The Cameras and Lenses Behind 2017 Oscar-Nominated Films

first_imgTake a look at the gear and glass behind this year’s Academy Award-nominated films, and get the behind-the-scenes scoop from the filmmakers themselves.Top image: Rodrigo Prieto on the set of Silence via Kodak When it comes to filmmaking, it doesn’t really matter what gear you have — as long as you have a great story. That said, if you have a story so good that the Academy likes it, it certainly doesn’t hurt to have nice equipment too.Here are the cameras and lenses behind many of the most popular 2017 Oscar nominees.La La LandImage: Damien Chazelle via Summit EntertainmentOscar Nominations: 14, including Best Picture, Best Director, Best Cinematography, Best Film EditingDirector: Damien ChazelleDirector of Photography: Linus SandgrenCamera: Panavision Panaflex Millennium XL2Lenses: Panavision Anamorphic (C Series, E Series), Custom Panavision 40mm AnamorphicFormat: Film — 35mm (Kodak Vision3 500T 5219, Kodak Vision3 250D 5207), 16mm (Kodak Vision3 500T 7219)Aspect Ratio: 2.55 : 1In an interview with MovieMaker, Linus Sandgren, FSF talks about shooting on film with anamorphic lenses.Because of what Damien wanted to do with this film… he felt that the film had to be shot in the scope format, anamorphic.I felt it would be more appropriate to shoot it in 2.55 CinemaScope like they did with A Star is Born, for example, and films like that back in the 1950s, before the standard became 2.40: 1, so that’s how the 2.55 aspect ratio came up. It was really an homage to old Hollywood.Damien really wanted to shoot on film because we wanted to capture as much rich color from the sets as possible.It’s all shot on 35mm, but there’s a sequence shot on 16mm anamorphic. We agreed that Panavision would have the lenses for us that also spoke to us more as a classic Hollywood cinemascope lens.We went with Panavision XL2’s camera with anamorphic C series and E series primes.The camera then needed to move very tightly in or very wide, which would have caused problems with anamorphic lenses because they normally go three feet for close focus. So we had Panavision make a special 40mm anamorphic lens for the purpose of being able to go close to things. They made a special lens for us that had a much closer focus, so that we could get closer to hands and stuff and then pull out to wide shots.Read the entire Sandgren interview on MovieMaker.MoonlightOscar Nominations: 8, including Best Picture, Best Director, Best Cinematography, Best Film EditingDirector: Barry JenkinsDirector of Photography: James LaxtonCamera: ARRI ALEXA XT PlusLenses: Hawk V-Lite, Angenieux Optimo A2SFormat: Digital — ProResAspect Ratio: 2.35 : 1Cinematographer James Laxton, ASC talked with Filmmaker Magazine about his simple camera setup.It was entirely a one-camera show. There was never a B-camera on the job. I operated the majority of the show except for the Steadicam sequences.We chose the Hawks [V-Lite Lenses] because they provided the most applicable rendering of what we were looking for. They’re very sharp lenses and also very contrasty lenses. Those are two qualities we were interested in. There’s a trend in film right now to have a low-contrast look, but we wanted to emphasize contrast.We [recorded in] ProRes. In our testing we found that the benefits of shooting Raw didn’t necessarily apply to what this film needed. The ALEXA’s latitude (when shooting ProRes) was enough without going down the post-production path with Raw.Another factor for us was how long we would have on the cards. Working with child actors and working with some people who were acting for the first time on screen, we wanted to be able to keep rolling and keep rolling to make sure we gave them the space to work the performances out. Sometimes on set there’s a momentum that you have when you keep going and going. And sometimes you can keep that momentum by not cutting in between takes and just re-setting, rather than cutting, having the AD call “roll camera,” bringing the slate in, and all these other things that can hurt an actor’s momentum.Laxton and colorist Alex Bickel talked to IndieWire about the films look and LUTs.The first chapter was set to emulate Fuji film stock, which according to Bickel, is a little warmer and brings out a lot of texture in the skin tone. The third chapter used a modified Kodak stock which — is less “restrained” and provides more pop and shine to the image.The most distinct looking chapter of Moonlight is the second, which Bickel credits to the old Agfa film stock it was set to mirror. The long retired German film stock was known for adding a cyan to the images highlights, which is what gives the middle section of Moonlight its greenish-blue hue.Regarding monitoring the color, Laxton told Filmmaker Magazine:On set we were just monitoring with Rec709. There can be a great advantage sometimes to having a DIT provide LUTs and start that base coloring process, but for this project and the pace we needed to work at, just monitoring Rec709 seemed like a simple and fast workflow for us to make sure we were in the right ballpark, knowing full well I would be spending time with Alex Bickel in the Digital Intermediate to polish and enhance the look of the film.If we were doing something where we wanted a more desaturated look we probably would’ve changed our workflow to suit those needs, but for Moonlight using (Rec709) got us in the realm we were looking for. For me, that’s all I need on set. I’m not one to sit in a DIT booth and make minor adjustments. What I feel my role is on set is to provide a dense negative knowing later in the DI we’ll refine the images.Read more about the cinematography and color on IndieWire and interview on Filmmaker Magazine.ArrivalImage: Bradford Young via Paramount PicturesOscar Nominations: 8, including Best Picture, Best Director, Best Cinematography, Best Film EditingDirector: Denis VilleneuveDirector of Photography: Bradford YoungCameras: ARRI ALEXA XT M, ARRI ALEXA XT Plus, ARRI ALEXA SXTLenses: Camtech Vintage Ultra Prime, Kowa Cine Prominar, Zeiss Super SpeedFormat: Digital — ARRIRAWAspect Ratio: 2.35 : 1Bradford Young, ASC turned to ARRI’s ALEXA line for Arrival. Here’s a excerpt from his interview with No Film School.We shot with the ALEXA XST. I shot with two different kinds of lenses: some vintage Ultra Primes from CamTec, and I also used Super Speeds. Denis had really positive, great results with the work he’s done with Roger [Deakins] and I’ve slowly begun to really, really respect what we’re allowed to do with digital. It has so many virtues.IndieWire dove into Young’s process:Visually, using the ALEXA XT, Young treated the mission to find out the meaning of the arrival as mostly a mundane-looking procedural.By contrast, Louise’s time-bending moments, using the lighter and more mobile ALEXA M for hand-held shots, resemble warm, naturalistic portraitures.