By Isadora Burnham and Violina LilovaFlickr [Px4u by Team Cu29, September 1, 2013, CC BY-ND]Little ears and little eyes. When whispering turns into shouting, who hears it? When yelling turns into shoving, who sees it? Couples often do not realize the impact their actions and words may have on their children. Witnessing a traumatic event can hugely impact a child. Little and Bogel (1998) noted that “witnessing” can have such a large impact on a person that the Diagnostic Statistical Manual (DSM) diagnosis of Post-Traumatic Stress Disorder (PTSD) was amended in 1987 to include it [2]. However, when Initmate Partner Violence (IPV) is occurring in the home, “witnessing” does not correctly encompass the full experience of the child. Children “exposed” to IPV in the home witness, intervene, and are used as property to continue a pattern of abuse between parents [1].When treating victims of Intimate Partner Violence (IPV), why is it relevant to consider the children exposed to IPV when they have not been abused as well? As service professionals, we tend to focus on the victim of IPV and may disregard the children in the home as potential victims, themselves. Thus, we would like to focus on the effects children may obtain when exposed to IPV. Effects may include: fear, depression, anxiety, PTSD, loneliness, lowered self-worth, self-blame, lowered verbal intellectual functioning, lowered reading ability, and many more [1]. Some of these effects align similarly to the effects experienced by the actual victims of IPV, which provides evidence for the significant impact children exposed to IPV experience. So, is it important to inquire about the amount of exposure to IPV a child has experienced? Absolutely. Multiple family types may experience IPV in the home, including military families. Soldiers who serve in the military and do tours overseas may have experienced or were exposed to traumatic events. Some may even experience second-hand trauma. Thus, when returning to the US and their families, some soldiers may find it difficult to disable the effects of the traumatic experiences from spilling over into other aspects of their lives. If one continuously relives those experiences, then those around them may experience a form of second-hand trauma themselves. Hence, it is important to consider the traumatic military experience and the trauma one may inflict on others as a result of that experience. If a child were to experience some form of second-hand trauma based on the parent’s military experience along with exposure to IPV between parents, the effects might be likely to increase. Thus, children in military families may be considered at greater risk of obtaining negative effects from exposure to IPV and related second-hand traumatic experiences. According to Little and Bogel (1998), children exposed to IPV in the home are also likely to become victims of violence [2].Little and Bogel (1998) state that witnessing IPV occurring in the home should be considered a form of psychological child abuse [2]. As time and research progressed, the impact of IPV on children became more prevalent, and policies were adopted to recognize this as a form of psychological child abuse [1]. While the legal system does recognize this, there will always be discrepancies in what is truly considered child abuse. Thus, there will be instances where the impacts of IPV on the children in the home go unnoticed, and children go untreated. Hence, when working with families experiencing IPV in the home, the effects on children should never be overlooked. Moylan et al. (2010) found that 3.3 to 10 million children are exposed to IPV in the home every year, which indicates the relevance of being aware of the impact IPV may have on children when exposed [3]. There is a strong indicator that children exposed to IPV in the home may also become victims of abuse [3]. The effects children may experience as a result of exposure are copious and subject to vary per child. Although our focus was not on gender differences, research has found a difference in the impacts of exposure to IPV based on gender [3].When working with families experiencing IPV in the home, it is important for service professionals to inquire about the family structure and dynamics. It is also important to attend to the potential second-hand trauma the children in the home could experience without making therapy solely about the children and not the victim. Service professionals should communicate with clients about the effects children in the home may experience from IPV and some common signs and symptoms among this population of children. It may be helpful for the service professionals to mention the child’s presence during an altercation for the client to become aware of the events witnessed by the child. As service professionals, we must be mindful of how we language terms and phrases when dealing with children who have experienced second-hand trauma to refrain from encouraging a child to relive a traumatic event. We must be aware of the fact that children have less of a choice and voice to violence occurring in their homes than do victims. Put simply, children are forced to live with IPV [1]. Service professionals, including mental health clinicians, are mandated reporters of child abuse. Laws may vary from state to state regarding reporting child abuse solely based on exposure to IPV in the home [1]. Thus, it is important to be familiar with the laws of your state.Resources for clinicians: For more research findings on the effects children experience when exposed to IPV in the home, click here.For information to provide to a parent who is curious about the ways IPV in their relationship may impact their children, click here.For a short video to provide insight as to what life looks like for child exposed to IPV, click here. Another video about a family experiencing IPV in the home can be found, here. References[1] Goddard, C. & Bedi, G. (2010). Intimate partner violence and child abuse: A child-centred perspective. Child Abuse Review, 19(1), 5-20.[2] Little, P. L. & Bogel, C. M. (1998). The effects of spousal abuse on children: Awareness for correctional educators. Journal of Correctional Education, 49(1), 30-39.[3] Moylan, C., Herrenkohl, T., Sousa, C., Tajima, E., Herrenkohl, R., & Russo, M. (2010). The effects of child abuse and exposure to domestic violence on adolescent internalizing and externalizing behavior problems. Journal of Family Violence, 25(1), 53-63. doi:10.1007/s10896-009-9269-9This post was written by Isadora Burnham and Violina Lilova, guest bloggers for the MFLN Family Development (FD) team which aims to support the development of professionals working with military families. Isadora and Violina are masters-level marriage and family therapist (MFT) in training enrolled in the Marriage and Family Therapy Department at Valdosta State University. They also work as MFT interns at VSU’s FamilyWorks Clinic, a community-based family therapy clinic. You may find more about the authors, here. Find out more about the Military Families Learning Network FD team on our website, on Facebook, Twitter, YouTube, and on LinkedIn.
Month: December 2019
Military families face challenges when navigating the demands of military life, however when military families include children with disabilities the challenges are more unique and often more challenging.On average children in military families switch schools six to nine times between Kindergarten and 12th grade1. Although all children in military families face the struggles of losing friends, familiar surroundings and their routines, the impact can by more detrimental on children with special needs.In a study conducted by Jessica Carol Jagger and Suzanne Lederer, entitled “Impact of Geographic Mobility on Military Children’s Access to Special Education Services,” military parents of children with special needs were surveyed to describe the relationships between schools following placement.The following difficulties were encountered with disabilities related to permanent change of station (PCS) and local public schools.Parents feel they must battle school systems.Different state/local educational authorities’ approaches to achieving educational goals lead to parent concerns about quality of services.Uncertainty about place of residence limits proactive planning and precludes warm handoff.Gaining schools are not prepared for student arrival when records were sent in advances.Americans with Disabilities Act of 1990 non-compliance or inaccessibility.To find out more difficulties as well as resources and recommendations for military families with special needs children, read the study “Impact of Geography Mobility on Military Children’s Access to Special Education Services.”Resources Cited:Jagger, J.C., & Lederer, S. (2014, January). Impact of Geographic Mobility on Military Children’s Access to Special Education Services. Children & Schools, 36(1). Doi:10.1093/cs/cdt046 This MFLN-Military Caregiving concentration blog post was published on August 05, 2016.
