SILENCE left punters dumbstruck in yesterday’s closing event at Caymanas Park, the 1820-metre Simply Magic Cup, winning under a hand ride at odds of 25-1. Though he had finished third a week-and-a-half ago after twice bumping into the rail, SILENCE was kicked out of the betting with three-kilo claiming apprentice Anthony Thomas, ignored by punters, who made TWILIGHT DREAMS the even-money favourite. However, the chestnut gelding won as though he was the fancied horse, stalking rivals from sixth position down the backstretch before pouncing on MALACHI, WONG DON and EL MAESTRO coming off the home turn. Pushed out by Thomas, SILENCE quickly opened up daylight on the early leaders and sprinted well clear from a furlong-and-half out, coming home a lonely winner at the wire. EL MAESTRO stayed on for second ahead of LADY FAYE whereas WONG DON finished fourth. TWILIGHT DREAMS, who prompted the pace as a quartet with MALACHI, EL MAESTRO, and WONG DON, started showing signs of distress from three furlongs out and failed to stay the distance after his encouraging run in the recent 2000 Guineas. HONOURS SHARED Jockeys Shane Ellis and Robert Halledeen shared riding honours with two winners a piece on the nine-race midweek card. Ellis opened the programme with LEEKOUT and returned to land the fifth with LUCKY STROKE. Halledeen piloted BALLON D’OR to an easy win in the third but had to repel a stretch challenge aboard SUPERLUMINAL to hold Ellis at bay astride WILL IN CHARGE in the eighth event. Racing continues on Saturday with the feature event being the 10-furlong Jamaica Oaks, which has been stripped of its star horse, SHE’S A MANEATER, who injured herself at exercise Sunday morning.
Share Facebook Twitter Google + LinkedIn Pinterest Do we have any wheat left in Ohio? I would like to see more acres. It makes our other two crops better and reduces weed, insect and disease problems for them, too. The new Ohio Agronomy Guide has just a bit of an update on spring nitrogen (N) recommendations for wheat in Ohio.We still suggest following the Tri-State Fertilizer Recommendations for N rates in wheat, with an update on the discussion of why. We do rely on yield potential of a field to make the recommendation. Once you have set a realistic yield goal, the recommendation may be based on the following table. These recommendations are for mineral soils with adequate drainage and 1% to 5% organic matter.Nitrogen rate for wheat by yield potential.Yield potentialTotal N ratebu/Alb/A60607075809090110100130 We do not give any credit for the previous soybean or cover crop, since we do not know if that organic N source will be mineralized for the wheat crop. The recommendation does suggest that you subtract from the total (spring N) any fall applied N up to 20 pounds of N per A.
If you need to turn a client PDF into a series of still images to put into your edit, this this little workflow tip could save you a ton of time!I was editing at a conference recently where we had to turn around all the videoed presentations, complete with PowerPoint slides edited in, in a short space of time. Most of the speakers duly uploaded their slides in PowerPoint format to a shared folder. Some however handed over their presentations as a PDF. The problem with using OSX Preview to export images is that (as far as I could figure out) it saves the images one at a time.Using a quick Automator workflow, I was able to quickly export out a 30-40 page PDF was exported as a series of JPEGs. Download my Automator PDF to JPG preset here for free.Note: This workflow is for Mac only.Saving PowerPoint Presentations as ImagesSaving a PowerPoint presentation as a series of images is exceptionally easy and fast. In Powerpoint for Mac hit File > Save as Pictures. From a dialogue box that pops up, you can set the format, size and resolution in a jiffy. Plus it’s pretty quick to export the stills to a named folder in numerical order.Saving a PDF as a Series of ImagesAfter a not-so-quick Google search I found this post on an Apple discussion board detailing this really helpful Automator workflow, that will turn a PDF into a series of images. As I mentioned above, you can download the free Automator workflow here. Unzip the file, double click on it and then press the Run button to run the workflow. It will open a dialogue box asking you for the PDF you want to convert and then spit out a series of JPG files on the desktop.If you want to create the Automator workflow from scratch for yourself, simply do the following:1. Open Automator from your Applications folder.2. Choose workflow from the first box that appears.3. Type into the Actions search box to find the three actions you need (as show in the image above) and simply drag them in order to the workflow editor box on the right-hand side. If you want to change the properties of the type of images created – such as their color space, format or resolution, do so before you run the workflow.4. Save your workflow to the desktop (or some where convenient) and you’re done.This PDF to JPG conversion is especially handy for anyone doing corporate video work or working with live presentations to video. Got your own hacks to share? Let us know in the comments below!