“I went for cooler colors when I wanted Amy to feel worn down. We tried to pull back on that a little bit, but then Denis stopped me in the [color timing] and told me not to be so concerned about skin tone and let her be pasty, let her exist in that melancholy space, let us feel that visually.”With regards to the camera’s movement in the film, Young told No Film School:I’ve always been apprehensive about camera movement, because I didn’t start off making films where you have dollies and technocranes and Steadicams. We couldn’t afford to have that stuff. When I use a dolly or a camera movement, I always want it to be as subtle and as understated as possible. With a lot of my work now, I try to create a sort of delicacy to how the camera moves.Read more about Young’s work on IndieWire and read his interview with No Film SchoolLionImage: Greig Fraser, Rita Roy, Sunny Pawar, and Garth Davis via Movies Film CinemaOscar Nominations: 6, including Best Picture, Best CinematographyDirector: Garth DavisDirector of Photography: Greig FraserCameras: ARRI ALEXA XT, ARRI ALEXA XT M, RED EPIC DRAGONLenses: UnknownFormat: DigitalAspect Ratio: 2.35 : 1Greig Fraser, ASC, ACS interviewed with No Film School, where the DP talked about his support gear on location in India.The gimbal was a godsend for the moving stuff in India because it was the perfect height.We could get it to [Saroo’s] height, whereas Steadicam wasn’t really a viable option at that height. And then we had a RED DRAGON on the drone.Read the whole interview at No Film School.Hell or High WaterImage: Chris Pine and David Mackenzie via EmpireOscar Nominations: 4, including Best Picture, Best Film EditingDirector: David MackenzieDirector of Photography: Giles NuttgensCamera: ARRI ALEXA XT StudioLenses: Hawk V-Lite, Angenieux Optimo A2SFormat: Digital — ARRIRAWAspect Ratio: 2.35 : 1Giles Nuttgens, BSC spoke with Studio Daily about his shoots on the set of Hell or High Water.10 hours of continuous shooting, no large, controlled monitors on set, no producers on set, no cell phones or chairs on set, no clapper boards, and a constant turnover (about five times a day) of dailies to their nearby edit suite, where they would retire at the end of each shooting day to put their heads together.Their purpose at that point, Nuttgens insists, was rarely to discuss “did we get the sequence, but rather, did the material have the right tone? Do we need adjustments, not particularly to lighting or framing, but more to mise en scène — whether there is anything we can do to match up to our original intentions before we get to set. That process is so invaluable.”Read the entire piece on Studio Daily.Hidden FiguresImage: Mandy Walker via ICG MagazineOscar Nominations: 3, including Best PictureDirector: Theodore MelfiDirector of Photography: Mandy WalkerCamera: ARRIFLEX 416, Panavision Panaflex Millennium XL2Lenses: Panavision Ultra Speed MKII, Panavision Primo (E-Series, T-Series, ATZ), Unknown CanonFormat: Film — 35mm and 16mm (Kodak 100D, 250D, 500T)Aspect Ratio: 2.35 : 1Regarding the Hidden Figures camera movement, A-Camera and Steadicam Operator Jason Elson told ICG Magazine:Movement was kept to a minimum. There were no unmotivated camera moves unless we were moving with the actors. For dialogue scenes, to preserve the eye lines, we would swing a lens on the A-camera rather than try and force two cameras together at the same time, compromising the angles.Mandy Walker, ASC, ACS went on to talk about the color capture:The look really resembles Kodachrome more than anything else. Production Designer Wynn Thomas and Costume Designer Renee Kalfus worked with us to create the color palette, texture and images. Color and saturation in lighting was carefully planned to support each location and the story of what the women were going through in each moment.We wanted to make Katherine (Taraji P. Henson) a jewel in a sea of white men, in white shirts, in a gray room. We made sure she popped with her colored outfits and bright red lipstickRead more about Walker and her crew on the International Cinematographers Guild Magazine site.Manchester by the SeaImage: Kenneth Lonergan via Post PerspectiveOscar Nominations: 6, including Best Picture, Best DirectorDirector: Kenneth LonerganDirector of Photography: Jody Lee LipesCamera: ARRI ALEXA XTLenses: Canon K35, Angenieux OptimoFormat: Digital — ARRIRAWAspect Ratio: 1.85 : 1Director/Writer Kenneth Lonergan spoke to Filmmaker Magazine about his process of writing this film for John Krasinski and Matt Damon until eventually directing the film himself years later.With each movie, I’ve become more directorial in the way I think about the scripts when I’m writing them. I think I understand what’s going to be happening on the set now in a way I didn’t before.For instance, there’s a lot of driving scenes in the movie. I noticed this, and I thought, “Gee, I wonder if all these scenes should be driving?” The towns are separated, and the kid doesn’t have a license. It’s in the middle of winter. It makes sense for their relationship. I thought, “I’ll let the director figure out an interesting way to shoot all these driving scenes.” Then when I became the director, we just didn’t have an interesting way to shoot the driving scenes, so we just did our best and the actors took care of it by acting well, and it turned out okay.But I was a little anxious about that, and if I had known I was going to be directing it from the beginning, I might have developed a bit more of a visual concept.Read the whole interview on Filmmaker Magazine.Hacksaw RidgeImage: Simon Duggan via PanavisionOscar Nominations: 6, including Best Picture, Best Director, Best Film EditingDirector: Mel GibsonDirector of Photography: Simon DugganCamera: ARRI ALEXA XT Plus, RED EPIC DRAGON, Blackmagic Pocket Cinema CameraLenses: Panavision Primo, Primo V, Leica Summilux-C, Angenieux OptimoFormat: Digital — ARRIRAWAspect Ratio: 