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Save time in post-production by leveraging low-cost online video transcription services. Create quick paper edits or stringouts by having your footage transcribed FIRST!Professional video transcription isn’t what it used to be. No longer do you have to send tapes or DVDs off to a professional transcriptionist only to wait a week or two to get a digital or paper transcription back. If you’re still working under this prehistoric method, take a look at these 3 online services that’ll get your video transcribed in a matter of hours – not weeks. Discover how having a professional transcription created for your footage or final video can speed up your post production and give added value to your final product.Pro Video Transcription for Video EditorsBlog friends SpliceVine.com recently tipped us off to a new transcription service called VerbalInk.com (read that post here). That got us thinking about the other options for transcription services and how many video editors may not even know they exist. Although there are some software options that attempt to ‘transcribe on the fly’ (like Adobe’s Speech Analysis) these software options just cannot give as accurate a result as a trained human transcriptionist. Especially with video, different shooting situations and mic setups may not provide optimal audio, so it’s going to take human intelligence to determine exactly what is being said and by whom.Having your videos transcribed is important not just good for improving post production (creating paper edits and quickly being able to locate soundbites), but also has positive impacts on final distribution. If you’re going to post your video work online, a transcribed video will mean better search engine visibility (Google can’t discern what is being talked about in video) and a better experience for an audience that prefers to follow along with a written version (training videos & tutorials especially).Whether you’re a video editor, producer or in-charge of distribution, discover the value of having your footage or final video transcribed using low cost online services. If your time is worth money, the following options could basically be considered free!Speechpad Video TranscriptionSpeechpad is the most popular online transcription service on the list. The ability to upload or link to a variety of file types and websites make it a good choice for video editors. For instance, you can include a link to your Vimeo or YouTube video page and the transcription will be made based on that. Add timestamping to the video for an additional .25 cents a minute (important for making those paper edits). We use SpeechPad for the transcription of the Premiumbeat video tutorials and have had good experience. 100% moneyback guarantee.$1/min delivered in one week$1.50/min delivered in 48 hours$2/min delivered in 24 hoursFoxTranscribe Video TranscriptionsLike SpeechPad, FoxTranscribe excels in the ability to upload a wide variety of file formats making it easier to get your videos in the transcription cue. The service is a bit more stripped down though, with only one pricing option: $1/min with delivery in 48 hours. You can add a timestamp to your video for free, but it only appears in 2 minute intervals. Like SpeechPad speakers are noted in the transcript, making it easier for interviews with more than one person.SpeakerText Video TranscriptionsSpeakerText specializes in video and podcast transcriptions. Import your videos from a variety of online services including YouTube, Vimeo, Blip.TV, Brightcove, Wistia and others. For added convenience you can add your entire library from any of these accounts making the import process even faster.Customers that get 10+ hours of video transcribed a month will have access to SpeakerText’s CaptionBox, an online plugin that highlights the words on the transcript as they are said in the video. For video professionals that need are concerned with having the most options for their web videos, SpeakerText provides some nice additional options at the transcription cost of $2/min with 48 hour delivery.Do you get your video footage transcribed during post production?If so, what service do you use? Let us know your thoughts in the comments.
Experienced film directors understand how difficult it can be to complete a feature. Here are four mistakes that can make the task even harder.On a film set, anything that can go wrong will go wrong. No matter how much you prepare, plan, and scrutinize every last detail before you get to set, something will always go wrong. But even though you may never be able to make your film set a place that is completely worry-free, you can at the very least take some measures to ensure that the best creative result is achieved.Below, I’ve outlined four common mistakes that you need to avoid as a director in order to achieve that best possible end result: 1. They Surround Themselves with the Wrong PeopleNothing kills a film project faster than a poorly constructed crew that’s responsible for executing the exceptionally complicated task of making a film. Unfortunately, most indie film directors tend to overlook the importance of bringing the right people onto their project, and ultimately pay the price later on.This is especially true in the case of micro-budget films where projects come together quickly and options feel very limited. Due to issues like limited funding and lack of experience, independent directors often sacrifice elements of their film in the areas of casting and crew members by hiring whoever is readily available and able to work for next to nothing.It isn’t uncommon for directors to downright settle in these departments just for the sake of cheap or free labor, which is one of the most fatal mistakes that can be made. If you do not collaborate with a cast and crew that shares your vision, passion, and enthusiasm for the project, your experience on set and the results you yield will be utterly disappointing.In the end, you need to rely on your team to bring your vision to life, as you alone will never be able to do it all yourself. Make sure you build a team that can remain positive and enthusiastic through thick and thin (and are, of course, qualified for their respective positions) and you’ll be off to a great start.2. They Don’t Own the Creative VisionWhile working with an inexperienced crew can be detrimental to a film (as we’ve gone over above), working with an experienced crew can be just as challenging – especially when the director is new to the game. Often, indie film directors end up working with crew members that have been on far more sets than they have and start to feel insecure about their role on set and their vision as a whole. This can lead them to allow others to make critical decisions for them on set, and in the end their original vision for the film becomes stifled and muted.No matter what your experience level, as the film’s director it is your responsibility to lead and inspire your cast and crew all the way from pre-production to post-production. It is also your responsibility to yourself and to the film, to keep your vision alive and fight for it – even if your producer/DP/crew is suggesting that you go in a different direction.Ultimately, if you don’t take this position, your lack of vision will leave your cast and crew feeling uninspired – and believing that they are working on an insignificant project. Perhaps even worse, you’ll be left with a watered down final product that you’ll be profoundly unhappy with and that your audience may not connect with.Vision is the art of seeing things invisible. – Jonathan SwiftRemember, it’s your story to tell and it must be told from your point of view. Mistakes are inevitable and it’s perfectly okay to take notes from others (more on that in the next point), but it’s crucial that you own your creative choices for the better of the project. 3. They Don’t Listen to OthersAs we discussed above, taking in too many opinions and losing your own vision is an issue that many directors are challenged with, but the opposite situation can be just as problematic. Many film directors go into their projects with a unilateral vision that leaves no room for creative collaborators to contribute whatsoever. They seem to forget that film is a collaborative medium and that (even though they need to maintain their vision throughout the process) it is okay to hear out the suggestions of others.Many film directors will joke that they don’t care where a good idea comes from, as long as they get credit for it. And, with all joking aside, I would argue that the most experienced directors are also those that are the most willing to listen to suggestions from the rest of their team. This may seem contradictory to the second point on this list, but it really goes hand in hand with it. It’s all about balance.As the director, you want to be the filter that takes in ideas and decides which of those ideas is in line with your vision. You don’t simply want to take every idea thrown at you, or take none at all – So always remember to keep an open mind and a maintain a confidence in the story that you are telling. 4. They Save the Most Important Scenes for the End of the DayIt always baffles me when directors choose to shoot the most important scenes of any given shoot day at the end of the day. Understandably, directors often feel that they want to break in their cast and crew, or warm up a bit themselves before jumping into the really important material – but I would argue that this is a very bad approach for a number of reasons.For starters, anyone that’s ever been on a film set knows that no matter how well planned your shooting schedule is, things will almost always take longer than you anticipate. The last thing you want is to feel rushed at the end of the day when you’re shooting your most important scene. But even if things are running perfectly on schedule (which of course is almost never the case!), your cast and crew are not necessarily going to be performing at their peak after 12 (or more) hours on set. If it’s important for you to warm up your cast, crew, and yourself before getting into an important scene, then by all means go for it. Just opt to schedule that scene in the middle of the day, rather than at the end.Want to learn more about filmmaking? Check out a few of the following links:5 Tips for Building Better Cinematic Suspense7 Iconic Hollywood Cinematography TechniquesFilmmaking Tip – Shooting Night Exteriors on a BudgetKnow of any other common director mistakes that should have made the list? Share in the comments below.
