OAKLAND — Two weeks after making a rare appearance at the team’s downtown practice facility, Warriors luminary Al Attles was scheduled to attend Game 4 of the NBA Finals at Oracle Arena on Friday night.“We love Al. He’s the face of the franchise . . . he’s been so for 60 years. I think. So he’s an incredible presence,” Warriors coach Steve Kerr said before the game.“We’re thrilled to have him back in the building. It’s been a while since he’s been at Oracle. So we’re excited to have him …
Share Facebook Twitter Google + LinkedIn Pinterest We have about 3,000 acres with my uncle, two cousins and I. We grow corn, wheat and soybeans. We have some creek bottom ground that gets pretty gravelly and dry in the summer when it doesn’t rain. We also have some creek bottom fields that are some of our best ground. You can go across the field and find seven different soil types in one round — anything from tight clay to black dirt and everything in between. We do not irrigate but we are looking into it.We have gotten our moisture back up from last summer. Our tile lines are finally running. I am a little worried about our wheat for as warm as the winter was. We had a good bit of burn on it from the frost. I don’t think it is hurt much but it sure does look ugly and droopy.When you are out working in your t-shirt for a week in February it is kind of odd. When it was warm, my son got bitten by a couple of mosquitoes and we saw all sorts of bugs flying. We actually pulled a couple of ticks off our dog in February. We have had some cold weather but it didn’t stay cold very long. I think we could have big issues with bugs this year.We’ll double-crop every acre of our wheat. Our goal is to be done cutting wheat and finish planting double-crop beans on the same day — by July 1. We plant a couple hundred acres of seed wheat and we’ll cut that wet and dry it down, then go into the rest of the wheat. That gives us a jumpstart.We’re going to get our first shot of 28% on the wheat here soon. We split apply and then come back for a second shot closer to planting corn.
Effective fight scene choreography ties together filmmaking principles, safety protocols, and proven production techniques in a seamless dance.Choreographing and directing a fight scene is no easy task. There are many moving parts involved, and it all has to sync up and look believable. Even simple fights can be dangerous, so be sure you work with your stunt coordinator to execute every move as safely as possible — especially if you involve weapons.As fight scenes often rely on some stunt work, start by checking out our earlier article “Low Budget Stunt Coordination.”Now if your goal is to become a fight choreographer, then, if you haven’t already, start taking martial arts classes. You need a plethora of techniques to draw from to develop interesting exchanges.This article will focus primarily on directing fight choreography, focusing on character background, fighting styles, and working with your choreographer. However, I’d still recommend taking a few classes (or even taking a few lessons from your choreographer) so you can get firsthand experience and learn to better communicate your ideas.Your fight scenes need to be appropriate to your film’s genre. Unless you’re trying to make a ridiculous spoof, a Matrix–style kung fu fight scene in an English period piece would be completely out of place.You also need to give your audience believable backgrounds or explanations for your characters’ martial arts skill levels. Was your character in the military? Is he or she secretly an assassin? Are they simply martial arts enthusiasts? Or did they learn to brawl on the streets? You need this information not only to give your audience a believable character and fight but also to determine how you choreograph their fight scenes.Before getting into any specifics on fighting style, we need to touch on possibly the most important framework for a fight: motivation. We need to believe in the character’s motivation for the fight. Great choreography is meaningless if the audience doesn’t care about why our hero is fighting. One of the best examples of this is from Ip Man. Behold: Fight Choreography StylesFighting in movies breaks down into about three categories. You have the street fighter, the skilled martial artist, and the master. The most realistic is the street fighter, and the most stylized and staged is the master.Street FighterKeep in mind that no matter how realistic you want your fight to be, it’s always going to be staged. Rarely are actual street fights anything like street fights in films. They’re typically fast, dirty, and tangled with people. They’re not pretty, and it’s difficult to really make out distinct techniques. By way of comparison, conversations in real life aren’t as clean and crisp and to-the-point as they are in films, but they still feel natural and sound real. That’s what all fight scenes aim to do.