2.35 : 1Simon Duggan, ASC, ACS spoke with IndieWire about shooting the war epic.Everything was quite contained, including the battlefield, and we tried to simplify down how much we saw and really focused on the performances and stayed really tight to the storytelling.To create the tight intensity, the second-unit placed Blackmagic pocket cinema cameras on stuntmen running through explosions.Regarding the three main battle sequences, Duggan saysI tried to make the three sequences different by starting with the opening battle sequence with just slightly less saturation than what we saw in the West Virginia barracks.The second one I tried to pull a lot of color out and the third one we pulled even more color out, so it was a gradual turning toward black and white.Read the whole interview on IndieWire.FencesImage: Charlotte Bruus Christensen and Denzel Washington via MovieMakerOscar Nominations: 4, including Best PictureDirector: Denzel WashingtonDirector of Photography: Charlotte Bruus ChristensenCamera: Panavision Panaflex Millennium XL2Lenses: Panavision C-Series, ATZ and AWZ2Format: Film — 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219)Aspect Ratio: 2.35 : 1In her interview with MovieMaker Magazine, Chartlotte Bruus Christensen talked about her choice to shoot on film.There were a lot of people asking me, “Why do you shoot 35mm? Why don’t you support the digital market, because it’s obviously going to take off?” But we were both like, “Well, at the moment, film is still available, and they’re opening a lab here in New York…” and, I don’t know, I love that medium. I think it’s truthful. It’s like you shoot in digital. Then you go into post-production and try to make it look like film. Why don’t you just shoot on film?Regarding all the camera movement at the beginning of the film, Christensen states,It’s a Steadicam that I’m carrying and I’m running. Basically from the minute [snaps her finger] you open the movie, they talk, and it’s like music. Denzel kept saying, “My direction to you is this is like music, music.” I had to keep that in my mind as I moved. And then when we come to the backyard, suddenly, we feel a little bit theatrical again and we put the camera exactly where the audience was. Now we just stay there. So up until Viola comes in the camera’s been moving. And then when she comes into the scene the camera is trained on her to get every emotion.Read the entire interview on MovieMaker Magazine.SilenceImage: Martin Scorsese, Rodrigo Prieto and crew via The PlaylistOscar Nominations: Best CinematographyDirector: Martin ScorseseDirector of Photography: Rodrigo PrietoCameras: ARRI ALEXA Studio, ARRICAM LiteLenses: Zeiss Master Anamorphic, Angenieux Optimo LensesFormat: Digital — ARRIRAW, Film — 35mm (Kodak Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219)Aspect Ratio: 2.35 : 1Rodrigo Prieto, ASC, AMC sat down with No Film School to discuss his work on Silence.There’s a progression of color in the film. We were inspired by baroque painters, starting off in cooler tones—blues and cyans—and going towards the green of nature, as it’s an important character to the story. Then we transitioned into a more Japanese feel, if I may. We went with more amber, yellow, and gold hues that would represent the same Japanese screen art during the Edo period.We agreed immediately we wanted to shoot on film. We actually shot all the night scenes digitally to capture them in candlelight or the dusk scenes with torches. It was the best of both worlds. We used film for what it’s best at—skin tone and nuance on faces and color of the landscape—then digital for low-light situations.Read the entire interview on No Film School.Nocturnal AnimalsImage: Tom Ford and Seamus McGarvey via Screen DailyOscar Nominations: Best Supporting ActorDirector: Tom FordDirector of Photography: Seamus McGarveyCamera: Panavision Panaflex Millennium XL2Lenses: Panavision Primo LensesFormat: Film — 35mm (Kodak Vision3 200T 5213, Vision3 500T 5219)Aspect Ratio: 2.35 : 1Seamus McGarvey, ASC, BSC spoke to IndieWire about his work on both Nocturnal Animals and The Accountant.Film gives you the flexibility to go into any direction, which was important for these two films…Nocturnal Animals features an imagined story within one of the character’s minds.It had to have a cinematic feel but a psychological one too. That gave us a lot of scope and leaps of faith and playing with imagery.Film allowed us to play with leaping forward into the over-saturated desert, using the codes of a Western or color noir. And a lot of it was shot at night and we were blessed with a crisp, early fall.I found that film and film cameras are more robust and able to deal with the vagaries of temperature and conditions. Again, when you came to the DI [digital intermediate], we have grain, we have contrast, but yet when we want to open up the negative and create a paler side, the latitude is there for the earlier scenes in her house.Read more of McGarvey’s interview on IndieWire.Academy Awards for Scientific and Technical AchievementsThe Academy of Motion Picture Arts and Sciences has already awarded Scientific and Engineering Academy Plaques to ARRI, RED Digital Cinema, and Sony.ARRI ALEXATo ARRI for the pioneering design and engineering of the Super 35 format ALEXA digital camera system. With an intuitive design and appealing image reproduction, achieved through close collaboration with filmmakers, ARRI’s ALEXA cameras were among the first digital cameras widely adopted by cinematographers.RED EPICTo RED Digital Cinema for the pioneering design and evolution of the RED EPIC digital cinema cameras with upgradeable full-frame image sensors. RED’s revolutionary design and innovative manufacturing process have helped facilitate the wide adoption of digital image capture in the motion picture industry.Sony F65 CineAltaTo Sony for the development of the F65 CineAlta camera with its pioneering high-resolution imaging sensor, excellent dynamic range, and full 4K output. Sony’s unique photosite orientation and true RAW recording deliver exceptional image quality.Read the rest of the Scientific and Technical Achievement winners from the OscarsHere’s a sharable infographic that dives into the gear behind 2017’s Best Cinematography Oscar Nominees. The Oscars® and Academy Awards® are Registered Trademarks of the ©Academy of Motion Picture Arts and Sciences® – ©A.M.P.A.S.®last_img read more

