By Stephanie SchupskaUniversity of GeorgiaIt’s not the best year to be a Georgia beekeeper.On top of worries about colony collapse disorder, a newly detected virus, varroa mites and hive beetles, Georgia honey producers have had to deal with south Georgia fires, drought and poor honey flows.University of Georgia Cooperative Extension entomologist and honeybee researcher Keith Delaplane expects numbers to be down this year. The U.S. Department of Agriculture’s Agricultural Statistics Service reported 2006 honey sales at $5.4 million. Delaplane doesn’t expect 2007 to equal that.”The mountains did well,” he said. “I think we got a decent sourwood honey crop.”But smoke from the forest fires hurt south Georgia.”Some growers say they didn’t get good fruit-set because the smoke was happening right when they needed the bees to be pollinating,” he said. Beekeepers use smoke to disorient bees and calm them. The forest fires acted as an unanticipated deterrent to bees’ flight.Despite the many problems, one bad thing is missing from the worry list for most Georgia beekeepers. The Israeli acute paralysis virus hasn’t affected the state’s bees the way it’s hit U.S. states.Scientists have pinpointed the virus, new to the United States via Australia, as one of the causes of colony collapse disorder, which was first found in fall 2004. CCD’s symptoms were disappearing bees that fled normal-looking hives without leaving dead behind to autopsy.The researchers who identified Israeli acute paralysis virus in the U.S. are “very careful to call it a marker” of colony collapse disorder, Delaplane said. “But the stats are very convincing, with literally every colony showing symptoms of CCD also harboring the virus. We don’t find data that plain usually.”IAPV hasn’t been much of a problem in Georgia, thanks to the state’s status as a queen bee producer. “We don’t have a lot of Australian queens coming into Georgia,” he said.But that doesn’t mean the virus isn’t going to spread.When the embargo was lifted on bee imports in 2004, it was the first time Australian bees had entered the U.S. since the 1920s. With no signs of problems, Australian colonies were presumed safe. And they were, even with IAPV, because the varroa mite hasn’t made it to Australia.”There’s evidence that the virus doesn’t express symptoms until the varroa mites feed on the bees,” Delaplane said. The varroa mite first showed up in the U.S. in 1987.With no vaccines for IAPV and no cure for varroa mites, the next best thing might seem to be to keep sick bees separate. But for some beekeepers, that would spell economic death.”The tail that wags the dog is the California almond industry,” Delaplane said. “It’s a huge mixing pot.”Tractor-trailers cart beehives to acres-wide parking lots, allowing billions of bees to mingle. Besides diseases and mites, the constant work that starts with the almond crop wears bees out.And now that IAPV has been associated with CCD, “I think there will be some backlash from this,” Delaplane said. “I think some beekeepers are going to say ‘you can’t keep sacrificing my bees at the altar of your almonds.'”As beekeepers nationwide worry about what’s next, the USDA is setting aside $4 million to study the problem. Delaplane is hoping it will allow entomologists to focus more attention on bee viruses and “bring us up to speed where we need to be with viruses,” including other bee viruses.”Old Israeli literature shows that some of their bees have a genetic resistance to IAPV,” he said. “We always keep coming back to genetic resistance. It’s a powerful tool the industry is slow to adopt because bee breeding is seen as neither profitable nor effective.”Delaplane and his U.S. colleagues are facing the 163-page USDA grant paperwork together. If awarded the grant, they’ll divide their responsibilities according to expertise.”Mine is treatment thresholds for damaging pests,” such as varroa mites, he said, “and the impacts these parasites have on pollination.”
