It was the kind of beat-down that would send a lesser team into a deep introspection — or a state of chaos.It was the kind of loss that … Here’s something you can’t say often: The Warriors were not the better team in a game they played.In fact, in Thursday night’s game against the Bucks, they weren’t even close.Milwaukee turned in a statement win at Oracle Arena, running the Warriors off their home court in a 134-111 win that wasn’t as close as the final score might have indicated.
24 February 2006South Africans are increasingly aware of the dangers of sexually transmitted infections (STIs) and the need to inform their partners and seek treatment when infected, says the Department of Health.Speaking in Ladysmith in KwaZulu-Natal on Thursday, Health Minister Manto Tshabalala-Msimang said statistics from the SA Health Review and other sources indicate that South Africans have become better at notifying their partners when they became infected and seeking treatment together.The notification rate had doubled from around 39% in 2000 to 83% in 2004, the minister said, while the percentage of patients whose partners were subsequently treated had increased from around 15% in 2000 to 24% in 2004.“This indicates that we are moving in the right direction, but it is not enough,” Tshabalala-Msimang said. “We are going to push harder and ensure that both partners ultimately visit our health facilities for treatment.”The prevalence of STIs such as syphilis is also on the decline. In 1999, the Department of Health recorded a rate of 7.3% for syphilis infection among pregnant mothers attending public sector antenatal clinics. By 2004, this figure had dropped to 1.6%.“This is a very significant drop in the prevalence rate of this particular STI and it is an indication that our public health awareness campaigns and treatment interventions are becoming effective,” Tshabalala-Msimang said.The minister was speaking at an event to mark the end of national STIs and Condom Week. The week featured community events, TV adverts and radio campaigns to highlight the importance of preventing and treating sexually transmitted infections and promoting the use of condoms.STIs increase the risk of HIV infection and some may lead to infertility, particularly among women.The minister also noted that the distribution of free male and female condoms approved by the South African Bureau of Standards for quality was increasing.“We realised that people found the packaging for the previous public sector condoms unappealing,” Tshabalala-Msimang said. “We redesigned these condoms to a funky blue-and-yellow Choice brand, and distribution has been increasing ever since, rising from 150-million in 1997 to more than 300-million last year.“Female condom distribution also rose, from 1.3-million in 2003 to 2.6-million in 2004.”She said the government would continue to campaign for the prevention and management of STIs, abstinence, faithfulness to one partner and consistent condom use.Source: BuaNews Want to use this article in your publication or on your website?See: Using SAinfo material
Spaed Team consists of paediatricians and paediatric surgeons from the paediatric units at Chris Hani Baragwanath Academic Hospital, Rahima Moosa Mother and Child Hospital, and Charlotte Maxeke Johannesburg Academic Hospital. (Image: The Nest)For South Africa to be a better place for all its citizens, and for the country to achieve the vision embodied in its National Development Plan, every individual needs to play their part in making life better for the next person.Doing just that is a group of paediatricians, known as the Spaed Team, who are once again raising funds for the Wits Paediatric Fund (WPF).Spaed Team consists of paediatricians and paediatric surgeons from the paediatric units at Chris Hani Baragwanath Academic Hospital, Rahima Moosa Mother and Child Hospital, and Charlotte Maxeke Johannesburg Academic Hospital. Team members will cycle the Jozi Urban Mountain Biking Adventure, or Juma, and run the Jozi Urban Run Adventure, or Jura, to raise money on 5 and 6 September.Dr Jennifer Geel, a paediatric oncologist from Charlotte Maxeke, said: “We want to use the money to buy protective clothing that is used in catheterisation laboratories. This is an important service because it is a specialised theatre where children are diagnosed with complex problems and in some cases prevents them from having to undergo heart surgery.”The team aims to raise R100 000 to buy equipment for the cardiac catheterisation laboratory at Bara. Play your part and log on to Spaed Team’s Do It 4 Charity page to make donations, or check the WPF’s Facebook page.WITS PAEDIATRIC FUNDThe WPF raises money to improve facilities and health services for the babies and children in need of care at the three academic hospitals. The cash is used to buy expensive medical equipment, supplementary medical and therapeutic services, and materials for the renovation of wards, as well as for professional development training.It was established in 2008 as a departmental initiative of the Wits Paediatric Health Department, facilitating the demand for specialised medical treatment that cannot be covered by government funding alone.Professor Daynia Ballot, its chairperson, said: “We are a close-knit team of devoted doctors and nurses who are experts in our respective fields. Together our three hospitals supply health care to many thousands of children in need on an annual basis from tiny preterm infants to adolescents.