OSG plea to revoke ABS-CBN franchise ’a duplicitous move’ – Lacson Don’t miss out on the latest news and information. Jiro Manio arrested for stabbing man in Marikina The closest Blackwater got to Alaska was in the 2:09 mark of the fourth after Mac Belo and Michael Digregorio made two straight three-pointers to cut the deficit to one, 81-80.And as if fate strummed its strings, Chris Banchero converted twice from the line to gave Alaska an 83-80 buffer with 1:49 left in the game.Banchero finished the game with a conference-high 16 points with seven rebounds and five steals while Vic Manuel also had 16 points for Alaska.Kevin Racal and Teng also finished in double digits for the Aces with 14 and 10 points, respectively.JP Erram led the Elite with 14 points, 21 rebounds, and five blocks while Digregorio and Belo paced Blackwater with 15 points apiece.ADVERTISEMENT Nonito Donaire vs Naoya Inoue is BWAA 2019 Fight of the Year Lights inside SMX hall flicker as Duterte rants vs Ayala, Pangilinan anew OSG plea to revoke ABS-CBN franchise ’a duplicitous move’ – Lacson Carpio hits red carpet treatment for China Coast Guard PLAY LIST 02:14Carpio hits red carpet treatment for China Coast Guard02:56NCRPO pledges to donate P3.5 million to victims of Taal eruption00:56Heavy rain brings some relief in Australia02:37Calm moments allow Taal folks some respite03:23Negosyo sa Tagaytay City, bagsak sa pag-aalboroto ng Bulkang Taal01:13Christian Standhardinger wins PBA Best Player award Newsome sets focus on helping Bolts open new PBA season on right track Jeron Teng. PBA IMAGESAlaska continued its upward trajectory in the PBA Philippine Cup after holding off Blackwater, 88-84, Saturday at Smart Araneta Coliseum.After starting the conference at 0-2, the Aces have now strung together four straight wins for a 4-2 record while Elite slipped to their third straight loss for 2-4.ADVERTISEMENT RELATED VIDEO MOST READ LATEST STORIES Abueva leaves Alaska-Blackwater game due to ‘personal emergency’ Sports Related Videospowered by AdSparcRead Next Steam emission over Taal’s main crater ‘steady’ for past 24 hours Michael Porter Jr. stays patient as playing time increases With the two teams trading blows in the final six minutes of the game, Alaska rookie Jeron Teng dealt the haymaker with 1:04 left in the game with a triple from the top of the key that gave the Aces an 86-80 lead.“I am very relieved,” said Alaska head coach Alex Compton. “Obviously it helped us that they missed a bunch of free throws, it seemed like in the second half they really missed a bunch and in a close game that matters.”FEATURED STORIESSPORTSTim Cone, Ginebra set their sights on elusive All-Filipino crownSPORTSGinebra beats Meralco again to capture PBA Governors’ Cup titleSPORTSAfter winning title, time for LA Tenorio to give back to Batangas folkBlackwater mounted a 21-8 run across the third and fourth quarters that cut Alaska’s lead to two, 70-68, early in the final period.And although the Elite kept it close, they never tied nor took the lead as they missed seven free throws in the first 11 minutes of the fourth quarter allowing the Aces to keep them at bay. Almazan vows to comeback stronger after finals heartbreak View comments
An assault charge brought against Easton Peters, of DD Bent Street, Wortmanville, Georgetown, was discharged on Friday by Magistrate Leron Daly when he appeared at the Georgetown Magistrates’ Courts.Peters’ then common-law wife, Elesha Leech, told the Court that she did not want to proceed with the matter.It was alleged that on June 5, 2018, Peters and his ex-lover had an argument during which he assaulted her with intent to cause bodily harm.Citing the prevalence of the offence, the prosecution asked that Peters be placed on a bond to keep the peace and be sent to counselling.
