDIA CONTACTS • Nora GeldenhuisSanlam Investment Management Global+27 21 950 2633RELATED ARTICLES• Healthcare from your mobile • Gordhan: making SA work smarter• UCT MBA among world’s best• Visa buys SA’s Fundamo for $110mRay MaotaSouth African fund manager Kokkie Kooyman has been named the international Fund Manager of the Year for the second year running by the UK-based jourmal Investment Week.He fought off three rivals, including two funds from London-based Polar Capital and one from Jupiter International, to take top honours in the category Specialist Financial Funds.Kooyman, who heads financial services group Sanlam’s Investment Management (SIM) Global, received the sought-after accolade at a ceremony at London’s Royal Albert Hall on 7 July 2011.The highly competitive awards aim to throw the spotlight onto funds that have performed exceptionally over a three-year period, while taking into account the methods used and whether the fund’s performance is sustainable.With his SIM Global fund Kooyman has achieved compound annual returns of 16% (US dollar) for investors during the last 10 years despite having to work through two bear markets within the decade.A bear market is a situation within the financial sector which sees the prices of securities falling and analysts adopting a gloomy outlook, with the prediction of losses.The fund has consistently ranked among the world’s top three for the past six years.SIM in uncharted territoriesKooyman said: “Our approach has remained consistent since we started the fund in 1999. We compare and invest globally – as opposed to many of our competitors who only look at developed market banks.”He said that he has been visiting banks in Indonesia, Thailand, Hong Kong and China for the last 16 years, and has gained a thorough understanding of those countries’ banking sectors. Currently, Kooyman leans towards Japan and Indonesia as good investment prospects.He added a number of banks in the UK and US to his list in 1997, and said that the difference with SIM and other fund managers was that the companies he and his team looks at were “usually below the radar of other investors and/or brokers”.SIM would advise people to invest in countries which have underdeveloped financial markets and whose citizens are not deeply in debt, such as certain Asian and Middle Eastern countries.Kooyman said: “Currently, we believe that Turkish and Indian banks are being misunderstood by the market.”He also sees great opportunity in Brazil, and has tended to stay away from Western markets in recent years.High yield equity fund to launch in 2011Kooyman recently announced a new SIM offering.“We are starting a high yield equity fund which will comprise a portfolio of 30 shares, targeting an average yield of 5%,” he said. “That will only be later in the year.”Moving away from Sanlam’s often volatile small-cap orientated funds, this new fund will be large-cap focussed.Indonesian motor finance company Adira Dinamika Multi Finance is Kooyman’s investment opportunity of choice at the moment. In just 12 months the company’s stock has gone up 60% and, he believes, is able to rise even higher.The makings of KooymanBComm graduate Kooyman completed his articles at financial services firm Arthur Young, which later globally merged with Ernst & Whinney to become Ernst & Young.His distinguished financial career started at the University of the Western Cape when he held a position as accountancy lecturer between 1979 and 1980.He was appointed head of internal audit at fashion chain Truworths in 1983 and joined Repfin Finance as financial director three years later, until 1989. Here he managed to turn Repfin’s fortunes, which were not looking promising, around.The Fund Manager of the Year said: “My experience inside businesses, troubleshooting at Truworths and then at Repfin, gave me a lot of insight for my later career as an analyst and portfolio manager.”Kooyman also spent 10 years in the asset management division of savings and investment group Old Mutual, where he established his reputation.Besides heading SIM, Kooyman also manages investment firm Nedgroup’s South African financial fund. “It’s a fun job which SIM has allowed me to carry on doing,” he said.last_img read more

first_imgFor one week each year, the savannah of the Karoo is turned into Tankwa Town, a vibrant yet temporary hub of creativity when thousands of South Africans gather for AfrikaBurn. Unbound creativity and cleaning up before you leave are the only rules of the festival.Tankwa Town comes alive once a year when the AfrikaBurn festival hits the Northern Cape. (Image: Ian Tunbridge, Flickr)Based on The Burning Man festival held in Nevada in the US, AfrikaBurn grew out of a loose grouping of individuals and organisations who questioned, and continue to question mainstream, highly commercialised, society and what it does to the notion and workings of community. In a nutshell, it’s about radical self-expression and it acts as a collaborative catalyst for change.The 2018 AfrikaBurn, taking place between 23 and 29 April, invites participants to embrace the “Working Title” theme. If that doesn’t inspire creativity, organisers say you can simply choose your own theme.To inspire you, take a look at some of the highlights from the 2017 AfrikaBurn.Source: 26 Degrees South: a South African Airways bloglast_img read more