“Through the WPF we can uplift our children with top-class treatments, transplants, equipment and renovations needed to facilitate health care.”MOOSA AND MAXEKERahima Moosa Mother and Child Hospital is named after Rahima Moosa, a struggle icon born in the Strand, Cape Town on 14 October 1922. She became politically active after becoming aware of the unjust segregation laws in South Africa.In 1955, she played a significant role in the organisation of the Congress of the People, at which the Freedom Charter was adopted. In 1956, while pregnant with her daughter, Natasha, she helped to organise the Women’s March, under the auspices of the Federation of South African Women (Fedsaw). Together with Helen Joseph, Lillian Ngoyi and Sophia Williams, Rahima spearheaded the historic march to the Union Buildings where women handed over petitions against pass laws.She died in 1993, a year before South Africa held its first democratic elections.Charlotte Maxeke was born in Ramokgopa, Polokwane (then Pietersburg) in Limpopo on 7 April 1874. She graduated with a BSc degree from Wilberforce University in the US and on her return to South Africa, she was the first black female graduate.Her life as a missionary led her social activism and she helped to organise the anti-pass movement in Bloemfontein in 1913. She also founded the Bantu Women’s League of the South African Native National Congress in 1918.As leader of this organisation, she led a delegation to Prime Minister Louis Botha to discuss the issue of passes for women. This was followed by a protest the following year. She was also involved in protests on the Witwatersrand about low wages, and participated in the formation of the Industrial and Commercial Workers Union in 1920.Maxeke died in Johannesburg in 1939.
A South African bank has come out on top in the Lafferty 2016 Bank Quality Rankings. The inaugural rating system took into account various factors, including financial and non-financial disclosures and customer satisfaction.South African bank Capitec has come out on top in the Lafferty 2016 Bank Quality Rankings. (Image: Capitec, Facebook)Priya Pitamber South Africa’s Capitec Bank has been ranked the best in the world, according to international banking advisory group Lafferty, in its inaugural Bank Quality Rankings.South African bank ranked best in the world: https://t.co/O9w47aWh5V via @BusinessTechSA #Wow #Wow #Wow— Capitec Bank (@CapitecBankSA) March 18, 2016The organisation makes use of a combination of financial and non-financial disclosures to determine the quality of the banks and their respective business models.“We saw a correlation between a bank’s quality and its value to investors,” reads the Lafferty website. “So we looked for the key factors that investors pay a premium for. Then we rated each bank for each of these key factors, to give an overall quality score.”Other indicators were also taken into account when analysing results: strategy, culture, customer satisfaction, executing brand promises and other criteria.“Our aim is to promote excellence in banking – for customers, staff, communities, society at large and not least for bank shareholders and investors,” said Lafferty Group founder and chief executive Michael Lafferty.According to business news website, Businesstech, Absa was the second highest ranked South African bank with four stars. Standard Bank, Nedbank and FirstRand also featured in the top 100 banks.Capitec Bank was rated the best bank in the world in Lafferty’s inaugural Bank Quality Rankings in March 2016. (Image: Businesstech)Would you like to use this article in your publication or on your website? See Using Brand South Africa material. Source: Businesstech