Mercedes’ Hamilton secures pole position for Japanese GP

first_imgMercedes driver Lewis Hamilton of Britain takes off his glove during qualifying for the Japanese Formula One Grand Prix at Suzuka Circuit in Suzuka, central Japan, Saturday, Oct. 7, 2017. (Kazuhiro Nogi/Pool Photo via APSUZUKA, Japan — Championship leader Lewis Hamilton secured pole position for the Japanese Grand Prix, leading a 1-2 finish for Mercedes drivers on Saturday.Hamilton posted a lap record time of 1 minute, 27.319 seconds to finish 0.332 ahead of Valtteri Bottas.ADVERTISEMENT LOOK: Loisa Andalio, Ronnie Alonte unwind in Amanpulo for 3rd anniversary MOST READ Typhoon Kammuri accelerates, gains strength en route to PH Frontrow holds fun run to raise funds for young cancer patients  Hamilton’s title rival, Sebastian Vettel, was third but the Ferrari driver will move up to second afterBottas’s penalty for an unscheduled gearbox change. Bottas drops to seventh.Hamilton struggled for pace in the previous race in Malaysia but that wasn’t the case in Saturday’squalifying.FEATURED STORIESSPORTSWATCH: Drones light up sky in final leg of SEA Games torch runSPORTSSEA Games: Philippines picks up 1st win in men’s water poloSPORTSMalditas save PH from shutout“It’s been a really great day, every lap was fantastic, I never really got a great balance in the past so never did a great qualifying here,” Hamilton said.Hamilton smashed Michael Schumacher’s qualifying lap record, set during Q2 in 2006, by 1.365 seconds to take his 71st F1 pole and first in 10 attempts at this circuit. Fire hits houses in Mandaluyong City View comments Brace for potentially devastating typhoon approaching PH – NDRRMC LATEST STORIES Fire hits houses in Mandaluyong City Nonong Araneta re-elected as PFF president “It has been a great car in qualifying this year, and qualifying for me is the most enjoyable part of the weekend,” said Hamilton, who had previously secured pole at every current F1 circuit except Suzuka.“It’s incredible for me, 10 years or whatever it is and my first pole at Suzuka,” Hamilton said.With five races remaining, Hamilton leads Vettel by 34 points in the drivers’ championship.Hamilton has won twice before here at Suzuka, in 2014 and 2015, and was runner-up to former Mercedes teammate Nico Rosberg in last year’s race. Hamilton also won the Japanese GP with McLaren in 2007 when it was held at the Fuji Speedway.A win in Suzuka would move Hamilton a step closer to a third F1 title in four years with Mercedes and his fourth overall.ADVERTISEMENT Trending Articles PLAY LIST 00:50Trending Articles00:50Trending Articles00:50Trending Articles01:37Protesters burn down Iran consulate in Najaf01:47Panelo casts doubts on Robredo’s drug war ‘discoveries’01:29Police teams find crossbows, bows in HK university01:35Panelo suggests discounted SEA Games tickets for students02:49Robredo: True leaders perform well despite having ‘uninspiring’ boss02:42PH underwater hockey team aims to make waves in SEA Games Pasaol ready for ‘unli rice’ after torching UST BSP sees higher prices in November, but expects stronger peso, low rice costs to put up fight Read Next Don’t miss out on the latest news and information. Vettel was happy to be on the front row after starting the Malaysia GP from the back of the grid and working his way up to a fourth-place finish.“The car is quick and, as last weekend shows, if you start out of position you can still get back,” Vettel said.Red Bull driver Daniel Ricciardo was fourth fastest — and now starts third — just 0.026 clear of teammate Max Verstappen, who won last week’s Malaysia GP.Kimi Raikkonen was sixth but, like Bottas, will also drop five places on the grid after requiring a new gearbox.Esteban Ocon edged Force India teammate Sergio Perez to finish seventh, while Williams driver Felipe Massa and McLaren-Honda’s Fernando Alonso rounded out the top 10.last_img read more