first_img8 July 2013The Proteas’ 2013/14 home schedule, released by Cricket South Africa on Monday, includes highly anticipated test series against India and Australia, backed up by seven one-day and five T20 international matches.The Proteas, ranked number one in the world test ranking, will play three tests against both countries. India occupies second place in the ICC test rankings, while Australia is in fourth.The Indians last toured South Africa in 2006/07 and convincingly won the first test by 123 runs in Johannesburg, after dismissing the Proteas for only 84 in their first innings. South Africa, though, fought back to win the second test by 174 runs and clinched a 2-1 series win with a five-wicket victory in the third and deciding test.Philander’s debutAustralia last visit to South Africa was in the 2011/12 season, when they played only two tests. The Proteas scored a resounding eight-wicket victory in the first test, despite making only 96 in their first innings, after debutant Vernon Philander knocked over 5 for 15 in the Australians’ second innings of just 47 all out.Australia, however, shared the series’ spoils after a tense two-wicket win at The Wanderers in the second test.There will be seven one-day internationals played against India, which recently won the ICC Champions Trophy, and is ranked number one in the 50-overs format. South Africa is ranked fourth.Five T20 internationals are on the cards for the sixth-ranked Proteas, two of them against the world number three Indians and three against Australia, who are ranked one place below South Africa.Indian tourIndia’s tour kicks off on 18 November with a match against a South African Invitation XI in Potchefstoom. It runs through until the third test match, which will be played in Johannesburg from 15 to 19 January.Australia’s tour starts shortly after that on 5 February in the same manner as India’s tour, with a game against a South African Invitation XI at Senwes Park. It ends on 14 March with a T20 international at Centurion.Commenting on the schedule, CSA Acting CEO Naasei Appiah said on the CSA website: “It promises to be a wonderful summer of hotly contested international cricket.“India are the current undisputed champions of 50 overs cricket and it was not that long ago that they briefly held the number one ranking in test cricket as well.Sachin Tendulkar“The Indian players have always been very popular in South Africa and their maestro, Sachin Tendulkar, has currently played a world record 198 test matches. It would be wonderful for his 200th test match to be in front of a packed New Year’s crowd at Sahara Park Newlands.“The last time he played a test match there, his battle with Dale Steyn thrilled a global audience.”Looking at the series against Australia, Appiah said: “Any series between Australia and South Africa in any sporting code always promises a spectacle of note and a contest worthy of some of sport’s most famous moments. Australia will be battle-hardened after successive home and away Ashes series against England.“The three KFC T20 International matches at the end of the tour will provide perfect preparation for both sides for next year’s ICC World Twenty20.”Details of the ticket sales have not yet been announced.TOUR SCHEDULESIndia Tour 18 Nov: T20: India v SA Invitation XI, Potchefstroom21 Nov: 1st T20 International, Johannesburg (Day/Night)24 Nov: 2nd T20 International, Cape Town (Day)27 Nov: 1st ODI, Durban (Day/Night)30 Nov: 2nd ODI, Port Elizabeth (Day)3 Dec: 3rd ODI, East London (Day/Night)6 Dec: 4th ODI, Centurion (Day/Night)8 Dec: 5th ODI, Johannesburg (Day)12 Dec: 6th ODI, Bloemfontein (Day/Night)15 Dec: 7th ODI, Cape Town (Day)18-19 Dec: India v SA Invitation XI, Paarl22-23 Dec: India v SA Invitation XI, Pietermaritzburg26-30 Dec: 1st test, Durban2-6 Jan: 2nd test, Cape Town15-19 Jan: 3rd test, Johannesburg Australia Tour 5-8 Feb: Australia v SA Invitation XI, Potchefstroom12-16 Feb: 1st test, Centurion20-24 Feb: 2nd test match, Port Elizabeth1-5 Mar: 3rd test match, Cape Town9 Mar: 1st T20 International, Port Elizabeth (Day)12 Mar: 2nd T20 International, Durban (Day/Night)14 Mar: 3rd KFC T20 International, Centurion (Day/Night)last_img read more

first_imgHere are 5 film directors who used their low-budget indie shorts and features as a way to jump into some big-budget Hollywood blockbusters.Cover image via FTNSince the dawn of the new age of digital filmmaking, the industry has been moving in two polarized directions. The indie film community has exploded with aspiring filmmakers, film schools, film festivals and an ever-increasing supply of films and filmmakers. This wave of technology and talent has encouraged filmmakers to operate on micro-budgets unthinkable a few years ago.Meanwhile, the mega-blockbusters with their high-end CGI effects have continued to push traditional Hollywood productions higher and higher in terms of budgets, VFX and earnings. This has created a dynamic split between the two (and subsequently, could be argued, resulted in the death of the mid-level feature films).However, in this divide, it has opened a unique path for up-and-coming filmmakers to be recognized for their low-budget and off-the-radar