My biggest influence in this regard is, no doubt, Steven Spielberg and Douglas Slocombe’s work on The Last Crusade. The wider focal lengths in most of the scenes create this marvelous sense of depth — an almost 3D-like quality. Combine this with the wider aspect ratio of 2.35:1, and your subjects can travel deep into and all around the frame in a single shot. (Definitely rewatch the Last Crusade clip earlier in the article.)The 2.35’s ability to seamlessly marry wide coverage of the action with strong dynamic angles is why I believe it’s been the go-to for action and epic films.16:9As I mentioned before, 16:9 was born as a compromise between the Academy Ratio and 2.35 so that both could play comfortably on the same screen. Naturally, newer television series and broadcasts would want to take advantage of all this space. This aspect ratio has become the standard in today’s digital media. The ratio isn’t nearly as confined as the Academy Ratio — and not nearly as extreme and dramatic as 2.35. It offers a pleasant balance. Because of this, we get a lot of commercial films and comedies in 16:9.What About 1.33:1, 4:3, 1.78:1, and 1.85:1?There are so many ratios in use today. You may see 2.39, 1.78, and so on. However, most of these ratios are nearly identical, with a difference of only a few pixels. For instance, there’s only about a two-pixel difference between 16:9 and 1.78:1 (in relation to a width of 1920 pixels). And 1.85:1 only has about 72 more pixels on the X axis, giving the cinematographer just a little more room to work with — only really noticeable when overlaying the two ratios, or by the very small black bars on the top and bottom of your 16:9 high-definition television set.The same goes with the ratios surrounding the Academy Ratio. For all intents and purposes, 1.33 and 4:3 are the same. Once again, there’s only a difference of a few pixels horizontally between the two. The difference between the Academy Ratio and 1.33/4:3 is equivalent to the differences between 16:9 and 1.85:1, with the Academy Ratio offering just a little more room. The widest ratio family consists of 2.35, 2.37, and 2.39:1. There’s only about 15 pixels between 2.35 and 2.39, with 2.37 somewhere in-between.Undoubtedly, these differences can create slight variations in aesthetic and composition; however, these differences are finely minute. I would honestly think of them more as groups of ratios than each one being purely unique — at least in regards to how the ratios affect composition and blocking. If you shot for 2.35:1, but in the edit feel like 2.39 would suit you better, I feel you’d be fine in making that change. On the other hand, trying to change a shot composed for the 2.35/2.39 ratio into a 1.37/4:3 shot wouldn’t work, as you’d be cutting off huge sections of the image, and the blocking would be all wrong.There are more aspect ratios when you look back far enough. You have the Cinerama aspect ratio 2.59:1, which was originally shot on three 35mm cameras and needed three projectors to show. The studios tried their hand at 1.66 for a bit (often by just cropping off the top and bottom of 1.37:1 films), before actually just shooting in 1.85 and 2.35. The aspect ratio has a long and storied history. So what does that mean for the modern filmmaker? In this guide, we go over what to keep in mind.The Academy Ratio. Anamorphic Widescreen. 16:9. The list of aspect ratios available to the modern filmmaker is long, especially now that changing your ratio requires only a few simple clicks in your editing software. A filmmaker choosing an aspect ratio for their next project is the same as a painter choosing the size and shape of their canvas. The aspect ratio is more than just a medium for information — it’s also a means of telling a story. So let’s go over some options:1.33:14:32.35:116:91.78:11.85:1Image via Zach Ramelan.A Brief Overview of the Aspect RatioAn “aspect ratio” describes the screen’s width in relation to its height. For instance, today’s standard 16:9 describes a screen that for every 16 units of measurement (inches, feet, pixels) the image is wide, it’ll be 9 units high. So today’s 1920x1080p television sets, or the higher-end 4K sets (3840x2160p), would have a 16:9 aspect ratio, whereas a 1920x817p video would have a 2.35:1 aspect ratio (think back to math class).For decades, the standard aspect ratio was 1.37:1, or the Academy Ratio. It wasn’t until big production houses had to compete with the commercialization of television sets that they began experimenting with new, exciting aspect ratios to give the audiences something they couldn’t get at home — wider, larger screens that immersed the audience deeper into the film.Image via Zach Ramelan.Eventually, theater aspect ratios settled between 2.35 and 1.85. Today’s standard 16:9 came about as a compromise between theater aspect ratios and television’s 4:3 format. The 16:9 aspect ratio allowed for the comfortable viewing of both older television programs and blockbuster films, without having to crop and “pan and scan” either format to fit well on the screen.Aspect Ratio Establishes Mood and SettingCertain aspect ratios have become