FIREFIGHTERS FROM 10 STATES TAKE EXTRICATION RESCUE TRAINING

first_imgFirefighters from ten states are in Sioux City taking special Fire Rescue training for two days.Sioux City Fire Rescue Training Officer Gerry Bennett says the hands on event uses the most current heavy lifting, shifting, stabilizing and building shoring techniques used by firefighters and rescuers across the country:Audio Playerhttp://kscj.com/wp-content/uploads/2018/05/LOAD.mp300:0000:0000:00Use Up/Down Arrow keys to increase or decrease volume.OC……..variety of subjects. :18The 38 fire fighters are Urban Search and Rescue specialists and are taking what’s called Paratech University Training from members of the company that produces the heavy duty gear needed for scenarios like extrications and elevator shaft rescues:Audio Playerhttp://kscj.com/wp-content/uploads/2018/05/LOAD2.mp300:0000:0000:00Use Up/Down Arrow keys to increase or decrease volume.OC……everything we do. ;28The training is taking place through Thursday.Cover Photo by George Lindbladelast_img read more

Wales near end of long march to grand slam glory as England wait in wings

first_imgRarely has the country been in greater need of a glorious Six Nations finale as a distraction from real life. Even Theresa May might benefit from putting her feet up, pouring a glass of something chilled and settling down to watch someone else try to reshape history. If the prime minister thought Westminster was lively this week, she should check out a grand slam decider in Cardiff.She might also recognise a couple of familiar themes. Should Wales mark Warren Gatland’s Six Nations farewell with a third grand slam in 11 years, at least one prominent British leader will leave this year with honour intact. Alternatively, England could still sneak up and secure an outcome that appeared to have been scuppered in Cardiff last month. Gatland, Eddie Jones and Joe Schmidt are not Brexit experts but they are past masters at finding 11th-hour solutions. Why Manu Tuilagi’s Racing snub is a victory for Leicester and England Support The Guardian Read more The Breakdown: sign up for our weekly rugby union email. Eddie Jones Topics It is much simpler to concentrate on the present, rather than dwell upon the historical parallels with 2005 when Mike Ruddock’s side beat Ireland 32-20 to secure Wales’s only previous Six Nations slam in an odd-numbered year. While Rome is hardly a modern rugby fortress, it would still be some achievement to sweep the board having played three away games. Few were betting on it in Paris last month when Wales were 16-0 down at half-time to a distinctly mortal France.So can they now seal the deal? Given they are presently on a 13-Test unbeaten run, self-belief is not an obvious problem. The last 15 minutes of their victory over England are still wedged in the memory: the unbending example of Alun Wyn, Josh Adams’ towering leap, the sureness of Dan Biggar, the assurance of Jonathan Davies, Hadleigh Parkes and Liam Williams. If Ireland are to win in Cardiff for the first time since 2013, they will also have to confound Shaun Edwards’ defensive straitjacket and Gatland’s knack of getting teams spot on for these big occasions. Had Ireland not contrived to lose to England on the opening weekend, it would be Schmidt calling all the shots now. Instead the pimpled Gilbert is in Wales’s court, despite the domestic uncertainty still raging in the regions. If the red army are weary, as Jones has helpfully suggested, it is small wonder. Should Alun Wyn Jones’s frontrunners secure a grand slam, they really will have done so the hard way.The latest diversion is the proposed Nations Championship which, in theory, would incorporate the Six Nations into an annual global competition with a grand final between the top two northern and southern hemisphere sides at its apex. It is worth pausing momentarily to contemplate how Wales would be feeling if the proposal were already reality. Would a grand slam still feel as special if the ultimate goal was another seven games distant? Or what about Scotland and France, snookered by their sluggish start to the calendar year for the next nine months? Those who say the Nations Championship would have no effect on the Six Nations are not taking human nature into account. Ireland rugby union team Wales fought back from 16-0 down to win in Paris and kick-start their grand slam charge. Photograph: Yoan Valat/EPA Wales have proved mentally tougher than anyone else. It will be a surprise if they dissolve now Share on Twitter Facebook Scotland rugby union team Share on Pinterest features There will actually be two shiny Six Nations trophies on parade, with a replica avoiding any need for a London-bound helicopter should Wales lose. It is just as well given a foul weather forecast that could dilute the spectacle if not the intensity. England’s players certainly do not need Will Carling, now part of their backroom staff, to tell them how much a Six Nations title would mean. “There’s no secret,” said Jones. “We’re not playing Mars or Pluto, we’re playing Scotland. They’ve got passion and play the game a certain way; we’ve got passion about playing for England. It’ll be about which side comes out with the most intensity and desire and that’ll be us. If we create momentum around the ruck I’d hate to be one of those Scottish backs.”Perhaps it has not quite been the consistently vintage tournament everyone craved but a dramatic final act still awaits. Soon we will know which European nation will go to this autumn’s World Cup as first among equals, although Jones cautions that Six Nations glory is not an automatic passport to global supremacy.“The World Cup is going to be a mix of what’s happened in the Six Nations and what’s going to happen in the Rugby Championship, which is traditionally looser,” he said. “I think the Six Nations has been good quality. The toughness and intensity of the rugby has been outstanding.”Over the past seven weeks, rain or shine, Wales have so far proved mentally tougher than anyone else and it will be a surprise if they dissolve now. Gatland predicted this might be Wales’ year before the tournament even began and these days he is right about pretty much everything. … we have a small favour to ask. More people are reading and supporting The Guardian’s independent, investigative journalism than ever before. And unlike many new organisations, we have chosen an approach that allows us to keep our journalism accessible to all, regardless of where they live or what they can afford. But we need your ongoing support to keep working as we do.The Guardian will engage with the most critical issues of our time – from the escalating climate catastrophe to widespread inequality to the influence of big tech on our lives. At a time when factual information is a necessity, we believe that each of us, around the world, deserves access to accurate reporting with integrity at its heart.Our editorial independence means we set our own agenda and voice our own opinions. Guardian journalism is free from commercial and political bias and not influenced by billionaire owners or shareholders. This means we can give a voice to those less heard, explore where others turn away, and rigorously challenge those in power.We need your support to keep delivering quality journalism, to maintain our openness and to protect our precious independence. Every reader contribution, big or small, is so valuable. Support The Guardian from as little as $1 – and it only takes a minute. Thank you. Share via Email Pinterest Warren Gatland ready to ride Wales’ emotional wave for grand slam finale Twitter England rugby union team Share on Messenger Reuse this content Six Nations 2019 Read more Warren Gatland Since you’re here… Wales rugby union team There is every chance, however, that it could be agonisingly close. The opposing camps know each other almost too well: Edwards and Andy Farrell go way back to Wigan days, Schmidt and Gatland grew up within 200 miles of each other on New Zealand’s North Island. While Schmidt – also awaiting his last Six Nations game as Ireland coach – has never conquered Cardiff, Gatland coached many of his players on the 2017 British and Irish Lions tour. Should Johnny Sexton kick a winning drop-goal to deny Gatland a valedictory slam, irony’s cup will truly overfloweth.Another key figure could be Tadhg Beirne, so good for the Scarlets last season and now starting in Ireland’s second row. If there is one player who will cause expectant Welsh fans to sup nervously on their pre-match pints it is Beirne the bolter, such an energising presence for every team he represents. They may also be wary of the Australian referee, Angus Gardner, who has presided over three previous Six Nations games involving Ireland and has yet to see them lose. A further Irish win this time would duly clear the way for the ultimate Welsh nightmare. England have amassed 101 points in their last two home games and the odds on them losing to a depleted Scotland team who are without a win at Twickenham since 1983 are roughly on a par with Frankie Boyle becoming foreign secretary. If reclaiming the Calcutta Cup and avenging last year’s Murrayfield defeat is England’s first objective, being asked to polish the Six Nations trophy as well will not be a hardship. Share on Facebook Ugo Monye Share on WhatsApp Share on LinkedInlast_img read more