These video cameras have been used by television studios, independent filmmakers, and major studios alike. Here are the most popular options to upgrade to from a DSLR or mirrorless.Top image via Michael Maher/PremiumBeatLet me begin this piece but stating the obvious. Yes, I do know that not everyone has a large enough budget for a true video production camera. The intent of this piece is to shine a light on the many options that are quite frankly much better than using a DSLR or mirrorless camera.The Benefits of Using Video Cameras Over a DSLR and MirrorlessThere has been a very odd shift in the industry that has ruled out video cameras as a go-to option for video production. During the DSLR boom, filmmakers realized they could get amazing footage — even though the sound was atrocious. Users adapted a traditional cinema technique of running a completely separate audio setup. While this helped produce quality content, so many videos were produced by a single producer. One person shot with the camera, recorded the audio, and then would edit and upload their projects.If you’re already doing the workload of ten people, why go through so many steps to make things even more difficult? You can simplify the process by using an actual video camera — one built to capture cinematic footage and quality audio at the same time.Image via Michael Maher/PremiumBeatI, like many of the readers here, come from a DSLR background. Back in film school, I jumped on the Canon 5D MKII and 7D bandwagon. The cameras were affordable and offered a great image. Classmates stuck using gear reserved for freshmen were producing content on cameras already a decade old. With a DSLR, I could also get photos and video. One of the best things was the size of the camera. It wasn’t intimidating to the subjects I was shooting, and people were much more comfortable around the camera.Now I rarely shoot photos, and just focus on video. The more documentary work I do, the more of a hassle the DSLR and mirrorless cameras have become. I’ve gone through such great lengths to add support gear to my DSLR, when I should have just upgraded to a production camera in the first place.Image via Michael Maher/PremiumBeatVideo cameras are so much smaller and lighter than in years past. I recently got my hands on the Sony FS5, and I have to admit — I fell in love. An added benefit: much of the lightweight support gear I bought over the years still works with these new lightweight video cameras. Another great feature: a freaking handgrip. Do you know how much easier life is with a handgrip? Also, the variable ND was a treat. Now, the camera did have its faults; no camera is perfect. I don’t much care for the menu interface, which isn’t really an issue when it comes down to image quality. The FS5 is a broadcast beast that also allows you to capture a true cinematic look.The FS5 inspired me to write this post for any others looking to upgrade their camera package and turn their DSLR or mirrorless into your B camera.Types of Video CamerasThe following manufacturers and cameras are some of the most common production cameras you’ll see on set. The list includes cameras in the medium price range for documentary and independent filmmakers, as well as some high-end cinema cameras you may see when working on bigger productions.While this certainly isn’t an all-inclusive list, these cameras will give you an excellent cinematic look. We’ll start with some of the medium-budget cameras and work up to the major production camera bodies.SonySony offers an array of professional cameras in the XDCAM lineup and the CineAlta line for major motion pictures. They are used by countless television studios, news productions, documentary filmmakers, as well as sports teams like the Dallas Stars.Sony PXW-FS5Image via Michael Maher/PremiumBeatThe Sony FS5 is one of the new cameras on this list, having come out in Q4 of 2015. The camera is popular among news shooters and documentary filmmakers like Philip Bloom. The body alone is incredibly lightweight at 1.8 lbs.Specs:Super 35-Sized CMOS SensorSony E-MountUHD at 24/30 FPS, HD up to 240 FPSXAVC Long, AVCHD Recording Codecs2 x SD Media Card SlotsHD/3G-SDI & HDMI OutputNative ISO 3200 (S-Log3 Gamma)14 Stops of Dynamic RangeBuilt-in ND filter from 1/4ND to 1/128NDErgonomic Handgrip with Camera ControlsPrice: $5,599 (Body Only)Sony PXW-FS7The Sony FS7 is the big brother to the FS5. The camera is slightly larger and has been used on independent films like the 2016 SXSW film Donald Cried.Specs:Super 35 Sized CMOS SensorSony E-MountDCI 4K (4096 x 2160) up to 60p via External RecorderUHD up to 60 FPS, HD up to 180 FPSNative ISO 2000 (S-Log3 Gamma)XAVC-I, XAVC-L, MPEG-2XAVC-I Up to 600 Mb/sDual XQD Memory Card SlotsDual HD/3G-SDI & HDMI OutputBuilt-in ND filter from 1/4ND to 1/128NDErgonomic Handgrip with Camera ControlsPrice: $7,999 (Body Only)Sony PMW-F55The Sony F55 comes from the CineAlta line and is one of the premier Sony cameras designed for major motion pictures and television. It was recently used on the Oscar-winning film Ex Machina and the 2016 SXSW film Slash. Other major motion pictures include The Wedding Ringer, A Million Ways to Die in the West, and Tomorrowland. On television, the camera was used on Vinyl, The Blacklist, and the Netflix series Marco Polo.Specs:8.9MP Super 35mm CMOS Image SensorInternal 4K/2K/HD Recording14 Stops Dynamic RangeElectronic Global ShutterUp 240 fps 2K with Optional AXS-R5Native FZ-Mount and PL-Mount AdapterSxS Pro+ Media CardsPrice: $28,999 (Body Only)CanonCanon video cameras are very popular in the advertising and independent film worlds. They are frequently used in national ad campaigns and will sometimes serve as B cameras on major motion pictures.Canon EOS C100 MK IIThe Canon C100 MK II is the manufacturer’s entry-level pro video camera. It’s most used on weddings, documentaries, and short films, and is a great stepping stone for those coming from the Canon DSLR lineup. The C100 was recently used on the Sundance short film The Shining Star of Losers Everywhere, which earned a nomination for the Short Film Grand Jury Prize.Specs:Super 35mm CMOS SensorCanon EF Mount1920x1080p 59.94/50/29.97/25/23.98AVCHD + MP4 RecordingDual SDHC/SDXC Media Card SlotsHDMI Output with Timecode & Canon LogISO 320 to 102,400Canon Log and Wide DR GammaTwo XLR Audio ConnectorsPrice: $4,499 (Body Only)Canon C300 MK IIThe Canon C300 MK II is the middle-level pro video camera. It’s frequently used on full-length documentary films and as a B camera on major motion pictures. It was used in the documentaries Cartel Land, Sonic Highways, and 20 Feet from Stardom. The camera is also used on the VICE documentary shorts for HBO. The C300 was used on independent features like Blue is the Warmest Color and television shows like Deadliest Catch. In Hollywood, the camera has been used for stunts and b-roll on Rush