so synonymous with cinema, television, home video, etc., that even the lay person, without a full understanding or knowledge of aspect ratios, can recognize the historical significance of each. The classic Academy Ratio can create an “old-timey” feel, whereas the super-wide anamorphic screen creates the sense of blockbusters and epic fantasy or adventure films. Yes, certain color-grading techniques can emphasize these moods, but it starts with the ratio.Filmmakers can use this to their advantage when they wish to immerse the audience in a certain period or make the mood more dramatic. One of the films to best use this idea of aspect ratio for historical setting is Wes Anderson’s The Grand Budapest Hotel. As the film travels through history, the aspect ratio changes to match common ratios at that time.Images via The Grand Budapest Hotel (Fox Searchlight Pictures).As for mood, looking at Danny McBride’s high-fantasy parody film Your Highness, we see he shot it in the wide 2.35:1 ratio — the same aspect ratio as Peter Jackson’s truly epic and awe-inspiring The Lord of the Rings adaptations. Had McBride shot Your Highness in 16:9, the film would’ve felt more commercial and less epic, but by matching the aesthetic of the 2.35 ratio, the film achieves this mood. Choosing Your Aspect RatioChoosing your aspect ratio is a key element in determining your film’s composition and mood. Can you compose and light wider shots? Do you want to focus the audience’s attention on certain details? Do you want to immerse them in the film’s lavish or fantastical environments? Or do you want to confine their field of view to avoid emptier, flatter settings?Choose your aspect ratio before shooting. Changing it in post, even from 16:9 to 2.35:1, can mess up the composition. Compose various shots in different ratios ahead of time, before sticking to one during production. See what locations are available and how far you can stretch your budget to create or dress the sets. But above all, see which composition styles best help tell your story.This post was originally published in October, 2018. It has been updated to share additional information.Cover image via The Grand Budapest Hotel (Fox Searchlight).Looking for more articles on film and video production? Check these out.Choosing the Best Aspect Ratio for Your VideoHow Social Media Has Redefined the Aspect Ratio8 Creative Videos with Unusual Aspect RatiosA Cheat Sheet for Social Media Video Aspect RatiosWhich Camera Movement Should You Use — And When And Why? Achieving Different Aspect Ratios in PostTraditionally, filmmakers shoot 2.35 films with anamorphic lenses, which actually brings in more light horizontally captured on the full 35mm frame. Later, it gets condensed down to its proper proportions. What this does is allow each frame to capture more information. However, if you’re simply shooting on a DSLR and don’t have access to anamorphic lenses, you can still achieve this framing.During production, it definitely helps to have reference guides on your monitor to make sure you take out the guesswork when composing your shots. Certain cameras come equipped with this feature; others may need third-party programs like Magic Bullet. Either way, the final image will still be in 16:9. What needs to happen is changing the ratio in post.There are two ways to do this. You can either change your sequence settings, or you can get or make an alpha layer PNG to overlay on your footage. Personally, I prefer changing the sequence setting.However, if you plan on manipulating the aspect ratio throughout the film (as in Scott Pilgrim vs. The World), I recommend the PNG layer so you have an easier time controlling it.To change your sequence settings, you’ll want to use a ratio calculator like this one.To get a wider aspect ratio (like 2.35), you’ll want to put the width of the shot footage into C.But, if you’re changing for a narrower aspect ratio, like the Academy Ratio, you’ll need to use the shot footage’s height (since you can’t expand the height of the shot footage). Aspect Ratio Determines CompositionAt the end of the day, regardless of the historical or cultural significance of various aspect ratios, the ratio will determine how the filmmaker composes each and every shot in their film. Expanding or minimizing the field of view will invariably affect one of the first rules of composition: The Rule of Thirds.Image via Miami2you.The Rule of Thirds helps the filmmaker create visually compelling images that draw the audience’s attention into the whole image, as opposed to just focusing on something in the center. The intersecting lines create reference points for where to place the subjects to create a dynamic, interesting composition.The more confined the ratio is, the tighter the compositions