The Wisconsin hockey team’s continuing inability to keep the puck out of the net cost them a chance at their first win this weekend.While the Badgers held rival Minnesota to a respectable two goals Friday night, UW failed to maintain its defensive composure Saturday night, letting in five goals en route to a 5-2 loss.It marked the fifth time in six games the UW defense has allowed five or more goals.“Too many goals against,” head coach Mike Eaves said of his team’s season. “You take a look — five again tonight — and it’s a combination of goaltending, a combination of defensemen and the forwards not doing their part or needing to do a better job.”The Gophers scored in a variety of ways, creating goals off the power play, rebounds and a nifty backhand from junior Ryan Stoa. The Badgers, however, believe the problem stems from one aspect of their game: turnovers.“I think it starts with turnovers,” Geoffrion said. “I think that is killing us right now. … We really need to stop turning the puck over; that is the biggest thing to correct right now.”Though UW lost the game Saturday night, Eaves was unwilling to pin the defeat on his defense.“We definitely played better than we did last night,” Eaves said. “We showed our competitiveness right through 60 minutes.”If the defensive struggles were not as severe, Wisconsin — which averages three goals per game on offense for the season — likely would not be winless through six games. Despite little support from their blue liners, however, the Badger forwards are unwilling to blame the team’s struggles on any one facet of the game.“When you are giving up five [goals] you have to score six,” senior Tom Gorowsky said. “It doesn’t really work that way. … We are not getting outplayed, but we are getting out-chanced in certain aspects. They are coming down and capitalizing on opportunities. We need to tighten things up that way.”UW hopes the growing pains suffered now will pay dividends later in the season. The Badgers utilize six underclassmen among their top seven defensemen — three of whom are first round picks in the NHL — and Eaves believes their talent will eventually overcome the lapses in play.“We are going through some tough times right now,” Eaves said. “But from toughness comes character, and the character is what’s going to help us at the end of the year. We will stay on top of the ball in controlling what we can.”The team is taking a back-to-basics approach to right the ship. In a players-only meeting, Geoffrion stressed the importance of hard work.“We need to get back to working hard and getting in the weight room,” captain Blake Geoffrion said. “We need to be lifting, skating hard in practice and try and get our first win.”Although failing to record a win in the first six games would be hard on anyone’s psyche, the Badgers have not yet hit the panic button. Instead, the team hopes to learn from the experience and improve for next game.“For this team to be successful we have to start with the heart,” Geoffrion said. “We always refer to it as Wisco-heart. That is where we have to start. The skill-guys can use their skills after we win the battles if we are to be successful. But we have to start with that first and build from there.”
14 September 2015South Africans were reminded to commit themselves to a better life for all through ending violence by Deputy President Cyril Ramaphosa, who was speaking at the beatification ceremony of Tshimangadzo Samuel Benedict Daswa yesterday.The beatification moved Daswa one step closer to sainthood.“A better life for all of us means that we should not be attacking those who we do not agree with,” Ramaphosa said at the ceremony, which was held by the Roman Catholic Church in Tshitanini, in Limpopo.Daswa, a 43-year-old school teacher, was killed on 2 February 1990, following his refusal to join a search for the “witch” who had caused lightening that burnt down several huts. He said the lightning strike was caused by the weather and was not an act of magic.Driving home one evening, he had to get out the car to move stones and logs that were blocking the road. He was attacked. “While his executioners were killing him, Benedict was on his knees praying,” a Catholic priest said during the beatification ceremony.At the ceremony, Daswa was named South Africa’s first home-grown martyr.The news agency South African Broadcasting Corporation reported Ramaphosa said it was the first time in the history of the Catholic Church of Southern Africa that a South African was recognised as a Blessed Martyr of Christ. “This should be a day on which we set out to replicate the mission and passion of Benedict Daswa in the lives of millions of people in our country and on our continent.”SAinfo reporter
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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. 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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? 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UEFA Champions League Feyenoord fans banned from Champions League trip to Napoli Ryan Benson Last updated 2 years ago 05:22 19/9/2017 FacebookTwitterRedditcopy Comments(0) Getty Images UEFA Champions League Feyenoord Napoli v Feyenoord Napoli The San Paolo stadium will only have home supporters for the Italian side’s clash with Eredivisie outfit, after a local government ruling Feyenoord have revealed that the local government in Naples has banned their supporters from attending the upcoming Champions League game against Napoli on September 26.Reports began to emerge last month that tickets for the Group F clash would not be made available to visiting fans, and those restrictions were confirmed by the Dutch champions on Monday.Feyenoord 11/1 to beat Napoli Article continues below Editors’ Picks ‘I’m getting better’ – Can Man Utd flop Fred save his Old Trafford career? Why Barcelona god Messi will never be worshipped in the same way in Argentina Lyon treble & England heartbreak: The full story behind Lucy Bronze’s dramatic 2019 Liverpool v Man City is now the league’s biggest rivalry and the bitterness is growing A statement from the Province of Naples government stated concerns regarding clashes between rival supporters was behind their decision.Those concerns are reportedly due to the trouble between fans of Feyenoord and Roma in the 2015 Europa League, when there was a reported €1million worth of permanent damage to the 500-year-old Barcaccia fountain in the Italian capital.Due to the ruling, Feyenoord will be unable to sell tickets for the match.A statement from Feyenoord read: “Today [Monday] Feyenoord received a copy of a document issued to SSC Napoli by the Prefecture of the Province of Naples.”It confirms the decision that no Dutch fans will be welcome in Stadio San Paolo for the match between SCC Napoli and Feyenoord on Tuesday 26 September. The Italian club is prohibited from selling tickets for the match to Dutch fans.”It is much to Feyenoord’s regret that coach Giovanni van Bronckhorst’s side will not benefit from the support of the club’s fans in the second Champions League group F match.”In response to the decision of the Italian authorities, the club has decided not to organise a trip for the Feyenoord Business Club.”The squad will be accompanied by no more than a small group of officials.”