Janhvi Kapoor flaunts enviable figure in crop top and mini shorts at the gym. See pics

first_imgOther Galleries 9 images Thu, 24 Oct, 2019 Disha Patani is comfortable yet sexy in spaghetti crop top and track pants at Mumbai airport 12 images Thu, 24 Oct, 2019 Kiara Advani to Urvashi Rautela: Best and worst-dressed at award night 9 images Wed, 23 Oct, 2019 Kriti Sanon pairs smart denim jacket with neon green dress for Housefull 4 promotions. See pics 10 images Wed, 23 Oct, 2019 Sara Ali Khan is elegance personified in white dress at airport. See picsOther Photogallery CategoriesIndiaMoviesLifestyleTelevisionAdd new comment Your name * E-mail * The content of this field is kept private and will not be shown publicly. Comment *More information about text formatsPlain textNo HTML tags allowed.Web page addresses and e-mail addresses turn into links automatically.Lines and paragraphs break automatically.647×363: 483×271: 370×208: 170×96: 88×50: Section: PhotoLifestyleLifestyleGallery Image: Image: Caption: Janhvi Kapoor was recently snapped heading to her gym in Mumbai.Syndication: SyndicationThumb Image: Enable: EnableOrder: 0Image: Caption: For her gym look, Janhvi opted for a cool grey crop top over neon green sports bra.Syndication: SyndicationThumb Image: Enable: EnableOrder: 1Image: Caption: She paired the top with black mini shorts and pink flip-flops.Syndication: SyndicationThumb Image: Enable: EnableOrder: 2Image: Caption: The Dhadak actor added a Moschino Spongebob bag to her ensemble and we are loving the quirky look.Syndication: SyndicationThumb Image: Enable: EnableOrder: 3Image: Caption: She left her tresses open and accentuated the ensemble with mauve lips and no make-up.Syndication: SyndicationThumb Image: Enable: EnableOrder: 4Tags: Janhvi KapoorSource type: photogallerySocial media integration: Facebook Instant ArticleShort description: Janhvi Kapoor was recently snapped heading to her gym in Mumbai. For her gym look, Janhvi opted for a cool grey crop top over neon green sports bra and black mini shorts.Syndicate: YesPreview_unique_id: preview_5cfb6b062b2771559980806_1544839_editCommentContent Publish date: Saturday, June 8, 2019 – 13:15Story Extra Data: eyJzZWN0aW9uIjpbIjEyMDY1NjciLCIxMjA4NTIxIl0sImNhdGVnb3J5IjpbIjEyMDg1ODkiXSwic3ViX2NhdGVnb3J5IjpudWxsLCJzdWJfc3ViX2NhdGVnb3J5IjpudWxsLCJzdWJfc3ViX3N1Yl9jYXRlZ29yeSI6bnVsbCwicHJpbWFyeV9jYXRlZ29yeSI6IjEyMDY1NjcifQ==770×433: Short Headline: Janhvi Kapoor flaunts enviable figure in crop top and mini shorts at the gym. See picsApp headline: Janhvi Kapoor flaunts enviable figure in crop top and mini shorts at the gym. See picslast_img read more