films, and be given the opportunity to go from indie darlings to multi-million dollar box office earners. Here a few that have made the jump, and how their big-budget forays have turned out.David LoweryImage via ColliderDavid Lowery burst onto the film scene in 2009 when his feature film debut, St. Nick, premiered at SXSW. The film, which was shot for a minuscule budget of $12,000, in part helped Lowery build up to his successful Sundance breakout Aint Them Bodies Saints in 2013. Saints, which ended up starring Casey Affleck and Rooney Mara, represented a major step up from St. Nick‘s $12,000 budget to a reported $4 million.However, before Saints could finish out its theatrical run, Lowery (and writing partner Toby Halbrooks) were pegged to write and direct Disney’s upcoming live-action reboot to Pete’s Dragon. Lowery’s reimagining was shot (conservatively by major studio standards) for a reported $65 million, nearly 16 times the budget for his last film. It was also a major jump in terms of production and distribution, as its audience was no longer film festival patrons but rather worldwide families and children.Since it’s release in August, Pete’s Dragon has enjoyed critical acclaim and positive commercial success so far (already earning back its budget). The film has been praised as a heartfelt character story that retains the director’s indie charm, which has impressed Disney so much that they’ve reportedly handed Lowery the keys to rebooting their Peter Pan franchise next.Ryan CooglerImage via WiredOriginally attending college to purse a career in professional football, Coogler parlayed his sports career into filmmaking and has quickly become an up-and-comer to watch on the biggest stage. After some initial successes with his short films produced while attending the prestigious USC School of Cinematic Arts, Coogler’s first feature, Fruitvale Station, premiered as a resounding triumph winning both the Grand Jury Prize and the Audience Award at 2013 Sundance Film Festival.A native of California, Coogler has been able to transpose his time growing up in Oakland and Richmond and the stories of those throughout his community into powerful films that have been praised for their intimacy and complexity. After Fruitvale‘s success, Coogler made an impressive jump from his $900,000 indie to write and direct a $40 million spin-off sequel to the Rocky franchise – Creed.Creed, again was a critical and box office success, and has further launched Coogler onto the national scene. His next project is represents yet another major bump, being pegged to helm the Marvel film Black Panther, which is tentatively slated for the beginning of 2018.Lexi AlexanderImage via LA WeeklyIn an industry still notorious for its lack of diversity in the director role, Alexander has fought her way into the limelight. Born in Germany to a Palestinian father and German mother, Alexander is a former World Kickboxing Champion who has worked her way up from stunt woman to an Oscar-nominated director for her short film debut Johnny Flynton.Her indie feature Green Street Hooligans, which was shot for a sparing $350,000 (despite featuring big names like Elijah Woods and Charlie Hunnam) went on to win both Audience and Jury awards at the SXSW Film Festival in 2005. The film would continue on to become a cult-classic and make in over $3 million in worldwide revenue.Alexander has followed up her indie success with several big-budget projects, notably Marvel’s Punisher: War Zone ($35 million reported budget) and gigs directing episodes of Arrow, Supergirl and American Gothic.Gareth EdwardsImage via LA TimesPossibly the most extreme (and successful) example of a director jumping from tiny budget indie to multi-million dollar blockbusters, Edwards is the poster boy for a dream-come-true career arc. Born in England and of Welsh decent, Edwards got his start in the industry as a visual effects artist. However, after a short 48-hour film challenge got him into directing, he created the sci-fi feature Monsters for a micro-budget “well-under” $500,000.Monsters, which was shot on cameras bought at Best Buy, was produced by a skeleton crew of five (plus the two main actors) across Mexico, with effects created by Edwards himself. The film premiered at SXSW in 2010 and was promptly bought for distribution and went on to earn over $4 million against its paltry budget.After Monsters‘ success, Edwards was brought on to direct Warner Bros’s Godzilla reboot – a film with a reported budget in excess of $150 million. The success continued to come as Godzilla has earned over $500 million worldwide and cemented Edwards as a crowned prince in blockbuster features. A title confirmed by Edwards’ tapping to direct the much-anticipated upcoming Star Wars film Rogue One: A Star Wars Story set to release in December 2016.Taika WaititiImage via EmazeWhile Taika Waititi might not fit in exactly with the rest of the list, it might be because he doesn’t fit into many lists. Besides being an Oscar-nominated director, he’s also a comedian, actor, writer and a painter. He’s also been quite successful in his native New Zealand where his comedic works with frequent collaborator Jemaine Clement (of Flight of the Conchords fame – in which Waititi has directed and cameoed) has made