It’s easy to learn but extremely difficult to master. The interview setup is the bread and butter of any cinematographer’s repertoire.Interviews are an interesting conundrum in the cinematography world. They aren’t necessarily that difficult, yet they always seem to cause issues and create confusion. There are a million variables, and you can scrutinize every little thing. The audience is staring at an image of someone talking, and there is nothing else to distract them from how you shot and lit the interview.As such, it can be one of the most frustrating things to shoot when you’re starting out. Interviews are all about very subtle details and, first and foremost, making the subject look as good as possible. When an interview subject sits down to be in a video, their entire appearance (and in many ways the credibility of what they’re saying) is in your hands. You need to treat that with respect.So, how do you shoot an interview? How do you light it? Where should the subject look? What gear do you need?Getting StartedAs someone who has shot quite a bit of documentary-style interviews, my video above is meant to be a little info dump of things that I’d suggest or recommend — and some basics of interview lighting: the gear I use, the way I like to light, etc.If you take one thing from the lighting portion of that video, take this: three-point lighting (as it’s classically described) is just a suggestion. There are no rules in filmmaking. Except “feed everyone” — you need to do that. As it relates to interview lighting specifically, feel free to play around with the classic approach to three-point lighting.For instance, instead of setting up your lighting like this . . .. . . perhaps try it like this:Of course, the only real difference here is the placement of the fill light. You can fill from the key side or from the opposite side. Both work, but both also create different looks — and different perceived meanings from a storytelling perspective.Interviews can be more subjective than nearly anything else in the filmmaking world. Nobody can really quantify what will make a good one or a bad one, but if nothing else, it’s important to consider every interview setup with just as much intention and creativity as that long gimbal shot with the birds flying through the foreground and the lens flares in slo-mo. Your interview will likely get much more screen-time than that will.The details count — more than in most other types of shots. Get creative with it, and understand the motivation behind your decisions. Think about subject matter, and light and shoot accordingly.The Tools You’ll NeedIn my experience, the most critical thing to consider with your interview lighting is diffusion. Other than the placement of the lights, this is going to be what will determine whether or not the light on your subject is flattering.Time and time again, I’ve learned that really understanding diffusion and how it affects the look of my lighting is what separates professional-looking work from beginner material. You can use the best piece of lighting gear on the market, but if it’s not diffused properly, it’s going to look amateurish. There are no two ways about it.You don’t need a giant, expensive 10x ultrabounce to get the best light — in fact, you can get away with an $8 shower curtain and a C-stand. Just make sure that your diffusion is as big as possible, and as close to your subject as you can get it.The specific interview-lighting instruments that you use are way less important than you may think. Time and time again, Caleb Pike from DSLR Video Shooter has shown us fantastic and affordable LED fixtures on many different budgets. All you really need is something bright, which can help you compete with bright windows and the like in your locations. In my experience, I usually end up needing daylight-balanced fixtures more often than tungsten (it’s much less often that I’m lighting in tungsten environments). In the video above, you’ll find multiple extremely bright and affordable LEDs (not to mention the stands you’ll need).You’re going to need a good shotgun mic. You’ll usually get the best interview audio by placing your shotgun mic over your subject’s head.The video above is a comparison of the RØDE NTG2 microphone to the beloved industry-standard Sennheiser MKH 416. Why did I share this video? Well, this video is the one I watched a while ago before I went ahead and purchased theRØDE NTG2 shotgun mic for my interview work. To me, it sounds fantastic for the price (about $250 or so now) compared to anything else in that range. RØDE has since released a few other more updated versions in the NTG line, but I still prefer the sound of the 2 (call me old-fashioned), and it’s cheaper.You might not be able to get your shotgun mic into a position that will get you the best sound, or the quality of the sound in the environment you’re in will need some backup. In these cases, you’re going to want use a wireless lavelier mic setup.The all-time, industry-standard, entry-level wireless lav setup is the G-series by Sennheiser. I’ve used a G3 pack for about as long as I’ve been in the industry. It’s always nice to have them as a backup in case your shotgun audio isn’t turning out great, or to have the option to use a mixture of the two to add a bit more body to the interview sound in post-production.Capturing Good SoundOn the subject of lavelier microphones: hide them well. Nothing is more distracting in an interview setup than when the shooter leaves the lav mic visible on the subject’s collar. This does generally provide the best sound, but in my opinion, it’s generally unprofessional and distracting.Watch the video above for some tips on hiding your lavelier microphones.While this video is directed more at narrative-style film audio, the same rules apply for interview audio.Make sure that you’re always riding the knobs and checking the levels as you shoot. Each interview subject is going to have a different timbre to their voice, so leaving the levels at the same settings as your last project will not always yield the greatest signal-to-noise ratio.How To Line It All UpWhen thinking about the best ways to shoot interviews and choosing the right lens, one source of info we can always look to is the one and only Roger Deakins (Papa Deaks as we call him around the office). In this video, he mentions his affinity for the more personal feel of the 32mm lens for an interview — getting much closer and more intimate with your subject, rather than shooting from much further away on an 85mm.Another important thing to be fully on top of creatively is the eye line. There are quite a few different styles of eye line, but the main distinction is whether or not your subject is looking directly into the lens or off to the side at the interviewer. If your subject is looking into the lens, it will read as if they are addressing the viewer. Some famous documentary filmmakers such as Errol Morris use this eye line. More often, however, you see the subject looking to the side at the interviewer. The benefit of this approach is that the interview feels a bit more conversational.So, experiment and decide which methods you like to use when planning your lighting, placement, and eye lines. Just make sure that your decisions support the overall goal — telling the story.Looking for more film and video tips and tricks? Check out these articles:Roundup: 5 Cutting-Edge Apps for the Modern FilmmakerRemove Unwanted Shot Features With Resolve 15’s Patch ReplacerPost-Production Tip: Four Highly Useful After Effects ScriptsFilmmaking Tips: The Basics of Shooting A Dialogue Scene5 Quick Tips: Mixing Audio for Film and Video Projects