Waiting for a render, client amends or a delivery? Got time to kill and a progress bar to watch? Check out these 5 sites worth dipping into on a daily basis.I have to say that after my emails are checked and Twitter is updated, as a film editor I often have a lot of time to kill while waiting for render bars or export dialogue boxes. Here are some of the best sites worth dipping into on a daily basis to keep you entertained, informed and inspired.How you will feel reading this post:Art of The TitleA source of constant creative inspiration and suitably short content, The Art of the Title is a great film credits fan site with plenty of great interviews, behind the scenes breakdowns and simply stunning title sequences.A few favorites include: The Kingdom, Catch Me If You Can, Blue Valentine, Juno…basically everything on there!Mac RumorsStay up to date on the latest tech rumours surrounding all things Apple. Product cycle updates, leaked components, software updates and internal politicking. Get your daily dose of Apple rumors here. They also have a very useful buyers guide – which lets you know when your favorite Apple products may be getting an update.Render PleaseEveryone’s favorite new Assistant Editor animated gif meme site. Always hilarious. Always addictive.When I successfully pawn off work to another department.When I spend hours prepping a finish only to hear it’s changing.Movies In ColorEach week Movies In Color has a different theme (Jean Pierre-Jeunet week, Wong Kar-Wai week, Scorcese week etc) but there’s always a daily upload so dip back in when you can.Its a great way to get inspired (if you’re a colorist, designer or in any role where you meld color contrast and creativity) through the color spectrums of each film’s unique palette. This beauty is from Goodfellas.The Premiumbeat BlogImage from Cinemagraphs.comThe Premiumbeat blog is updated each weekday with content geared toward video and photo professionals. Topics include video editing, camera gear and equipment, inspirational photo/video projects and tutorials on professional video techniques and workflows. We share tips, tricks and tutorials for the leading post production applications including Adobe Premiere Pro and After Effects, Autodesk Smoke, Avid Media Composer and Apple Final Cut Pro X.Be on the lookout for ongoing giveaways of leading professional photo/video gear. We’ve already given away Canon DSLR cameras, a Blackmagic Cinema Camera and an all expenses paid trip to the NAB Show in Las Vegas! More great giveaways to come!
Learn something new with these 20 tricks in After Effects.In After Effects it’s not uncommon to find new features each time you sit down to work on a project. Often these hidden features can save you TONS of time if you implement them into your AE workflow (see #19). In the following video tutorial created by Sergei Prokhnevskiy he showcases 20 useful tricks that can save you time in After Effects.Rather read than watch? We’ve listed each of Sergei’s tips below.1. Keyframe VelocityBy right-clicking a keyframe and hitting ‘keyframe velocity’ you can open up a submenu that gives you easier controls over interpolation (this is arguably easier to use than the graph editor).2. Mini-FlowchartThe Mini-Flowchart can be seen by clicking the tab key while in After Effects. It is actually a very quick way to get in and out of nested compositions in AE.3. Align ToolsThe align tools allow you to center and align objects along varying axis and keep equal spacing.4. Replacing ImagesSelect the image you want to replace in your timeline and Option+Control+Click and drag the desired replacement image into the preview panel or simply hit Option+Control+/. This will replace your selected image.5. System Color PickerIf you go to Edit Preferences>General>Use System Color Picker and select the checkbox, you will use your computers color picker instead of the one built-into After Effects. This allows you to save colors for later using the color palette.6. Render PresetsBy clicking the small arrow next to Output Module in the Render Queue you can save render presets so you don’t have to make each one by hand. You can also change the output module of multiple compositions by selecting multiple layers in the render queue.7. Cycle Mask ColorsThis is an alternative to having the same colored masks. Select the checkbox by going to Edit>Preferences>Appearances>Cycle Mask Colors. Once selected your masks will take on a new color each time you make a new one. This makes it much easier if you are working with a large number of masks in After Effects.8. MathYou can use math equations to manipulate numbers by simply selecting a value in the timeline. So if you wanted to divide your value by 2 you could simply put /2 and After Effects will automatically do the math for you. Think of these as mini-expressions.9. Gradient OverlaysInstead of using the limited gradient ramp try using the Gradient Overlay found in the Layer Styles tab. By selecting Layer>Layer Styles>Gradient Overlay you can create gradients that use more than 2 color values.10. Reverse KeyframesAfter selecting your keyframes hit Keyframe Assistant>Time Reverse Keyframe and you can completely reverse the keyframes in your timeline. This is a much better alternative to copy and pasting the keyframes.11. Expressions to KeyframesInstead of having to have your layers bound by keyframes you can use the Expressions to Keyframes feature to turn your object’s movements into keyframes. You can do this by right clicking on an expression modified value and going to Keyframe Assitant> Expressions to Keyframes.12. Splitting LayersYou can split layers in After Effects by hitting Command+Shift+D with