Get your clients to spend money on corporate video… and have them feel good about it.All images from ShutterstockAs the contemporary landscape of our industry shifts, more and more of us find ourselves in front of corporate clients. No matter what market you’re in, if you’re trying to make money in this space, you’re likely supplementing your income with corporate video jobs (or relying on them completely).As creatives, we’ve dedicated most of our time to developing our technical skills for on-set or in-post. We’ve learned to be better shooters, editors, or animators and have not typically learned how to be sales-minded business people. But without learning how to sell video (and yourself), your technical talents will be wasted as you’ll have no clients to do work for.There are dozens of proven sales processes out there and they all share similarities. Here are some of the basic steps for a getting a client to commit to a corporate video project:Corporate Video Proposal Step 1: Build RapportNo matter what you’re selling, you need the person in front of you to like you. You may have heard it before but, “people buy from people they like.” If you want to get hired, you’ll need to establish trust and make them comfortable with you.Whenever possible, proposing or developing corporate video projects, it’s best to have these conversations face-to-face. Being able to see and interpret body language and their environment can help inform you about how to talk to them. Also, being in the room with you will make them more willing to listen to what you have to say. Creating a corporate video is a collaboration that requires buy-in from all involved in the production process.Also, and this is important, make sure (before you ever set up your appointment) that you are talking to the decision maker. If this is not the person who has the power to hire you, you’re wasting your time. One easy way to find this out is to ask, “Besides yourself, is there any one else we need to talk to or get input from? Should we ask them to join us?”Mark Suster, a columnist at Inc., calls this the “Champion” sales methodology. Do what it takes to build a healthy rapport with someone who will champion your project.The person who drives through the approval to give your company the go ahead (and secure the budget)… A champion is somebody with both “influence” and “authority.”Corporate Video Proposal Step 2: Problem SolvingConventional sales training usually implores you to find your client’s biggest problem, sometimes referred to as their “pain”. What keeps them up at night? If you can solve that problem for them using your product or service, then closing the business is a snap.For example, if they own a factory and the production line is down because of a broken part, it would be relatively easy to get them to buy a replacement part from you. You’re putting them back in business!However, with corporate video, it’s not always as black and white as that. Generally, you’re solving a less defined form of pain. They think they need video, but they don’t really know what they’re missing by not having it. It’s your goal to show them what that is.Ask them what their competitors are doing with video. Ask them if video could help potential customers get excited about their product or, if their product is complicated, help people to simply understand it. Ask them if corporate video could help standardize and reduce costs for their employee training.And then ask them, “What happens if you do nothing?” Help them see that not having video to help them communicate is their problem and you are there to solve it.Corporate Video Proposal Step 3: BudgetGet comfortable talking about money. Most of us are raised being taught that talking about money is inappropriate or in bad taste. However, when you are trying to get a client to buy video services from you, you have to forget all that. You are not being rude because you are asking how much money they have to spend. You’re trying to help them using the appropriate resources.They will have a budget for this corporate video project – it may be written in stone or it may be number in somebody’s head, but either way you need to find out that number. Once you know what they are willing to spend and what their vision is for the final product, you can craft the scope of work around that. You know what your time is worth and how much it will cost to hire a crew, talent, and equipment or other resources. Know their budget and you can work backwards from there.It will also help you have a conversation about expectations. Explain to them that with a budget of A, it means you can provide B. If they want C, they’ll need to look at increasing their budget to D.Having open and candid conversations with them about the end result, and what it will take to get there, will help build trust and will help you avoid surprises or disappointments.Corporate Video Proposal Step 4: Follow-UpYour next step will likely be to put together a formal proposal or service agreement for them. Try to follow up within 24 hours of your meeting with them. You need to get them to “sign on the dotted line” while they are still excited about you and the possibilities video can