Feel Good Friday: Shinola, Where American is Made

first_img Shinola’s New Detrola Watch Collection Is As Modern As It Is Colorful The Best Wireless Charging Pads and Stands, No Strings Attached Pickpocket Prevention: Don’t Become a Mark While Traveling Editors’ Recommendations Cigar Humidors 101: What They Are, How They Work, and the Best Picks When you think about Detroit, you might think cars.  Start envisioning something else-watches, bicycles, and more.Shinola is part of a growing movement that celebrates the beauty of manufacturing and investment in the American workforce. It was founded in 2011 with the goal to make quality products and to make them right here in America. The company started by partnering with a world class watchmaker based in Switzerland to help build a state-of-the-art watch making factory in 30,000 square feet of the College for Creative Studies (CCS) in Midtown, Detroit. Detroit locals were trained in the delicate process of movement and watch assembly.Both the corporate headquarters and watch factory are housed within the College. Shinola relies on an open and collaborative interaction with CCS students through Shinola-sponsored classes. Engaging with students on programs that range from graphic and interior design to product and craft, these hands-on workshops provide students with real-world experience and direct access to Shinola executives. They believe the integration of local creative talent with their manufacturing operations will enable the brand to produce consumer goods that are beautiful, meaningful, and built to last.The Manual asked a few questions of Shinola Creative Director Daniel Caudill –What makes you extra excited about producing product in Detroit?The most exciting thing about producing products in Detroit is the people. We not only are making products in a city that is steeped in manufacturing history, but we are working with passionate and skilled individuals, creating jobs and together working towards a position future for the city.What product category do you get most excited about?My perspective is to make sure our categories connect and are aesthetically aligned.  Each category is unique and exciting. The fun part is tying them all together. As we do with our current range, we will work with experts in each area to produce the highest quality product.Where next will your product categories be expanding?We are reviewing a number of categories including footwear and expanding our leather accessory offering. The tag line for Shinola is “Where American is made”.  Being raised in Michigan, I couldn’t be more proud of the investment in American made coolness.You can also check out Shinola at Barneys. Talking Rum, Cocktails, and Tiki with The Bamboo Room’s Kevin Bearylast_img read more

Man Utd held by Wolves after Pogbas penalty woe

first_imgWolverhampton (UK): Manchester United were forced to settle for a 1-1 draw against Wolves after Paul Pogba’s penalty was saved by Rui Patricio at Molineux. Ole Gunnar Solskjaer’s side took the lead through Anthony Martial’s second Premier League goal of the season in the first half. Ruben Neves hit a brilliant equaliser for Wolves after the interval before France star Pogba was denied by Patricio. It was a curious decision for Pogba to take the spot-kick as Marcus Rashford had scored a penalty in last weekend’s 4-0 victory over Chelsea and also memorably netted the Champions League last-16 winner from the spot against Paris Saint Germain last term. Also Read – Puducherry on top after 8-wkt win over ChandigarhPogba has now missed four Premier League penalties since the start of last season. United would have gone top of the table with a win, but instead they were left to reflect on an inconsistent performance that underlined why Solskjaer still has a lot of work to do to turn his team into title contenders. While there were moments of promise in attack and defence, United didn’t take their chances and crumbled too easily when they came under pressure in their second game of the season. Also Read – Vijender’s next fight on Nov 22, opponent to be announced laterAt an average of 24 years and 173 days, Solskjaer had picked United’s youngest Premier League starting line-up since the final day of the 2016-17 campaign. Daniel James made his maiden start for United after the close-season signing from Swansea scored his first goal as a substitute against Chelsea. There was no place in the matchday squad for Chile forward Alexis Sanchez, who has been linked with Inter Milan. Solskjaer has described James as United’s ‘x-factor’, but the 21-year-old didn’t win any friends when he was booked for diving in a failed attempt to win a free-kick from referee Jon Moss. United threatened for the first time when another of their young guns Rashford spun past Ryan Bennett on the left side of the Wolves area and crossed towards Martial, who did not make enough contact as the ball flashed past him. It was a warning Wolves failed to heed as United took the lead with an incisive raid in the 27th minute.last_img read more