and Her.Specs:Super 35mm CMOS Sensor4K, 1920×1080 60/50i, 23.98/25p/24pAvailable with EF or PL MountCanon XF AVC H.264 CodecDual Pixel CMOS AF TechnologyRotating 4″ LCD Monitor2x 3G-SDI Output2x XLR Inputs2x CFast Card SlotsCanon Log 2 GammaPrice: $15,999 (Body Only)Canon C500The Canon C500 was just marked down as we await news of the C500 MK II at NAB 2016. The C500 was the B camera used on the Oscar-nominated film The Big Short. The camera was used for stunts on major motion pictures like Avengers: Age of Ultron, Need for Speed, The Man From U.N.C.L.E., and After Earth.Specs:Super 35mm-Size CMOS SensorAvailable with EF or PL Mount4K RAW (4096 x 2160) Output2K, Quad HD & Full HD2x 3G-SDI Outputs50 Mb/s Proxy HD Recording to CF Card10-Bit 4K RAW at Up to 60p10-Bit 4K Half RAW at Up to 120p12-Bit 2K 4:4:4 Signal at Up to 60pCanon Log GammaPrice: $9,999 (Body Only)Mark II: $TBA ~$30,000 NAB 2016BlackmagicBlackmagic has gained a lot of traction in documentary and movie stunts. The company just finally started shipping the much-anticipated Ursa Mini 4K and 4.6K cameras. Their most popular camera is the Pocket Cinema Camera, which has become a go-to stunt camera.Blackmagic Pocket Cinema CameraThe Blackmagic Pocket Cinema Camera is a tiny camera, not much larger than a regular point-and-shoot. It has become a go-to stunt camera, recently used on the Oscar-winning Mad Max: Fury Road, the blockbusters Avengers: Age of Ultron and The Expendables 3, as well as the television show Mythbusters. It was the primary camera for the Sundance fake documentary Operation Avalanche, which was shot to look like 16mm film. Unfortunately, this camera isn’t the best for audio. I’ve listed it solely for its image quality and price point.Specs:Super 16mm-Sized Image Sensor1920 x 1080 Native ResolutionMicro Four Thirds Lens Mount13 Stops of Dynamic RangeRecords ProRes 422 HQ and CinemaDNG RAWPortable Design (5″ Long and 12.5 oz)3.5″ LCD Display with 800×480 ResolutionHDMI, LANC, 3.5mm Audio Input and OutputPrice: $1,095 (Body Only)Blackmagic Ursa MiniThe Blackmagic Ursa Mini is the newest camera on this list, with the 4.6K version having only shipped in the past few weeks. The camera is available in four different options at either 4K or 4.6K.Super 35 SensorFour Options – 4K EF Mount, 4K PL Mount, 4.6K EF Mount, 4.6K PL Mount4.6K Uncompressed Video Recording/4608 x 2592 – Depending on Camera Model4K Uncompressed Video Recording/4096 x 2304/4608 x 1920/4000 x 2160UltraHD Apple ProRes/3840 x 21603K Anamorphic/3072 x 25602K/2048 x 1152HD Apple ProRes/1920 x 108023.98, 24, 25, 29.97, 30, 50, 59.94, 60 fps15 Stops5″ Fold Out MonitorDual CFast – Nonstop RecordingIncludes Full DaVinci Resolve SuitePrice: $2,999 – $5495 (Body Only)REDRED has become the go-to camera in nearly every type of video production. RED cameras are used in advertising campaigns by companies like Red Bull and are prominently used in commercials and film. Some major motion pictures will use RED cameras as the A camera, as well as a B camera. A quick aside — don’t let these brain only prices fool you. These cameras require a ton of very expensive support gear.RED RAVENThe RED RAVEN is the base model from RED. Yes, everything is pretty much always listed in all caps. This camera is most popular on independent films and medium-scale commercial productions.9.9 Megapixel CMOS Sensor16.5+ StopsUp to 120 fps 4.5K, Up to 300 fps 2K4.5K 2.1:1 (4608 × 2160), 2.4:1 (4608 × 1944)4K Full Frame (4096 × 2160), 2:1 (4096 × 2048), 2.4:1 (4096 × 1728), UHD/16:9 (3840 × 2160)3K Full Frame (3072 × 1620), 2:1 (3072 × 1536), 2.4:1 (3072 × 1296), 16:9 (2880 × 1620), 3:2 (2880 × 1920)2K Full Frame (2048 × 1080), 2:1 (2048 × 1024), 2.4:1 (2048 × 864), 16:9 (1920 × 1080), 3:2 (1920 × 1280)Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHzPrice: Starting at $5,950 (Brain Only)RED SCARLET-WThe RED SCARLET-W is one of the newest cameras from RED, updating the prior SCARLET DRAGON. The prior model was popular on independent film sets like Drinking Buddies and was most recently used on the SXSW film Claire in Motion. It also captured the intense action of The Raid 2 and was a stunt camera on The Expendables 3. Here are the specs on the newly updated SCARLET-W:13.8 MP Super 35mm CMOS16.5+ StopsUp to 60 fps 5K, Up to 300 fps 2K5K Full Frame (5120 × 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3×4.5K Full Frame (4608 × 2412), 2:1, 2.4:1, 16:9, 3:2, 4:1, 8:1, and Ana 2x, 1.3x4K Full Frame (4096 × 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x3K Full Frame (3072 × 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x2K Full Frame (2048 × 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3xIntegrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHzPrice: Starting at $9,950 (Brain Only)RED EPIC DRAGONThe RED EPIC DRAGON was just used as an A camera on the Oscar-nominated films The Martian, Room, Gone Girl and The Danish Girl. It was also used for a few scenes by three-time Best Cinematographer Emmanuel Lubezki in The Revenant. It was the camera of choice for 10 Cloverfield Lane, Straight Outta Compton, The Walk, and the television series Better Call Saul. It was was used as a B camera on The Birth of a Nation, Steve Jobs, Furious 7, Spectre, Magic Mike XXL.19.4 Megapixel CMOS Sensor16.5+ stopsUp to 75 fps 6K, up to 300 fps 2K6K Full Frame (6144 × 3160), 2:1, 2.4:1, 16:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x5K Full Frame (5120 × 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3×4.5K Full Frame (4608 × 2412), 2:1, 2.4:1, 16:9, 3:2, 4:1, 8:1, and Ana 2x, 1.3x4K Full Frame (4096 × 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x3K Full Frame (3072 × 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x2K Full Frame (2048 × 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3×2 channel, uncompressed, 24-bit 48 kHz. Optional 4 channel, and AES/EBU digital audioPrice: Starting at $24,000 (Brain Only)RED WEAPONThe RED WEAPON is currently available to consumers with a 6K DRAGON sensor, though an 8K Vista Vision camera is currently being tested on the set of Guardians of the Galaxy Vol. 2.19.4 Megapixel CMOS Sensor16.5+ StopsUp to 100 fps 6K, Up to 300 fps 2K6K Full Frame (6144 x 3160), 2:1, 2.4:1, 16:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 5K Full Frame (5120 x 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 4.5K Full Frame (4608 x 2412), 2:1, 2.4:1, 16:9, 3:2, 4:1, 8:1, and Ana 2x, 1.3x 4K Full Frame (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 3K Full Frame (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 2K Full Frame (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3xIntegrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Price: Starting at $29,500 (Brain Only)Are you looking to upgrade to a new camera? What camera are you most interested in buying? Let us know in the comments below.