(An excellent example of realistic fighting comes from Fight Club.)This fight simulates realism. It’s gritty, it’s rough, but you can still make out the moves. Notice how the fighters in Fight Club seem to be mimicking boxers and MMA fighters, but they don’t have truly proper form or technique. Maybe they watched some tutorials or took a karate class as a child, but these characters are not trained fighters. Their skill comes from pure trial and error — learning the hard way.There are times when the characters punch wildly in the air, with no real discipline. They’re both antsy and a bit unfocused. They miss opportunities for joint locks or more advanced techniques because all they know is striking and backyard wrestling. A good base to draw on for the street fighter is basic boxing. The techniques themselves might not be fancy, but you can still make the fight interesting. Focus on tension and character motivation.Skilled Martial ArtistThe skilled martial artist is well-trained and highly skilled. Maybe he or she came out of some military Special Ops program, or trained their whole life with an old master. But here we are still simulating a realistic fight, just with a touch flair and coordination to raise the stakes and intricacy of the choreography. Netflix’s Daredevil does this perfectly.The fight is gritty and rough, but Daredevil clearly uses more advanced techniques than the street fighter —joint locks, throws, well-coordinated slips, bobs, and weaves. Occasionally, we see a flip, either as an evasion or to deliver a kick — thrown in for flair disguised as practicality. He’s still throwing punches in the heat of the moment, sometimes his form gets sloppy from fatigue or when he gets overwhelmed by opponents, but his skill and control shine through nonetheless.Notice how all the fighters stop from time to time to catch their breath, but it never ruins the pacing of the fight. The tension actually builds, and it further simulates realism while maintaining a heightened choreographic style.You can draw from any martial art here since your hero is highly trained; just make sure the style fits with his or her back story. The idea is that, despite their training, they’ll still get tired, their form will not be perfect after fighting for three minutes straight, and sometimes they may stumble and fall. Real fights aren’t graceful.The MasterThe master, however, is flawless and graceful. Think old Hong Kong movies or The Matrix. The techniques are crisp and beautiful. If choreographed well, even some of the more complicated and intricate techniques can look practical. The skilled martial artist can pull off basic and intermediate joint locks using someone’s elbow or shoulder when given the chance, but their techniques still rely on gross motor control; they must be able to execute techniques quickly and in the heat of the moment without thought.However the master can easily pull off joint locks using the opponent’s fingers and is a master of fine motor control; they have laser focus, and adrenaline doesn’t slow their movements or self control.The master-style choreography relies on fast and clean delivery of techniques and excellent stance and form. Your actors and stunt doubles need to really know the style and have excellent muscle control. Rarely does this character’s form slacken when they get tired.When looking for a martial art, you can pick nearly any style. Find one with forms or katas, like Karate, Kung Fu, or even traditional Muay Thai (not the MMA style of Muay Thai). Choreographing this style really requires your choreographer to have a strong grasp of the style’s traditional forms — and their applications.FlowA key component to engaging choreography is flow. Notice in all the examples, the fighters don’t start and stop. Yes there are moments when they may pause to catch their breath or exchange dialogue, etc.; however, they don’t just stop after a technique or two. Check out the video below to see what I mean.(Forgive the obnoxious slow motion in example one; it was a John Woo parody.)In example one, after nearly every exchange, we just kinda stop dead in our tracks. There’s no real tension built — it just slows down. It’s like watching an old-school, turn-based RPG but without the excitement of playing it. However, in example two, the pacing is much faster, and the tension continues to build. The characters must adapt during the fight to overcome the opponent and outsmart them.Also pay attention to the number of techniques per second. In example one, there are maybe two or three. In example two, there are about five to six techniques per second! Regardless of the style of choreography you choose, you’re always simulating real fighting to some degree, and real fights are fast! Whether it’s a street fight with basic jabs and hooks or masters battling it out with secret techniques and finger locks, you need the fight to move fast — and keep moving!Mixing and MatchingYou don’t have to adhere to one style of choreography. You can mix and match. A master or skilled martial artist may go up against a gang of street fighters. Maybe your hero’s skill level lies somewhere between street fighter and skilled martial artist. Personally I’d put