To make the most of their abilities, young tennis players need training, coaching and good health. Then there’s another factor, also important and beyond their control: the luck of the draw.The careers of young Americans Ryan Harrison and Christina McHale show what a difference luck can make. When Harrison has been lucky in Grand Slam tournaments, he has been very good. But he’s usually been unlucky, drawing one of the tournament’s top players in the first round and losing. The latest Harrison conqueror was Grigor Dimitrov, the No. 13 player in the world, who straight-setted Harrison out of Wimbledon on opening day Monday in London. Harrison’s frequent early exits from Grand Slams have contributed to his fall out of the top 100.McHale, meanwhile, has been much more fortunate. She opens her Wimbledon campaign Tuesday against the 97th-ranked player in the world, Chanelle Scheepers. In the 17 Grand Slam tournaments where McHale could have faced a seeded player in the first round, she has done so just three times — and never had an opponent in the top 20.Along with the intended intrigue and variety, the random draw at tennis tournaments creates inequity. For the 128-player Grand Slam singles draws, this is, roughly, how the draw works: The best 25 percent of players are given seeds, and each of the 32 seeded players is slotted in a four-player pod in which the other three players are unseeded (kind of like our Burrito Bracket). In the first round, the seeded player plays one of the unseeded players in the same pod, and the other two unseeded players play each other. Drawing players randomly into these pods, rather than seeding all 128 of them, helps keep things interesting, creating tough sections of the draw and openings elsewhere.Every unseeded player has a one-third chance of drawing a seeded opponent in the first round, which is, generally, an unlucky draw. That’s not always the case: Sometimes the seeded opponent isn’t as tough as rankings suggest, because of weakness on the tournament’s surface or a recent injury. Drawing a weak seed near the bottom of the top 32 players can open up a player’s draw, since the next opponent wouldn’t be seeded.All else equal, though, if you’re unseeded, you don’t want to match up against a seeded player in the first round. Yet Harrison seems to be drawn inexorably toward seeded opponents by some as yet undiscovered magnetic field. In the 16 majors he’s entered as an unseeded player, he’s drawn seeded opponents nine times. By chance alone, he could have expected just five such tough matches. More than 98 percent of players with 16 opportunities to draw a seed in the first round should do so eight times or fewer, according to the binomial distribution. Harrison is in the unlucky 1 percent.Not so with McHale. About 13 percent of players who have played 17 majors as an unseeded entry, as she has, could expect to get three or fewer seeded opponents. She has also never drawn a top 10 opponent in the first round, something just 15 percent of players in her shoes could say.Against unseeded first-round opponents at majors, Harrison is a dominant force: He’s 5-2, including wins in his past five matches. Against seeded opponents, he’s 1-7; Harrison’s loss to Dimitrov Monday was his seventh straight against seeded opponents. All those first-round losses have contributed to Harrison’s drop in the rankings to 150 from 43 two years ago.Luck of the draw matters for non-Americans, too. I studied 18 young men and women at Wimbledon who have entered at least five majors without a seed. Together they have won half of first-round matches against unseeded opponents, but fewer than one-third of matches against seeded players.As hard as Harrison’s had it, he’s been blessed to avoid the fate of David Goffin. The 23-year-old Belgian has entered nine majors unseeded. Seven times he has drawn a seed in the first round, including four top 10 seeds. Of 1,000 players with his Grand Slam history, 999 could expect to have drawn fewer seeded first-round opponents, and fewer top 10 seeds.Goffin hasn’t won a Grand Slam match in two years, and his ranking fate has resembled Harrison’s: He’s dropped from No. 42 in the world to No. 105. His latest rough draw came against defending champion Andy Murray, the No. 3 seed at Wimbeldon. Murray dispatched Goffin in straight sets on Monday.