will be, creating a narrower sense of space. Often, things can start to feel hyper-focused and compressed. This isn’t inherently a flaw; it’s just a result of the tighter ratio, which, again, Wes Anderson uses very well in The Grand Budapest Hotel.However, you can still achieve depth and dynamic composition, as we see in Casablanca.Despite the tighter ratio, we’re still seeing The Rule of Thirds in action to create strong angles, and we never become overwhelmed by the wide-open space of the airfield. The camera’s movement helps create a sense of depth, but ultimately, there’s a limit to how many characters and subjects we can layer into a single frame.Image via Casablanca (Warner Bros.) and Indiana Jones and the Last Crusade (Lucasfilm Ltd.).We can’t create a long expanse or a panoramic view. But as we expand our ratio, we can increase that sense of depth and scale. Take note of how Steven Spielberg uses the entire expanse of the screen to create a layered and dynamic composition in Indiana Jones and The Last Crusade.The wider aspect ratio allows Spielberg and his DP, Douglas Slocombe, to carefully and aesthetically layer in an abundance of subjects and information without overwhelming the audience or crowding any single frame.Wide Aspect Ratio: Less to HideThe filmmaker must keep in mind that choosing a wider aspect ratio doesn’t just allow for wider, deeper compositions; it also poses the challenge of revealing more of the filming location. This is one reason why wider ratios are popular with fantasy and adventure films. The filmmaker wants to immerse you in the detailed world they’ve created. The wider you go, the less you can hide. Check out the classic showdown between Luke and Darth Vader from Star Wars: The Empire Strikes Back.Not only does the 2.35:1 ratio allow for deeper and wider compositions, it also immerses the audience in the fictional world in nearly every shot. But, if you don’t have locations or sets worth showing, or the ability to light much wider shots without revealing the tools of the trade, then you risk creating shots that are visually uninteresting (if you’re not a master of working with negative space).Primary Aspect RatiosLet’s dive a little deeper into three aspect ratios and look at some more examples of how they affect the image and how they compel the subjects’ movement.The Academy Ratio, 1.33:1, and 4:3As I said above, the Academy Ratio can create a tighter feeling. Synonymous with the Academy Ratio is 1.33:1 and 4:3, with only slight variations in proportion but all containing the same unique qualities. Due to its limited size, there’s only so much information we can put into the frame without overwhelming and crowding the image. However, we can overcome this a bit by using a wider lens to create more depth. See this clip from The Grand Budapest Hotel below.However, even with this focal length giving the subjects more room to move about on the Z Axis (towards and away from the camera), it still doesn’t give them much room to move laterally without the use of panning (as you can see in the Grand Budapest clip above). This creates a tunnel effect, compelling the movement of our subjects. Filmmaking is more than just static shots of static people; we need action and movement! This tunnel effect compels our subjects to move one of two directions (more often than not), if we want to create uninhibited motion. If they do move laterally, the camera must pan to keep them in frame, and as a result, the subject almost appears to be still, while the background moves instead.Note how in this scene from Citizen Kane the subjects, to avoid simply disappearing out of frame, enter, exit, and move primarily along the Z Axis.2.35:1This ratio is personally my favorite, and it’s the one I always shoot in for my personal projects.Note how much we can now move laterally in the frame! Compare this to the examples of the Academy Ratio above. This pairing of wider lenses with the wide aspect ratio lends itself back to revealing the environment to your audience, figuratively immersing them. Because the subjects have a great amount of freedom, and the camera captures this in a single, relatively static shot, you can capture this quantity of movement and action beautifully. The camera doesn’t have to whip around to take in all the chaos and movement. It’s very liberating.I like using wide-angle lenses, 35mm and below — preferably the 24mm focal length. Wide-angle lenses will help reveal more of the background of the subject, creating a deeper sense of space and environment in the image. I find this helps to create sharper, more dynamic angles in the composition between the subject and the setting. These angles compel the viewer’s eye-line, whether it’s across the frame or focusing them into the center.