After five long years, we finally got to see the new Pocket Cinema Camera at the 2018 NAB Show. Here’s what you need to know.Cover image via Todd Blankenship.The Blackmagic Pocket Cinema Camera is a staple in many videographers’ gear bags — it’s small and portable, and it can record in RAW and Apple ProRes 422 for amazing-quality videos. Although it’s been on the market since 2013 and can only record in 1080p, it’s still one of the company’s best sellers.This year at NAB, Blackmagic Design unveiled a billboard that read, simply, “The New Generation Blackmagic Pocket Cinema 4K.” Not a lot of subtlety there. The billboard basically confirmed that we are getting a 4K upgrade to the Pocket Cinema Camera. This release is probably a move to compete with the top sellers in the 4K market, like the Sony A7S II or the Panasonic GH4.Just recently, during the Blackmagic NAB showcase, they revealed what we have all been waiting for — the new and improved Blackmagic Pocket Cinema 4K, at a price of $1,295.Image via Todd Blankenship. This thing is an absolute beast. It may not be “pocket-sized” like the original, but its features make up for the larger size. Here’s the list that Blackmagic announced today:60fps, 4K13 stops dynamic range4/3rds sensor25,600 ISO4.0 Color ScienceLUTs built into cameraBluetooth controllers4 Microphones built into the cameraMINI-XLR attachmentFull-size HDMI hook-upRecording to CFAST and SDCan record to an external DiscEdit right off of recorded HDDButton for quick High Frame Rate recordingStill Photography AbilityTouch Sensitive LCD monitorAnd here are the exciting takeaways: Ability to shoot in 4K at 60fps. There are only a few cameras at this price point that can record to that extent, and with the ability to shoot RAW, this will shoot to the top of that list.The still photography capability of this new camera is a huge step from the old one — since you couldn’t take stills at all. This opens up a whole new world for BMPCC owners.Its capability to record to an external drive is monumental. This means you can hook up your Pocket Cinema to a 1TB drive and record in RAW for hours on end.The High Frame Rate button is an awesome addition, perfect for those situations when you have to switch to 60fps but don’t have the time to stop recording.The LCD panel on the back of this camera is touch-sensitive, and it covers most of the back of the body. This is a huge upgrade from the original BMPCC, which had a smaller screen.At a price point of $1,295, this camera is going to be the top choice for indie filmmakers and professional videographers alike. It’s due for a September release.Cinema5D recently put out this in-depth look at the camera while at NAB. Check it out. Make sure to follow PremiumBeat’s blog for all NAB 2018 updates.NAB 2018: LaCie’s Rugged Hard Drive Gets TougherNAB 2018 Announcement: The Sony FS5 Gets an UpdateNAB 2018: What You Should Know Before You Go
Give your bland titles and text graphics a kick! Here are 7 in-depth tutorials to help take your titles, text, and motion graphics to the next level.Going back to the earliest days of black-and-white silent films, text and titles on screen have always been an integral part of film and video. We still see text used in a wide variety of video formats today. From your biggest motion pictures to your shortest social media videos, text can convey information, speed up exposition, or simply identify people and places.While adding text isn’t that difficult, if you really want your videos to shine, there’s no excuse for at least trying to go the extra mile. Really working on positioning, adding motion, and/or other effects can be a great way to make your titles and text much more dynamic and enjoyable to viewers.Perfect PositioningIn Jason Boone’s tutorial above, we get some insights into one of the smallest (but perhaps most powerful) new features in the latest update to Adobe Premiere Pro — the use of rulers and guides.If you’ve used After Effects or Photoshop heavily in the past, these might be familiar to you. They’re super helpful in allowing you to create and add custom overlays and guides for working with different types of video exports.You can read the full step-by-step instructions here.Easy Title Motion GraphicsIf you’re comfortable with working in Adobe After Effects, here’s an easy motion graphics tutorial from the folks at SonduckFilm on how to create some effective title techniques. Follow their suggestions for adding shapes, reveals, and masking to your typography.Create Call-out TitlesAnother more in-depth After Effects tutorial for a very specific skill set — great for travel or informational videos — a “call-out” graphic can help illustrate stats and figures for all types of projects using simple keyframing and tracking.Follow the full article write-up here.Smooth Text AnimationMoving back to Adobe Premiere Pro, here’s a solid tutorial from Ignace Aleya on how to master the art of creating smooth text animations. This is a perfect tutorial for anyone looking to add that extra layer of sleekness to some basic lower-thirds or text on screen. Adding some motion, blur, and the right timing for your keyframing can make all the difference.Anime Speed LinesOkay, so while this technique might evoke a look you’ve seen primarily in Japanese animation over the years, it’s actually a pretty cool trick to add action and emphasis.In this After Effects tutorial, you can pick up the basics of these speed lines and find creative ways to add them into your anime and non-anime projects. Read more on the process here.Basic Logo AnimationsIn a very cool, very in-depth tutorial put together on Broken, we get a great primer on creating some basic (and complex) logo animations. This is not just great for client work — if you’re lucky enough to be working with some big names like they have in these examples — but also for your own projects if you have a logo you’d like to spice up.Free Animated Text TypefaceAnd finally, because it’s always nice to end things with a perk. We have some completely free animated text presents you can download and add to your videos right away. These pre-rendered text elements are ready to go for Premiere Pro, and they’re fully customizable in After Effects.You can download the FREE assets here!For more text and motion graphic resources, check out these articles.5 Things You Should Consider When Adding Text to VideoAnimate Your Text with Handwriting Motion GraphicsHow to Shoot Practical Floating Text in Your VideoVideo Tutorial: How to Loop an Animation in Adobe After EffectsHow to Animate a Text Stroke in Adobe After Effects
Why Create a Pitch Deck?In my last two tutorials, I focused on how to format and break down a screenplay. Now that I have my idea down on paper and ready for action, I want to get the ball rolling toward production. I could just start sending the script out, but the chances of getting any traction or attention with this method are slim. A much better approach is to prepare further pitch materials.The pitch deck is essentially a sales presentation for my film, helping clients to visualize the project. I’m not only trying to sell the idea of my film, but I’m selling myself as a filmmaker, as well. Preparing my pitch will help me flesh out all of my ideas, getting everything together in one place. Once completed, I should be able to talk about my idea at length, whether the discussion leads to characters, themes, locations, or any other aspect of the project. I’ll also be able to come up with a tight elevator pitch, which is another important part of the pitch process.Whom Am I Pitching?Know the target of your pitch.Depending on the project, there can be a wide variety of people to whom you will pitch. For this particular project, I’ll be using the pitch deck in three different situations — to pitch to production companies, to apply for grants, and to hire cast and crew members.First, there are a ton of production companies here in Paris, and many of them are open to receiving pitches. If they like my pitch, I could receive help in all aspects of production, including development, shooting, editing, and submitting to film festivals.In addition to production companies, there are a plethora of grant opportunities here. This includes money from the city, the various regions of France, as well as a handful of other associations and organizations. Grants are available for all stages of production, and all genres of films.If I can’t land any grant money and/or convince any production companies to work with me, I can still use the pitch deck as a tool to get cast and crew members to join my team. These assets are especially helpful if I don’t have previous work to showcase or money to entice people.What Goes in a Pitch Deck?Different pitch decks need to include different things. Use this list as a reference.Depending on where I’m sending the pitch deck, I’ll need to make some changes each time in order to fit the needs of the recipient. The best option is to create a master document that includes all of the pitch elements, then remove and customize everything as needed.To get organized, I’ll first write out all of the production companies, grants, and prospective crew members I want to approach. With a directory like this in place, it’s quite easy to find out what I need to include in each pitch.Here’s an example of what one production company wants to see when they receive pitches:SynopsisNote of IntentionScriptWriter/Director RésuméDemo ReelHere’s a list of deliverables from a grant application:SynopsisNote of IntentionScriptWriter’s RésuméDirector’s RésuméProducer’s RésuméTechnical SheetProvisional BudgetFinance PlanLet’s say that I’m trying to convince a talented DP to join my crew. Here’s a few extra things I might want to send their way:LookbookLocationsComparable FilmsDatasheetOnce again, I’ll need to make adjustments based on who I’m pitching. After looking over all of the possible deliverables above for my particular project, here’s the master list I came up with. Yours might look different, depending on the size and scope of your project:TitleLoglineOne-SheetSynopsisNote of IntentionScriptCharacter DescriptionsFilmmaker/Team BiosTechnical SheetLookbook/Mood BoardLocationsComparable FilmsBudgetFinance PlanDistribution GoalsSizzle Reel A good pitch deck is essential for micro-budget filmmakers. Let’s take a closer look at how to put one of these together.Filmmaking is difficult. It’s expensive, the market is saturated, and even if you do manage to make a film and land a distribution deal, you still have the added struggle of making your money back. The pitch deck can help to guide you through this difficult and competitive process.In this example, I’ll be putting together a pitch for a short film I want to shoot in Paris. How to Create OneIf you’re a minimalist, you can use a simple word processor to put your pitch deck together. However, since this is a visual medium, I suggest making something a little more appealing to the eye. If you have a little money to throw into your pitch, you can always bring in a graphic designer, put together a website, or purchase images from Shutterstock. Envato has a number of templates specifically designed for creating a pitch deck.If you’re on a tight budget, there are plenty of free options, including PowerPoint and Keynote. I’m creating my pitch deck in Canva, a great web-based graphic design tool that can help put together a beautiful pitch deck.Whichever route I take, I want to create several different versions. This is a good idea since I’m not always going to want to send everything, especially if I’m sending unsolicited pitches. In these situations, it’s best to send a one-sheet, and see if you can catch someone’s attention. Once you have a person on the hook, you have all of these materials to follow up with.What’re you waiting for? It’s time to get your next project going.Cover image by ImageBySutipond.Want more insight on pitching and pre-production? Check these out.Pre-Production Tips: How and Why to Break Down a ScriptAustin Film Festival Interview: Insights for Turning Your Script into a 90-Second PitchLearn How to Speak Filmmaking: Formatting the ScreenplayHow a Pre-Production Checklist Can Help Your ProductionThe 5 Best Places to Pitch Your Documentary Film Projects