him a well-known commodity.However, his recent feature films have begun to catapult his fame to a truly international level. His mockumentary What We Do in the Shadows premiered at Sundance in 2014 to become an instant comedy classic, while his most recent feature Hunt for the Wilderpeople has further catapulted his international earnings.All of his success (which has still mostly been in New Zealand), has led to his upcoming jump into blockbuster status with his recent nod to direct Marvel’s Thor: Ragnarok. The film, already in production in Queensland, Australia, will easily top $100 million in budget before production is done and is slated for release in late 2017.Know any other indie filmmakers who have made the jump to major blockbuster director? Let us know in the comments!last_img read more

first_imgWherein we discuss everything filmmakers need to consider when comparing cheap microphones to expensive ones for video projects.Cover image via guruXOX.If it’s been said once, it’s been said a thousand times: for filmmakers and video professionals, your projects are only going to be as good as your audio. All the post-production tips and tricks in world will never truly redeem poor audio. That being said, there seem to be different schools of thought on the importance of the microphone’s quality. One says that the microphone is the single most important piece of audio equipment on a shoot, while the other argues that the difference between top-of-the-line and prosumer-level options matters very little compared to picking the right one for the job.Let’s take a measured approach and look at how some expensive microphones compare with their cheap counterparts in a controlled environment — as well as the nine major aspects to consider when choosing the microphone for your next video project.$22 Microphone vs. $3600 MicrophoneIn this video by professional vlogger and musician Andrew Huang, we get to see a controlled test between a $22 microphone and a $3,600 one (as well as a few others for some middle price points). While this video focuses on audio recording for music, you can see and hear the differences between expensive and cheap options in terms of tonality, crispness, and frequency responsiveness. However, this does not quite give us the whole picture for recording audio on a video production set — or out on location. Let’s look at the most important considerations.Polar PatternThe polar pattern of a microphone is the sensitivity to sound relative to the direction or angle from which the sound arrives, or easier worded how well the microphone “hears“ sound from different directions. The most common types of directionality are: Omnidirectional, Cardioid and Supercardioid. (Shure)Let’s begin with audio recording basics: every microphone has a polar pattern that defines its coverage. A cardioid, for example, is most sensitive in the front and has practically no pickup in the back. An omnidirectional microphone, on the other hand, is equally sensitive at all angles and picks up sound from every direction. For filmmakers, most shotgun microphones used to capture one source of audio are usually cardioid or super cardioid, while omnidirectional microphones are more useful for things like room tone.Dynamic RangeDynamic range measurements are used in audio equipment to indicate a component’s maximum output signal and to rate a system’s noise floor. As a reference point, the dynamic range of human hearing, the difference between the softest sound we can perceive and the loudest, is about 120 dB. (WhatIs)When looking at the differences between cheap and expensive microphones, one of the most notable aspects will be the microphone’s dynamic range. Specifically, how faithful a microphone can be when recording between its largest (max SPL) and smallest (noise floor) signals. As with dynamic range in video (and, say, the difference between footage shot on a cheap DSLR and a high-end cinema camera), with a greater range of capture, the less information you lose, so more will be available to work with in post.Frequency ResponseFrequency response is the measure of any system’s output to an input signal of varying frequency (but constant amplitude). Frequency response is typically characterized by the magnitude of the system’s response, measured in dB, and the phase, measured in radians, versus frequency. (FADGI).If you look at different microphones online, you’ll often see a range, like 20Hz to 20kHz. These numbers indicate the frequency response range. Usually, the better the microphone, the greater the range. However, for those considering cheaper audio options, it’s important to note that the human ear can only hear in the 20Hz to 20kHz range (although that doesn’t mean that capturing the higher and lower frequencies isn’t important). Here’s a great article on how to read frequency response charts to really understand what it means for your choices.Other FactorsImage via sefoma.Along with polar patterns, dynamic range, and frequency response, here are some good resources to read up on for other factors like sensitivity, impedance, maximum SPL, and S/N ratio. You may also want to take other issues into account, like weight and dimensions (can your microphone work with your audio recording set up?) and issues with power supplies.Finally, many microphones come with accessories to make them easier to use, so keep an eye on what you get for your money. If you’re starting from scratch, getting a full audio recording package can be a great way to get going, but if you’ve built out your gear a bit, choosing only a top-of-the-line microphone can be a great investment.For further reading on audio recording for film and video, check out some of these articles.The Indie Filmmaker’s Guide to Recording AudioHow to Capture High Quality Audio for Low Budget FilmsImprove Voice Recordings in Premiere Prolast_img read more