have for them. If possible, try to provide a sense of urgency (“We probably don’t want to wait to start this project, because…”).Most importantly, get a clear commitment of the next steps. The longer they sit on your proposal, the more likely that they’ll forget about it or move on to something else. When you send the proposal, ask for a timeline on their decision and promise to follow-up again. It’s your job to hold them accountable. And last of all, show how excited you are to work with them. Be earnest in your desire to do the work and remind them of the benefits corporate video will provide. Eddie Justo of Creative Cow points out the SEO advantage offered by corporate video, a benefit definitely worth pointing out to your client:Of all the searches that are made on all the Search engines, the highest percentage of the results will be of the videos. Top results of any organic searches will be of video adverts and this means that video adverts will always rank high in the search engines. Therefore, there is a possibility of your video being viewed by many people as it keeps on popping up in many searches. This will definitely increase the traffic on your site and there is a huge probability of improving the sales.Video is a powerful medium and probably something you really enjoy creating. Look at every project as an opportunity for a new experience and every prospect as a potential life-long client.Here are some additional resources for sales training and talking about the benefits of video:Wistia: Why Video?: A VideoScreenlight: 7 Reasons Why You Should Use Video to Promote Your BusinessHubspot: 6 Popular Sales Methodologies SummarizedInc.: How to Develop a Sales MethodologyGot any tips on sealing the deal? Let us know your methods in the comments below!
Here are five pieces of advice for managing gear — and yourself — when traveling internationally for a shoot.Traveling internationally is stressful enough. Passports, visas, even the proper toiletries in the proper toiletry-sized bag can all be causes of stress when you’re in that mile-long security checkpoint line. Foreign languages, jet lag, customs, getting directions in a new city with a different culture — it can make your head spin.Add prepping for your international production to that, and it’s easy to get overwhelmed. After my year on the road, I’ve picked up a few tips and tricks for any international shoot. Hopefully, these make the trip a little smoother — turbulence aside.1.Travel LightImage via Shutterstock.This seems obvious, but it’s easy to overpack. With skyrocketing baggage fees, most of us cannot afford to not travel light. This means you must only bring your absolute essentials. And if you can afford it or plan to travel a lot, invest in lightweight or easily compacted gear.To see my recommendations, check out “The Lightweight International Packing List,” also featured at PremiumBeat.2. Carry OnImage via Lowepro.Never, ever “check” your essentials. Yes, I realize I just told you we are only packing the “essentials,” but strip that down even further to the bare minimum of what you absolutely cannot live without if something were to go awry with your checked baggage. And yes, that will eventually happen if you travel a lot — especially when flying on smaller foreign airlines or with multiple layovers.This means utilizing that carry-on bag to the max. Carry on your camera, batteries, media, hard drives, audio, lenses, and (ideally) a small handheld rig broken down to fit. That might seem like a lot to cram into an overhead-friendly roller bag, but trust me — with enough time and practice, it is possible.That way, if worst comes to worst, you know you can get scrappy and make your shoot work until the remainder of your gear arrives. If you’re flying halfway across the world for only a short amount of time, you absolutely cannot afford to lose even a day of shooting because a bag did not arrive.3. The Buddy System Image via Shutterstock.Another way to conquer the “no-check” rule is to use every member of your crew. On the three-to-five-person documentary teams I frequently travel with, we usually break up the “one carry-on per person” count into a couple of Lowepros and a tripod bag. Since we travel together often, it’s easy for us to utilize space in the roller bags by separating and mixing gear packages to maximize space.As for the tripod bag, you can fit a small video tripod, backpack slider, two monopods, and your boom pole into this one bag (trust me — I’ve done it!). It’s a bit of a Tetris game, but the trick is to remove the head on the tripod and slider and check them in your larger bag. If for some reason your checked bag doesn’t arrive with the tripod head, you still have two monopods to cover your first few days of shooting.4. SpreadsheetsTo keep track of which gear is in which bag, I recommend creating a spreadsheet. After twenty+ hours in the air, your jetlagged brain will thank you for any preproduction that spares you extra stress while building out a camera on zero hours of sleep in a completely different timezone.My packing routine is to start with a complete inventory of all my usual gear. I make a copy of this base list, then make any changes specific to this current trip’s needs. I then organize the list by bag so I can reference that quickly when looking for something in country.Build out your package completely before you pack it to make sure you’re not forgetting anything. Then, of course, double check that all the gear is in fact packed and ready to go. It seems tedious, but it is crucial to make sure you are not forgetting any little piece. Trying to track down a 1/4-20 screw in rural Angola is, quite frankly, completely impossible.The same goes for repacking when you’re returning home. You’ll be tired, so relying on a system to repack reduces the likelihood of forgetting something. 