This article takes a look at the digital side of the film world, the importance of film grain, and the evolution of getting that “cinematic” look.Film grain has a very different texture and appearance than digital noise. Film grain is the result of washing away the silver halide particulates that film uses to capture light, varying in size and geometry, depending on exposure, color, and the kind of film. It’s color-neutral. Noise, on the other hand, comes across as digital pixel clusters. It’s the result of the camera’s electronics boosting the incoming light signal from the sensor, and it can contain unwanted artifacts and patterns.Film grain hearkens back to the Golden Age of celluloid and is reminiscent of the classic movies shot on film. Digital noise can often feel like an error in the digital signal.Modern cinema cameras produce a very sharp image. Some consider it too clean — almost clinical. Film grain feels like the delicate hiss of a vinyl record. It adds atmosphere and helps unify the image.Ever since digital cameras became the standard for cinema, with the ARRI Alexa, cinematographers have been looking for ways to add convincing grain to get the feel of film.Joaquin Phoenix in Joker (via Warner Bros).Perlin NoiseThe first method Hollywood explored was to simply add Perlin noise — as some plugins still do. This gives a uniform grain pattern across the entire image. With real celluloid, the density of the grain varies from the lighter parts to the darker parts of the image, and it varies depending on the color channel that’s creating it. Perlin noise feels like a layer on top of the image rather than a part of it.LiveGrainThe second major method was to scan real film, then overlay the scan on the digital image. This produced a better pattern, but it was still a separate element, and it didn’t integrate with the information underneath.Suny Behar was disappointed with both of these methods, thus developed the technology known as “LiveGrain.” LiveGrain uses scans from several different film stocks at different density and color values, encodes them in a visually lossless proprietary codec, then analyzes each frame of the digital project, mapping the respective grain particulates to appropriate levels of brightness and color in each frame.Michael Fassbender in Assassin’s Creed (via Twentieth Century Fox).LiveGrain vs. FilmThe final effect gives the impression of organic, living celluloid baked right into the image, with all the wonderful benefits of film. It smoothes the color and skin of the actors, producing a more forgiving, less-brittle image. It’s become an industry standard to better integrate CGI into live-action plates, allowing 3D (and other elements) to composite more believably into recorded footage.LiveGrain also helps “sell” prosthetics and other makeup effects, hiding the lines and transitions — unifying the image.LiveGrain is currently available for use in dailies and all the way through final color at many LiveGrain-certified post-production facilities worldwide. The reason for this is that the system, comprised of both software and hardware, has pretty hefty hardware requirements in order to run natively in real time (SAN Read speeds, multiple GPUs, etc.).LiveGrain is an alternative to possibly shooting on film. As such, the price is competitive compared to film origination. If your project never intended to shoot on film, the cost may be more than you’d initially budgeted for. Since you license LiveGrain on a project basis (very much like Dolby when you want a Dolby Digital License), you can reach out to LiveGrain directly to get a quote.While it’s currently out of reach for most smaller independent projects, there’s every indication that the technology will soon become more accessible, and directors at every level will be able to enjoy the celluloid aesthetic.Cover image via True Blood (HBO).Looking for more cinematography tips and tricks? Check these out.Recreating Roger Deakins’ ‘Cove Light’Get Ready to Film with the Sony A7 III Using These SettingsExploring the Emotion and Beauty Behind Uplighting3 Unusual Camera Angles to Liven up Your Dialogue ScenesTips for Getting the Smoothest, Most Reliable Handheld Footage
Essential Reading! Get my first book: The Only Sale Guide You’ll Ever Need “The USA Today bestseller by the star sales speaker and author of The Sales Blog that reveals how all salespeople can attain huge sales success through strategies backed by extensive research and experience.” Buy Now It’s not easy to be street smart. To be street smart, you have to spend time on the streets. That puts you in contact with unsavory characters, the kind that typify the hustler that embodies the negative version of that word.You get street smarts when people try to take advantage of you, when they try to bully you, or when they try to bamboozle you. The people you meet on the streets are tough, they aren’t afraid of conflict, and they’re not afraid to engage in a physical confrontation.When you’re street smart, you learn to read people. You know when someone is trying to pull one over on you. You know when someone is trying to take advantage of you. You also know how to communicate with different types of people, and you almost certainly know how to use humor to defuse a stressful, tense, or bad situation. You don’t get your street MBA without learning these things.In business, in sales, and in life, street smarts will carry you a long way.But book smarts are important too. I know right now that there are influential people telling you that you don’t need book smarts. There are countless articles and blog posts and YouTube videos that show you how expensive college is, and suggesting that you are better off becoming an entrepreneur right out of high school. Right now, the poor liberal arts degree gets no respect.If you want to be a good, happy, and effective human being, it’s important to get book smarts. You want to understand the big themes that run through human history and the big ideas in human endeavors, including business. Understanding how things work and what people made in the past gives you a context for future decisions. Studying the arts and sciences allows you to see a bigger picture, and it provides different lenses with which to view things.In business, in sales, and in life, book smarts will help you succeed.These two types of “smarts” are not mutually exclusive. In fact, the combination of book smarts and street smarts is lethal. If you’ve got one, getting the other will give you superpowers.
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 Tweets you can use to share this episodeHow Donald Trump has demonstrated Social Media’s futureClick To TweetCould a democratic form of government be shaped or even run by Social Media in the future?Click To TweetSubscribe toIn the ArenaApple PodcastsGoogle PodcastsAndroidby EmailRSSOr subscribe with your favorite app by using the address below Podcast: Play in new window | Download (Duration: 46:11 — 42.4MB)Subscribe: Apple Podcasts | Android | Email | Google Podcasts | RSSThe future of social media is going to be about more than new or faster ways of sharing the latest stupid cat video or meme. The technology that enables immediate communication via social is the same technology that’s going to impact seemingly unrelated areas like economies, governments, and world-changing movements. On this episode, Anthony takes a deep dive into what the future may hold as it relates to social media with his friend and guest, John Robb. If you’re at all curious about what the technologies already being used in social media might mean for business, governments, and more, this episode is a peek through the keyhole of possibility that you will enjoy.John Robb on The Future of Social Media And Global Change – Episode #77Click To TweetDonald Trump has demonstrated social media’s future.The 2016 election cycle has been one of the most hotly contested in recent history and it’s no accident that social media was a powerful tool in making it happen. When an outsider like Donald Trump is able to disrupt the established political machine of a long time political party (Republican), you know something new is going on. How did he do it? Through social media. On this episode, Anthony and his guest, John Robb chat about the strategies Trump used to get around the media gatekeepers and tap into public sentiment, broadcast a message outside the media’s control, and change the direction of the election. The result is what we see before us – a Presidential candidate for a major party who’s entirely from the outside.A future where social technology integrates with Artificial Intelligence.John Robb believes that social media’s future will be broader than reconnecting with high school friends and sharing your latest vacation pictures. The same technologies that make it so easy and effective to do those simple things can and will be integrated with artificial intelligence to create some seriously world-changing technologies. We’re not talking about the “rise of the machines” here, we’re talking about tools that enhance the way humans interact – to the degree that it makes possible the rapid deployments of armies, fundamental changes to governments, and reorientations of economies. Sound strange or even scary to you? You’ve got to listen to this episode to hear how realistic these predictions are.A future where social technology integrates with Artificial Intelligence, on this episodeClick To TweetCould a democratic form of government be shaped or even run by social media in the future?If you look carefully at what’s happening all around the globe you’ll begin to notice that there is no major conflict that is NOT using social media in some way. Social is now a tool, a weapon used to coordinate movements, transmit messages, and influence public opinion on a mass scale. Is it possible that these forays into the use of social media for political means are just the beginning? Could there be a marriage between social and artificial intelligence that makes those uses not only more effective but actually changes the fundamental nature of something as foundational as Democracy? John Robb believes that’s exactly what’s going to happen. Find out how he sees the future