most of Jackie Chan’s style between skilled martial artist and master; he purposefully gets his characters hurt and has them stumble (and not just for comedic effect but also to build tension and engagement), but his characters are almost always pulling off master-level stances and techniques.Play around. Experiment. Work with your choreographer on what styles best suit the story and the characters, and build from there. But choreography is just the first step in a good fight scene. Once you have the fight planned, you’ll eventually have to shoot it. For some tips on shooting the fight, refer to our earlier article on directing fight cinematography.Looking for more filmmaking tips and tricks? Check out these articles.Stop Telling People to Shoot Their Film on an iPhoneNew to Filmmaking? Here’s Why You Should Keep Your Discarded Footage191 Free Motion Graphics, Sound Effects, Action Elements, and MoreVideography Tips: What to Look for in a Good Shoulder MountLearn How to Build Your Own Studio Set for Less Than $150
Let’s say I have a one acre yard. I offer you $30 to mow the lawn and trim around the edges. You agree, accept my offer, and begin working. It’s a pretty big yard, and it takes time and effort.You do an excellent job, and I decide to reward you by giving you more of my business. I offer to let you mow the adjoining acre of land, suggesting that I pay you an additional $20 to mow and trim that acre. You are already mowing the first acre, and you can just keep mowing in a straight line. Plus you don’t have to drive anywhere, and it’s really like having two customers. You’re grateful for the additional work, as it means you need to acquire one less customer.I didn’t yet mention that I have a 3rd acre. I offer to allow you to mow the third acre, and since I am giving you so much volume, I offer to pay you $15 for the third acre. It’s really not going to take you that much longer. And look at the volume I am giving you! I’m likely your biggest customer. Now you are getting $65 for the one stop on your weekly route.The first acre is worth $30. The second acre, which is exactly the same size as the first acre and takes just as much time and effort to mow and trim is somehow worth 30% less for the same effort. The third acre, through the sheer magic of volume discounts, is now worth only half of the 1st acre.How much should I pay you for the 4th acre?I am exaggerating to make a point. The effort that it takes you to do some work doesn’t change just because you have more work to do. The investment of time and energy doesn’t change either. Some work doesn’t really provide economies of scale, nor does it lend itself to volume discounts. Sometimes more work is just more work.In the time that it takes you to mow the three acres, you should have earned $90 instead of $65. Essential Reading! Get my 3rd book: Eat Their Lunch “The first ever playbook for B2B salespeople on how to win clients and customers who are already being serviced by your competition.” Buy Now
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Roger Federer reached the quarterfinals at a 30th consecutive Grand Slam tournament by making quick work of the 36th-ranked Juan Monaco 6-1, 6-2, 6-0 at the U.S. Open.Federer’s fourth-round match against Monaco didn’t get started until nearly midnight, and thanks to his superb play, it was over shortly before 1:15 a.m. Tuesday.Federer played brilliantly right from the start, taking the first five games – and 20 of the first 25 points – in only 12 minutes. He didn’t miss a beat in the second set, hitting four aces in his opening service game and finishing with 14.Five of Federer’s record 16 major championships have come at Flushing Meadows. In the quarterfinals, Federer will face 11th-seeded Jo-Wilfried Tsonga of France, who eliminated No. 8 Mardy Fish of the United States in five sets Monday.Tsonga upset Federer in the Wimbledon quarterfinals two months ago, coming all the way back after dropping the first two sets.”He’s a tough player. … I look forward to that match,” Federer said. “If I play as good as I did today, sure I have a chance.”Federer compiled a 42-4 edge in winners against Monaco.The start of their match was delayed because the preceding match in Arthur Ashe Stadium – No. 1 Caroline Wozniacki’s 6-7 (6), 7-5, 6-1 victory over No. 15 Svetlana Kuznetsova – lasted 3 hours, 2 minutes.”You have to be ready,” Federer said.Wozniacki, seeking her first Grand Slam title, trailed by a set and 4-1 in the second before coming back to beat the 2004 U.S. Open champion.advertisement”I knew that I had to do something,” said Wozniacki, who faces No. 10 Andrea Petkovic of Germany next. “I had to do something different.”She managed to turn things around thanks to a combination of her own increasingly aggressive play and Kuznetsova’s increased mistakes. Kuznetsova’s 40-20 edge in winners was rendered meaningless by her 78 unforced errors, 52 more than Wozniacki, who reached the U.S. Open quarterfinals for the third year in a row.Tsonga made it this far in New York for the first time, and unlike