There are two things on my mind. First, the fact that Charlatans still sell the dream that you can create opportunities without real effort. Second, how markets are getting pulled in two directions, super transactional and super relational.
Curfew was imposed in Rajasthan’s Malpura town of Tonk district on Wednesday after some miscreants pelted stones at a Dussehra procession last night, triggering communal tension in the area. SP Tonk Adarsh Siddhu said the curfew was imposed in view of the tension and Internet mobile services were also stopped to prevent rumour mongering. “We have arrested one person and detained a few others. Efforts to identify the other accused are being made,” he said. BJP dharnaUpset over the incident, BJP MLA Kanhaiya Lal and other leaders staged a dharna in front of the Malpura police station demanding arrest of the accused and removal of the Malpura SDM. “The dharna was called off when officials assured us of proper action. Ravana’s effigy could not be burnt last night and personnel of the municipality burnt the effigy amid tight security at 4 a.m. on Wednesday and the curfew was imposed,” the BJP MLA said. Mr. Lal alleged that there was no adequate security arrangement when the Dussehra procession was being taken out. “Such incidents have occurred in the area in the past also but this time, the district administration and police were not alert,” he claimed. SHO Malpura police station Dalpat Singh said some of the accused are minors.
Japan heaped two golds in a day at 48kg and 63kg women’s freestyle wrestling at London Olympics on Wednesday. The 63kg legend Kaori Icho beat Chinese Jing Ruixue in the final to win her third straight Olympic title. Mongolia’s Soronzonbold Battsetseg and Russia’s Lubov Volosova shared the bronze medal, Xinhua reported.The two-time Olympic champion Icho met no challenge from Jing, who never won over Icho before and cruised past the game 3-0, 2-0, her latest victory of a 72-match winning streak. She now owns the only three Olympic golds ever awarded at 63kg.”In the final, I was able to tackle both legs of my opponent. I am happy I could do that because I have practiced this technique,” said Icho.”There were things I could not do in the final, but I’m happy to achieve my goal,” she added.Earlier, another powerhouse Hitomi Obara of Japan won her first Olympic gold medal in women’s 48kg freestyle by rallying to beat Mariya Stadnyk of Azerbaijan 0-4, 1-0, 2-0.China’s Zhao Shasha lost in the preliminaries to US wrestler Clarissa Kyoko Mei Ling Chun, who gave the US its first wrestling medal at the London Games. Another bronze went to Carol Huynh of Canada.
World Cup Italy, Netherlands, Chile & 15 top teams who won’t be at World Cup 2018 Goal Last updated 1 year ago 20:00 5/24/18 FacebookTwitterRedditcopy Comments(4) Getty Images World Cup Italy Netherlands Chile Bosnia-Herzegovina Ghana Greece Republic of Ireland United States Wales Cameroon Czech Republic Turkey Scotland Ecuador Goal takes a look at the best teams who failed to qualify for the tournament in Russia this summer