and social technology’s role in it, on this episode.The future of social media can be seen through harbingers happening today.There are many futurist predictions that never come true. John Robb says that’s often the case because self-proclaimed futurists posit a theory and then extrapolate what might happen based on that theory. The problem is that the theory itself is not firmly grounded in things that are already happening. John takes a different approach. He never makes a prediction unless he already sees at least an incipient form of a thing happening in multiple places across the globe. That foundational tie to the reality of what’s truly happening in the world makes the extrapolation of the idea much more grounded and realistic. This conversation ranges far and wide but it’s an important one for anyone who’s interested in where the world is going and how it will affect business, economies, and the future of mankind.How the future of Social Media can be seen through harbingers happening todayClick To TweetOutline of this great episode Anthony’s introduction of John Robb and why he’s on the show for this episode. How John’s book predicted much of what we see going on in the world. How Donald Trump has used social to disrupt the system. What should we expect in the use of social media in the future? Hacking, password dumps, and the relationship to social networking. The advent of A.I. and why it’s on the wrong track. The integration of A.I. and social networking: the future of change. How the principles John espouses impact business methodology. How social technology is changing the fundamental nature of the state. What we need to think about our roles in the making of the future. Anthony’s recap of the episode.Our Sponsors:Heroic Public Speaking – Michael Port’s incredible public speaking programThe Only Sales Guide You’ll Ever NeedResources & Links mentioned in this episodeJohn’s website: http://globalguerrillas.typepad.com/John on FacebookJohn on TwitterNew Model Army0471780790 0812979680078949647XThe theme song “Into the Arena” is written and produced by Chris Sernel. You can find it on SoundcloudConnect with AnthonyWebsite: www.TheSalesBlog.comYoutube: www.Youtube.com/IannarinoFacebook: https://www.facebook.com/iannarinoTwitter: https://twitter.com/iannarinoGoogle Plus: https://plus.google.com/+SAnthonyIannarinoLinkedIn: https://www.linkedin.com/in/iannarino
Essential Reading! Get my first book: The Only Sale Guide You’ll Ever Need “The USA Today bestseller by the star sales speaker and author of The Sales Blog that reveals how all salespeople can attain huge sales success through strategies backed by extensive research and experience.” Buy Now “If this is good, that must be bad.”“If that is right, this must be wrong.”“There is only one way to do this, and that is the way we do it.”“It is black or white. There is no gray area.”One of the patterns in human thinking is the tendency to identify—and cling to—polarities. These polarities exist in all areas of our thinking, our values, our politics, and structures of our consciousness. Polarities exist in some of our general dispositions, like believing you are conservative or liberal. But they also show up in lesser matters, like Inbound or OutBound as a sales approach.Throughout human history, the brain has worked to keep human beings alive, dividing things into two categories: 1) Beneficial, and 2). Harmful. Blueberries are good, hungry predators are bad. My people are safe; strangers are dangerous. People who believe what I believe are part of my tribe, and people who believe something different are the enemy. These dichotomies have served to keep us alive. They have also created false choices and limited thinking that have kept us trapped with a set of problems that appear to be intractable.The truth is that blueberries are sometimes good, and hungry predators are also useful. Your people are sometimes safe, and strangers are often safe (everyone you know was once a stranger, and you may have had reservations upon meeting them). People who believe what you believe are part of your tribe, and defining that category to something as limited as, say, political beliefs, produces a different outcome than a broader, more inclusive class.There are some areas where the dichotomies require a choice, like integrity or dishonesty. In more domains, however, polarities extract a price when it comes to your success and your results.Elimination of OptionalityIf there is only one right answer, all other answers are necessarily wrong. If all other answers are wrong, then you have effectively eliminated your options. If what you believe is good, and right, and beautiful, and everything else is terrible, wrong, and a lie, then you have removed any new choices or options. These kinds of purity tests often end up destroying results. When there is only one belief and one right course of action, when it doesn’t produce the desired effect, you are stuck.In The Only Sales Guide You’ll Ever Need, I described “resourcefulness” as the linchpin attribute of the ten that appear in the first half of the book. Human creativity and ingenuity have, so far, seemed to lack any boundaries or limitations.Learn Anthony’s core strategies & tactics for sales success at any level with The Only Sales Guide You’ll Ever NeedThe first tablet computers with a touchscreen hit the markets in 2000. They were mainly a computer with a touch screen. The experience wasn’t great, and no company produced anything that was remotely considered a success, and the ideas were virtually abandoned. Steve Jobs believed that a tablet computer was not only possible but that it was something different from a computer. His vision, his creativity, and his beliefs about what was possible made the market for tablets.Unnecessary and Incorrect AssumptionsMuch of the time, we make unnecessary and incorrect assumptions. We assume that what we do cannot be improved, and we accept a stasis that doesn’t serve us rather than exploring the new choices and new options. It can be challenging to believe that what we have done for a long time is no longer the right thing to do, and if you think in polarities, it means admitting that you are now wrong. The need to be right and a decision to be correct for the rest of all time is how people and collections of people get hurt.You don’t have to believe that other choices are wrong. Nor do you have to think that you are right. When you are hardened and unadaptable about what you think and your options, because your beliefs are set in concrete, you have set yourself in place while the world moves past you.How do you free yourself from polarity thinking? How do you get past mutual-exclusivity and see new beliefs, new actions, and new results?Exploring ConflictsMy challenge here is to share this idea without using polarities, even though, like all generalizations, they are useful.Whenever two or more ideas or courses of action exist, there is value in both the competition of these ideas and the integration of those same ideas. Most of us hold beliefs so firmly that we often refuse to explore their opposite.For some time, the people who fell passionately in love with inbound marketing suggested that any cold outreach (cold calls) was a violation of what is right. Because they held their beliefs so firmly, they limited the choices that salespeople and sales organizations might pursue. The result was detrimental to the vast majority of the people who held this belief, resulting in the being opportunity-starved. It did, however, improve the outcomes for some, mostly thought leaders and content creators.Those who fared the best chose to use both inbound marketing and cold outreach, integrating the two into a comprehensive approach. They refused the dichotomy, removing the “or” offered, replacing it with “and,” reaping the benefits of both.When I was young and first fronting a rock-n-roll band, we played only originals, a decision that was lauded by our small group of fans and followers, as well as other bands. The bands who were succeeding in building bigger audiences were playing mostly covers, something we refused to consider. At some point, we changed to playing covers, and our audience grew. At some point, we integrated the two, playing both and realizing greater success.Context matters. If you only accept competition, then one idea or choice wins, and all others lose. In eliminating ideas with which you disagree, you allow yourself to get stuck, as it pertains to your results your personal and professional growth. There are good reasons to explore the poles, including your values. It is never right to lie, except when doing so does nothing but hurt another person’s feeling.Accept the ThreatYou will not grow if you are unwilling to change your beliefs and your behaviors. To improve your ability to free yourself from your polarized thinking, you have to be willing to explore opinions and ideas with which you disagree. You must also be willing to take new actions. The greater the threat of the idea, the more you need to look at it.Exploring ideas you disagree with doesn’t mean you blindly accept them. Instead, it means you evaluate it in light of your circumstances, that you consider it, you give it a fair trial. Not all ideas are equally valuable for all scenarios — the context matters. But if you aren’t even willing to look at something different because it threatens what you know and believe, you cut yourself off from breakthroughs and transformation.Seek PerspectivesOne of the ways you can break free from being trapped on the poles is to look at people occupying the opposite pole. Because this is thesalesblog.com, if you believe “only inbound,” how do you explain the results of those who “mostly inbound?” If you are “only-outbound,” you are leaving communication channels out of your approach, even if we might disagree about the value and strategies for using these mediums.Exploring the opposite of what you believe means asking the question, “Why do these believe this is valuable?” If you think that other people’s beliefs and strategies are wrong while they are producing results, you understand the limiting nature of absolutist thinking. If there were no value, if it wasn’t useful in some context, one of two things would be true: 1). They would keep doing it even though they are not producing a result, or 2). They would stop doing something and do something different.If you are going to grow, change, and improve, you are going first to need to enhance your perspective.Trade Judgment for DiscernmentBreaking free of a fundamentalist mindset isn’t easy. It requires you to eliminate the tendency to judge something and explore the opposite pole with discernment as to the goal. There is value in the tension between the poles. You only know dark because you know light. You know cold because you know hot. Both of these examples demonstrate a continuum from one pole to the other. Instead of looking at the opposite pole with judgment, you ask, “When and how might this be useful?You want discernment, not judgment. What discernment offers is new beliefs, new behaviors, new courses of action, and new results. By seeing the value in context, you can integrate the opposite pole, when it makes sense to do so.