first_imgChannel Your LightBy taping dark household fabrics around an overhead light source you’re able to cone and channel the light so that it eliminates spill on the background. The allows the viewer to focus on your main subject instead of what’s distracting around it.NOTE: the heat off your light can burn certain fabrics. Be cautious with this technique and monitor your lights after the setup. I recommend utilizing a nonflammable material like tar paper or only using lights that are low heat like fluorescents or LEDs.Less Is MoreRemember that to build mood work off of one light rather than 20. If you want a realistic look chances are that’s actually with minimal light. Find one source that you can control and work around that. It’s easier, more realistic and looks way better on screen.Angle the LightA crucial key tip for cinematography is that direct light usually looks the worst. You can defuse it by pointing at a white wall or angle it so it makes a much more subtle glow on your subject. Unless it’s necessary to the style or story direct lighting looks unflattering and unnatural.Be CreativeI find that it’s much easier to expand off of what already exists than trying to over complicate natural lighting. Explore the space look at what’s already there then build. The audience has to believe that the lighting source is realistic to the universe you’re showcasing.Looking for more lighting tutorials? Check these out.Minimize Your Lighting Setups For Narrative ShootsVideo Tutorial: The Secrets Behind Lighting a Shot with FireFilmmaking Tips: How to Create Dramatic LightingWorking with Both Low Key and High Key Lighting StylesTips on Lighting Day for Night Interiors You don’t need an expensive lighting set up to get a cinematic look. Here are some simple tips to make dramatic lighting with household practicals.A common misconception among aspiring or soon-to-be filmmakers is that you need a lot of huge, expensive lights to really pull of a professional, cinematic look. That was true once, a very long time ago, but not anymore. In this tutorial, I’ll walk you through a few quick examples of how being creative with simple household items can really elevate your cinematography.Let’s take a look.last_img read more

first_imgVANCOUVER — The blob is back — but this time, it looks a little more like a wedge.Scientists are keeping a close eye on a thin blanket of warm water off the West Coast for about three months, saying it resembles a marine heat wave nicknamed “the blob” that disrupted marine life between 2014 and 2016.“If it is the same, then it’s very concerning for marine mammals that depend on fish, for seabirds that depend on fish, but also for ocean productivity,” said Andrew Trites, the director of the marine mammal research unit at the University of British Columbia.The heat wave — which resembles a wedge, stretching from the south of Vancouver Island to Baja, Calif., and offshore towards Hawaii — has raised temperatures about three to four degrees Celsius higher than the normal longterm average for those parts of the ocean, according to the National Oceanic and Atmospheric Administration (NOAA).“You put on a sweater, you take off a coat,” Trites said. “But for a marine life it’s a big deal. In the ocean it’s a big deal.”NOAA research scientist Nate Mantua noted that this year’s wedge is at this point less severe than the blob of 2014 to 2016, because it’s only been around for a few months.Three to five years ago, the warm water penetrated to depths of 200 to 300 metres, while right now it’s mostly between 30 and 50 metres, he said.“It’s a blanket over the ocean and that means it could go away pretty quickly if the winds start blowing in a normal way,” Mantua said. “That usually happens at this time of the year as we transition into fall.”So far, the warm expanse has been held offshore by cold water welling from the ocean depths, he said.“A lot of marine life that we interact with and we see is concentrated closer to shore in the most productive waters of the northeast Pacific,” he said. “Because it’s offshore its mostly affecting those less productive waters.”  But in addition to being able to dissipate the wedge, winds also have the power to make the heat wave worse.“Winds have a direct impact on the way heat is exchanged,” he said.And Mantua said California may already be seeing some of the effects from the warmer waters: NOAA’s surveys have recently noted higher concentration of anchovies — and the big predators that feed on them — close to shore waters.There’s also been indications that some fish stocks have changed their distribution, he added.Hina Alam, The Canadian Presslast_img read more