Fish, he’s already tasted this sort of success. Tsonga made it to the final of the 2008 Australian Open before losing to Novak Djokovic, and got to the Wimbledon semifinals this year – where he again lost to Djokovic.On Monday, Djokovic extended his 2011 record to 61-2 by beating No. 22 Alexandr Dolgopolov of Ukraine 7-6 (14), 6-4, 6-2. Their 16-14 tiebreaker in the first set lasted nearly a half-hour all on its own, with Djokovic saving four set points and finally converting his sixth when Dolgopolov pushed a forehand long to close a 13-stroke exchange.Both men called that tiebreaker the key to the match. One tiny piece of evidence: Dolgopolov double-faulted twice in the opening game of the second set to get broken, and Djokovic was on his way.Asked whether he considered winning that energy- and will-testing tiebreaker to be a physical or mental triumph, Djokovic replied: “Combination of both. But in the end, it was more mental, just to hang in there, try to play right shots at the right time.”Djokovic now meets his Serbian Davis Cup teammate and friend Janko Tipsarevic, who is seeded 20th and made it to the first Grand Slam quarterfinal of his career by beating 2003 French champion and U.S. Open runner-up Juan Carlos Ferrero of Spain 7-5, 5-7, 7-5, 6-2 in a match that lasted more than 3 hours.”Strange feeling,” Djokovic said. “We are professionals. Certainly we both want to win the match when we play against each other. So you kind of forget about friendship. You put that aside.”Most players complained about the wind, which gusted at up to 20 mph (32 kph) and kept changing directions, making even serve tosses difficult.Serena Williams handled those conditions much better than former No. 1 and 2008 French Open champion Ana Ivanovic and beat her 6-3, 6-4 to return to a Grand Slam quarterfinal for the first time in 14 months. She missed about 11 of those with a series of health scares but looks really good so far at the U.S. Open.Against Ivanovic, Williams hit nine aces overall, only lost serve once, and finished off the match with four consecutive unreturned serves that ranged from 99 to 111 mph.”I didn’t even go for winners at any point,” said Williams, who hit only 16. “I just tried to get it over because it was so windy. It was definitely tough.”She’s seeded only 28th because of all of that time away, but now has won her past 16 matches heading into a quarterfinal against No. 17 Anastasia Pavlyuchenkova of Russia. Pavlyuchenkova got past 2010 French Open champion Francesca Schiavone 5-7, 6-3, 6-4 in a match with 21 double-faults and 16 service breaks in 31 games.advertisement”I’m going to say that I don’t want to go out there and enjoy just being on center court playing against Serena,” Pavlyuchenkova said. “I would like to do well, try to fight, and with my effort, I’ll try to beat her.”
SEA Games hosting troubles anger Duterte US judge bars Trump’s health insurance rule for immigrants Oil plant explodes in Pampanga town Sports Related Videospowered by AdSparcRead Next PH underwater hockey team aims to make waves in SEA Games PLAY LIST 02:42PH underwater hockey team aims to make waves in SEA Games01:44Philippines marks anniversary of massacre with calls for justice01:19Fire erupts in Barangay Tatalon in Quezon City01:07Trump talks impeachment while meeting NCAA athletes02:49World-class track facilities installed at NCC for SEA Games02:11Trump awards medals to Jon Voight, Alison Krauss Oil plant explodes in Pampanga town ‘We are too hospitable,’ says Sotto amid SEA Games woes Pacquiao no match for LA burglars Lacson backs proposal to elect president and vice president in tandem MOST READ Private companies step in to help SEA Games hosting Don’t miss out on the latest news and information. LATEST STORIES Filipino-Canadian forward Sean Anthony emerged as the first Cignal-PBA Press Corps Player of the Week for the 44th season after contributing key numbers in NorthPort’s strong start in the Philippine Cup.A known hardworker on both ends of the floor, the 6-foot-4 Anthony registered averages of 20.5 points 7.0 rebounds, 5.0 assists and 4.0 steals as NorthPort beat Blackwater and NLEX to climb to a share of the lead with Phoenix.ADVERTISEMENT Grace Poe files bill to protect govt teachers from malicious accusations During the Batang Pier’s opening game on Jan. 16, Anthony came off the bench and scored 19 points, hauled down five rebounds, issued the same number of assists and had one steal as they ripped the Elite, 117-91.Four days later, the 2010 sixth overall draft pick sizzled with 22 points, nine rebounds, seven steals and five assists to power NorthPort to a 95-90 win over NLEX.FEATURED STORIESSPORTSPrivate companies step in to help SEA Games hostingSPORTSUrgent reply from Philippine football chiefSPORTSWin or don’t eat: the Philippines’ poverty-driven, world-beating pool starsNorthPort’s back-to-back wins marked the franchise’s best season start in two years.“We know Sean, always ready to give his best,” NorthPort coach Pido Jarencio said. “We can always count on him to deliver.” View comments