Nagpur: Around 5,000 policemen have been deployed across various parts of the city for the civic polls on Tuesday.According to NMC commissioner Srawan Hardikar, the voting will take place at 2,783 polling booths, out which 54 have been identified as “sensitive booths”. Armed security personnel will be deployed at 162 polling booths across the city. The election is for 151 seats across 38 wards. An NMC press release said, “Nine Deputy Commissioner of Police, 12 Assistant Commissioner of Police, 32 police inspectors, 125 police sub-inspectors and ten platoons of the ‘striking force’ State Reserve Police force will be involved in the security arrangements.” Four Riot Control teams of police and one company of SRPF have been kept as “reserve.”The police have confiscated 124 weapons and asked the owners of 195 weapons to submit them to the police.The vehicle of Union Minister Nitin Gadkari was surrounded by some angry protestors in East Nagpur area on Monday evening. The protestors reportedly belonged to Halba community, which is unhappy with the BJP for not keeping its promise of providing caste certificates. The Minister was escorted to his home safely.
Madhya Pradesh will be the first State to switch to the January-December financial year from the present April-March cycle.The change will mean the financial year will coincide with the calendar year. The decision was taken at a meeting of the Cabinet held at Mantralaya here on Tuesday. “The next budget session will start in January. Now, the financial year will start in January and end in December,” CM Shivraj Singh Chouhan said. The decision was announced to the press by Public Relations Minister Narrotam Mishra.On April 23, Prime Minister Narendra Modi made the proposal at the third governing council meeting of the NITI Aayog in New Delhi. Mr. Modi said the switch could have a significant impact on the economy.
The Army on Saturday renamed the Army Goodwill School, Behibagh, as ‘Shaheed Lt. Ummer Fayaz Goodwill School’ as a mark of tribute to the deceased soldier abducted and killed by militants on May 10.An Army spokesman said Major General B.S. Raju, the General Officer Commanding of the Victor Force along with the deputy commissioner and Superintendent of Police, Kulgam, visited the house of Fayaz to attend the ‘Chahrrum’.Grants solatiumMaj. Gen. Raju met the family and presented a cheque of ₹75 lakh on behalf of the Army.“To honour the martyr, it has been decided to rename the Army Goodwill School Behibagh as ‘Shaheed Lt. Ummer Fayaz Goodwill School’,” said the spokesman.The deputy commissioner also presented a cheque of ex-gratia and announced a government job to the family members.Condemning this dastardly act, Maj. Gen. Raju called upon all sections of the society “to join hands in putting an end to the bloodshed in Kashmir”. He also urged the elders to sensitise the “misguided youth” to shun the path of violence and join the mainstream and contribute towards the nation building.Fayaz, 22, who belonged to 2 Rajput Rifles, was killed as he had come on a vacation to native district of Kulgam. He was picked up by gunmen from a wedding function in nearby Shopian district on Tuesday. His bullet-ridden body was found from a road on Wednesday.He was a brilliant young man who performed in a spectacular manner in the Indian Army, the GOC said after meeting his family here.“His death will not go in vain. Strict actions will be taken over this militant attack. We want to ensure that our operation will not affect the civil population,” he asserted.Family inconsolableMeanwhile, Fayaz’s family remains inconsolable as they continue to mourn the loss of their son. “We have lost everything. He was a good human being,” Fayaz’s father Faiz Ahmed said.(With ANI inputs)
An unidentified man tried to sexually assault a Class IV girl student in the toilet of a private school in Panipat, a senior police official said on Thursday. A case has been registered under various sections of the Protection of Children from Sexual Offenses (POCSO) Act against the accused, after the girl’s father reported the matter to the police on Wednesday. “The girl was found crying in the school by her teachers. She insisted on meeting her parents. Her parents were immediately called and she left with them. At home, she narrated her ordeal,” Station House Officer (SHO) Sub Inspector (SI) Kavita of the Women Police Station in Panipat said.
As the Bharatiya Janata Party (BJP) stepped up pressure on Congress leader Ahmed Patel over the arrest of an alleged Islamic State (IS) operative, Kasim Stimberwala, who worked in a hospital that was reportedly associated with the Congress leader, Mr. Patel has written to the Union Home Minister seeking an impartial probe into the matter.In a letter dated October 28 to Home Minister Rajnath Singh, Mr. Patel wrote, “As an MP, who has taken oath to uphold the sovereignty and integrity of India, I call upon you to take cognizance of the matter and as the Home Minister of India instruct the relevant law enforcement agencies to take this investigation to its logical end in an impartial and objective manner.”On Friday, the Gujarat CM Vijay Rupani sought Mr. Patel’s resignation. Both the Congress and Mr. Patel have denied any wrongdoing.
Two sons of a Bhartiya Janata Party lawmaker Awadhesh Narayan Singh have been booked allegedly for molesting a 24-year old woman, who works as a cabin crew member with a private airline in Mumbai.The woman has filed an FIR at the women’s police station in Patna against the two brothers — Sushant Ranjan and Prashant Ranjan — for allegedly holding her captive in a room and beating her up with the intention of sexually assaulting her.The incident reportedly took place on May 16 in Patna at the official residence of the BJP MLC Awadhesh Narayan Singh.Both the sons of the lawmaker run a franchise of a private travel agency.“The police have lodged an FIR based on the woman’s complaint and we’re verifying the charges…if found true, necessary action will be taken”, said D. Amarkesh, Patna Superintendent of Police (Central).Meanwhile, Mr. Singh, who is also a former chairman of the Bihar Legislative Council, said that he was not in Patna on May 16 but was ready for any investigation.Meanwhile, the opposition RJD has taken a dig at the BJP over the incident. “This is a Beti Bachao-Beti Padhao of BJP?”, said RJD MLA and spokesperson Shakti Yadav while adding that, “such incidents bring disrepute to the State”.
The BJP-led coalition government in the State has raised the job application age limit in the general category by six years to 44 years, the maximum in the Northeast.The new age limit literally goes one-up on the former Congress government’s decision in 2016 to raise the cap from 38 years to 43 years, but for two years. The upper age limit was back to 38 years after the two-year period ended in March this year. “We have increased the upper age limit to 44 years for Grade III and IV jobs, and it is for an indefinite period,” Himanta Biswa Sarma, Assam Finance and Health Minister, said on Monday.The Grade III and IV job applicants have also been exempted from paying the application fee. The fee for Grade I and II is ₹250.