SDMC launches 6weeklong drive to fight plastic usage

first_imgNew Delhi: The South Delhi Municipal Corporation on Wednesday launched the Plastic Waste Shramdan Campaign in all four SDMC Zones under the Swachhata hi Sewa initiative in a bid to encourage care for the environment. The municipality said in a statement that this campaign will try to maximise citizen participation as part of the 150th birth anniversary of Mahatma Gandhi.The Swachhata hi Sewa initiative is a six-week-long campaign that will see large-scale citizens engagement activities for awareness and community mobilisation through Shramdan, clean and green drives swachhata rallies and other programmes aimed at mass scale plastic waste collection and disposal of single-use plastic. Also Read – After eight years, businessman arrested for kidnap & murderKeeping with the initiative, SDMC Commissioner Gyanesh Bharti on Wednesday addressed a meeting where he instructed all heads of departments to make the week-long plastic waste shramdan from October 21, a result-oriented effort. He added that single-use plastic is not only detrimental to the environment but also harmful to the health of citizens. “It is essential to conserve natural resources for the next generation; for this, we will have to raise together a forceful voice against plastic,” Bharti said. Also Read – Two brothers held for snatchingsHe also asked officers of SDMC to seriously work on enforcing the ban on single-use plastic, adding that they must everyday visit field for two hours to ensure quantitative contribution in the plastic ban. The Commissioner asked the officers to submit a weekly report on action taken with respect to the plastic ban. He further stated that it must be ensured that none of the items made from the harmful plastic be used in SDMC offices. The SDMC also launched a public awareness programme on the ban of plastic items in all the four Zones, with all HoDs and zonal staff taking a pledge to abandon the use of plastic. Meetings were organised with over 50 Resident Welfare Associations and Market Association to discuss these issues.last_img read more

Human rights tribunal decision on First Nations child welfare ready by end

first_imgAPTN National NewsThe Canadian Human Rights Tribunal will have a decision on First Nations child welfare by the end of January.Children’s advocate Cindy Blackstock gave the news to the Assembly of First Nations special gathering in Gatineau, Que. Wednesday.But Blackstock says chiefs shouldn’t wait and told them to lobby the government now.APTN’s Trina Roache has the story.last_img

Delhis Iyer Rabada hand RCB their sixth loss in IPL

first_imgBengaluru: There was no end to Royal Challengers Bangalore’s woeful run this IPL as the Virat Kohli-led side suffered its sixth straight defeat while Delhi Capitals played like a unit to win by four wickets, here Sunday. RCB batsmen found the going tough on a tough wicket after being invited to bat first and could only manage 149 for 8 in the stipulated 20 overs. With the ball not coming on to the bat, Kohli scored almost a-run-a-ball before hitting two sixes late in his innings, consuming 33 balls for his 41. Also Read – Puducherry on top after 8-wkt win over ChandigarhHad it not been for Kohli and Moeen Ali’s contributions, RCB would have been in deep trouble. Ali hit a 18-ball 32. South Africa paceman Kagiso Rabada (4/21) accounted for four RCB batsmen to lead Delhi’s bowling attack, which also comprised Chris Morris (2/28), Axar Patel (1/22) and Sandeep Lamichhane (1/46). Shreyas Iyer then played a captain’s knock, making a 50-ball 67 to guide Delhi Capitals to a comfortable win, bringing their IPL campaign back on track. Also Read – Vijender’s next fight on Nov 22, opponent to be announced laterIyer anchored the chase with some crucial partnerships as Delhi overhauled the target with 10 balls to spare. Iyer smashed eight fours and two sixes in his 50-ball innings which helped Delhi grab the fifth place in the points table, snapping a two-match losing streak where they lost to Kings XI Punjab and Sunrisers Hyderabad in the last two games. Chasing 150 to win, Iyer forged a 68-run partnership with opener Prithvi Shaw (28) after Shikhar Dhawan was dismissed by Tim Southee in the third ball of the innings. In the 9th over, Pawan Negi removed Shaw after the batsman top-edged a delivery and was caught at deep square leg by Akshdeep Nath. Iyer then shared 39 runs with Colin Ingram (22), who blasted two fours and a six in his 21-ball stay before being trapped by Moeen Ali in the 14th over while trying to play a shot over the leg side. Rishabh Pant came out with intent, blasting a couple of fours, while Iyer too smashed a six off Yuzvendra Chahal in the 17th over but the skipper miscued a pull off Navdeep Saini and was caught at short cover by Chahal. With just five runs needed, Delhi survived some anxious moment after losing Chris Morris (0) and Pant — both trying to clear the in-field and perishing in the process. Axar Patel then smashed a four to take Delhi home. Earlier, Kohli played an uncharacteristic sedate knock. Ishant Sharma was economical upfront, while Chris Morris was a bit expensive though he sent back Parthiv Patel (9), who slogged hard at a widish delivery and found Sandeep Lamichhane on the boundary ropes. Young Rabada was introduced to bowl the last over in Powerpay and he got his national teammate AB de Villiers (17). Kohli was still there but the runs came only in one and twos. In nine overs, RCB scored just 53. Marcus Stoinis hit only second six of the innings by lofting one from Lamichhane over long-on. Stoinis went after Axar Patel too but ended up giving a catch to Rahul Tewatiya. England all-rounder Ali came to the crease and suddenly batting looked easy. He pulled and drove with ease. Ali spoilt Ishant’s figures, hitting him for a six and a four and also dispatched one from Lamichhane to long-off.last_img read more