5. Keep It Casual and Incognito This is not always necessary, depending on where you are headed, but sometimes shooting remote can also mean shooting in places where media teams are less welcome. If that is the case for you, I have a few recommendations.Pack your gear in bags that don’t look like camera bags. I recommend something like the Lowepro as your roller board in disguise, and we use a large, black Temba case for our checked luggage. It is just as protective as a pelican case, but it doesn’t draw the same amount of attention.I also recommend this approach while on the ground shooting. Do your best to look like a local. Obviously, if you’re a skinny white girl traveling through Africa, this will be more difficult. But dress both practically and respectably. Don’t assume just because you are in remote or developing countries that you won’t want to seem presentable. If you’re dressed like Indiana Jones in your safari hat and pants, you’ll definitely stand out even more than you already do. And shooting documentaries demands we disappear behind our subjects as much as possible. You’re also less likely to get targeted for theft or unwanted attention if you follow these rules.Often, you can fly under the radar if you claim to just be a tourist with a super-expensive filmmaking hobby. But if you aren’t comfortable doing so, double check that you have all the appropriate visas for working in country, even if just for a temporary shoot.Do you have advice for shooting internationally? Let us know in the comments.
Understand Anchor PointsAll layers have an anchor point, also known as a transformation point or the transformation center. This is an apt name because all of the transformations you perform on a layer are affected in relation to the anchor point’s center. You can move an anchor point with the Pan Behind tool, or by adjusting the properties of the anchor point in the transform section. The anchor point is often located conveniently at the center of a layer. If it’s not, you can quickly move it there by selecting Layer > Transform > Center Anchor Point in Layer Content.Manually Position LayersIf you’re working on a project where eyeballing a graphic’s position is insufficient, you can always manually position the layer. To do this, first, choose the layer and then go to Layer > Transform > Position. This will bring up your position dialog box, which allows you to specify exactly where you want your layer to be on both the X and Y axes. Choose the location in a variety of different units, including pixels, inches, millimeters, or a percent of the source or composition. Bring up the position dialogue box with the keyboard shortcut Command+Shift+P.Use Grids & GuidesWhile positioning assets manually can prove helpful, it can also quickly become cumbersome. If you’re working with multiple assets and you need more precision, you’ll want to harness the power of grids, guides, and rulers. Both grids and guides help you quickly align and snap assets to specific locations. Whether you’re trying to keep your graphics proportional or align several elements, these tools can help. To use grids and guides, go to the View drop-down menu or click on the grids and guides button in the composition panel. Customize grids and guides in the Preferences panel.Align & Distribute AssetsIf you aren’t already using the Align panel then it’s time to start. The tools in this panel allow you to perfectly position single or multiple layers in After Effects. Quickly align a layer to the composition’s horizontal right, left, or center — or vertically to the top, bottom, or center. You can also align layers to other layers. This is especially useful when working with multiple text elements that need to be precisely positioned. In addition to aligning, you also have several options to distribute layers vertically and horizontally. Check out these four techniques to precisely position and align graphic elements in your next Adobe After Effects project.If you’re relatively new to Adobe After Effects then you might not feel completely comfortable with the interface. You can quickly get lost if you don’t know the ins and outs of the program. It can be particularly frustrating if you don’t know how to properly control layers within the composition panel.Perhaps you’re having trouble getting a graphic exactly where you want it. Or maybe you want to align several shape elements with a title, but you just can’t figure it out. Check out the four tips and tricks below to get a better grip on how to use Adobe After Effects.