the layer selected in the timeline.13. Guide LayersBy changing an object to a guide layer it will not be seen during export. This can be useful if you are adding critiques or notes to a project without affecting the actual composition. You can make any layer a guide layer by right clicking on the layer and selecting guide layer.14. Moving MasksWhen creating a mask you can move the mask around your timeline by holding down the Spacebar. No more remasking layers over and over.15. Creating a Motion Path from a MaskBy copying and pasting a mask path to the position of another layer you can create a motion path for your new layer to follow.16. Scaling Multiple KeyframesBy holding down Option you can move multiple keyframes closer together evenly.17. Copying Paths from IllustratorIntegration across the entire Creative Cloud is one reason why After Effects is such a powerful program. One of the coolest integrations is the ability to copy paths straight from Illustrator to After Effects. Select and copy a path in Illustrator and paste in After Effects as a shape or mask.18. Maximize Frame with a ShortcutBy using the ‘~’ key on your keyboard you can expand the video frame to fill the resolution of your comp. Simply hover your mouse over the desire panel and hit the ‘~’ key.19. Rendering Comps Out of Media EncoderRender After Effects compositions using Adobe Media Encoder. Simply drag your composition into Media Encoder and export using your desired codec. This is a great way to save a lot of time in After Effects because you don’t have to tie up After Effects to export – you can export in Media Encoder and work on a project at the same time.20. Close Panel and Frame with a ShortcutClose panels and frames by hitting Command+W for one at a time or Command+Option+W to close all the tabs.This video along with the tips were first created and shared by Sergei Prokhnevskiy on his YouTube channel UkraMedia. Thanks for sharing Sergei!Know of any other useful tricks in After Effects? Share in the comments below.
We spoke with the Oscar-nominated editor of Green Book, Patrick J. Don Vito, about knowing when to make the call and kill your darlings.As filmmaking evolves, it’s our job as filmmakers to rise to the occasion and tell compelling stories in new ways from new perspectives. Green Book is a fantastic example — and it shows how a contemporary film can fit into different genres at the same time. Identifying something as comedy or drama matters less as long as you’re telling a story in a compelling way.Having scooped up dozens of awards and nominations, Green Book dominated the festival and awards circuit. The movie’s editor, Patrick J. Don Vito, spoke with us about what it took to cut a funny, touching, serious, and relevant story that’s been a hit with critics and audiences alike.Production WorkflowSo shooting started in New Orleans during the Winter of 2018, and Don Vito was editing on the fly, putting scenes and sequences together for the producers and director as they shot. He used the Script Sync tool in Avid to help organize and cut through the scenes as quickly as possible, picking and choosing which lines to present to the director.Patrick J. Don Vito: The second assistant would use the Script Sync tool in Avid, which is basically your entire line and script, and you can put all your clips on it, and what he does is mark all the clips up so I can go into the physical script and highlight a line of dialogue and click it, and I can hear every version of that line of dialogue. I definitely use it when I’m first cutting, but I especially use it a lot when I’m recutting. Sometimes I’ll be looking at a sequence, and I’ll think “I don’t like that line reading” — let me go back and see what I’ve got, and I’ll just look at every line reading of that line, and I’ll go “I like this one better,” and I’ll replace it into the cut.PDV: Every day, as stuff would come in, I’d try to catch up to camera so that I’m only a day or two behind, and Pete Farrelly (the director) would come in on the weekend and look over the cut with me and give some notes. He wanted me to be there so that he could jump in when he had time, so I was there in the production office being around all the production managers, so that at any point if Pete came back to the office, he could pop in and look at the edit.Time to Start CuttingPatrick offers possibly the greatest takeaway from an editor that I’ve heard yet: understanding how your audience will watch your film will make you a better editor. The simple fact is that it’s very hard to remove yourself from your work. Nobody else will sit in front of the monitors, watching clips and scenes over and over and over again like you. So at some point, the narrative takes on a whole new meaning for you. I think Patrick brings up an absolute must here: you have to get a second opinion. Then get a third, and a fourth . . .PremiumBeat: The trick with writing and constructing a story that is both dramatic and comedic is a lot more difficult than you’d think. Between pacing, tone, and structure, you also have to make sure you’re fitting in every plot point you need to hit. When cutting comedies, you’re usually given a lot of footage that involves riffing and script diversions. So with something like Green Book that is full of comedic elements, how do you decide what to leave in and what to cut?PDV: The biggest trick of the movie was to get the balance of the comedy and the drama just right. [Pete] would let the actors ad lib or add lines. The writers were on the set and adding lines as they were shooting, so there were options. First thing I do is put everything in, and then kind of analyze it. Then I start making notes: that I want to get rid of this line, this line, and that line. But I’ll show it with everything because I want the director to see everything they’ve shot and give them a chance to see the scope of it. Then it becomes a balance. There are certain times when you have to figure out how to get back and forth between a tense moment and a comedic moment.For example, there’s a scene when Doc Shirley kind of browbeats Lip when he’s playing craps outside the concert, and he says “They have to stay outside. You didn’t wipe your knees off. They have dirt on them,” and then you go into this kind of map sequence, where you crane up and see them driving off, and then they arrive at a hotel, and Tony starts writing a funny letter. That sequence in the middle didn’t exist. It cut right to the moment when he’s writing the letter. There was something about that that always bugged me. It seemed too abrupt. We created that moment in between where you get a chance to breathe and sit with your feelings about what just happened before you have the joke. And what ends up happening is the joke actually hits harder. When it’s put up against the other scene, people are still recovering from him being chastised. So it’s about figuring out the balance of the whole thing. Figuring out when to have a joke to relieve the tension, and when to not. Letting people stew a little bit. Let them feel it.Understanding how one scene should move to the next is tricky. There are all kinds of different cuts you can try out. But the biggest point here is to try all kinds of moves and see what works. Consider the story above everything.PDV: Transitions are very important. I think they can either make or break a movie. If they’re abrupt or choppy, sometimes you do it for a reason, you want to make people uneasy. In a movie like this, you just want the flow. You want to be on the ride with them, so that’s what I was thinking about the whole time.PB: Were you showing the film to audiences during post-production?PDV: It helped that we were getting the movie out to people very early. We were screening the movie to audiences of 50, halfway through the director’s cut. We wanted to see what was working and what wasn’t. You don’t usually have to get any input — you can just feel it. When there are lulls or people are bored, you feel it and go “There’s the portion we need to trim up.” With comedy, it’s tricky because you have to see where the laughs are, there are always laughs you don’t expect. One of the laughs I didn’t expect was after the YMCA scene, when Lip (Viggo Mortenson‘s character) goes “Didn’t I tell you to never go anywhere without me?” and Don (Mahershala Ali‘s character) says “I thought you’d want this to be the exception?” I always thought that was an emotional line, and the delivery is very emotional, but it gets a laugh. In theaters, that gets various degrees of laughter. They were so tense with the scene — they wanted any reason to laugh.Working with MusicMahershala Ali’s character “Doc” (based on pianist Don Shirley) is a classically trained pianist who plays packed houses throughout the film. We catch glimpses of these performances, but we never see one of them fully. His musical profession is a crucial makeup of his character, and at times, it influences his dialogue and the decisions he makes on-screen and off. So, I wanted to know if these musical sequences had played out in a different way in the script or in the first cut — as well as how important music was.PDV: The music scenes were actually much longer, and we cut them down. Pete’s intent was always to trim them down, but they shot entire pieces. The first cut was very long — it was almost three hours. I would let musical sequences play out in their entirety. We would go back and make edits. The overall feel of the music was for Shirley’s music to be a world, the music of the time (the ’60s) to be a world, and then Shirley always wanted to be a classical pianist but couldn’t because he was black, but at the end we get to see him play Chopin. You have that element, too. You also had the score.PB: So with music playing such an important role, how did you approach the edit, and what music did you have to work with before the score was put in the film?PDV: So it was about figuring out when to include the score — which scenes needed which type of music. We had two really great music supervisors, Tom Wolfe and Manish Raval, and at the beginning of the movie, they brought me a huge bin of ’60s music. Because we needed ’60s music, we didn’t have a huge budget for music. We needed stuff we could get for a price, and they’d have like 100 songs and say we can get these all for a good price. So from the very beginning, I started using those songs and started picking the ones I liked and putting them in appropriate places. Probably about 80 percent of what I placed is in the final film. I had a lot of control over the music. Pete really liked my choices, so that worked out really well. I would also temp in the score in certain places — the places I put temp score, the final original score was put there for the final cut. That all kind of came together in the editing room. It was really great, having those ’60s songs really makes you feel like you’re there in the moment. Those songs weren’t exactly hits, so it helped immerse you even more into that moment.Patrick essentially created the feeling of the film. From scene structure to the soundtrack, the world created is one of both familiarity and nostalgia for audiences watching the film. With how important music was for this film, with the music scenes left in, I asked Patrick how long his first cut was.PDV: The first cut was about 2 hours and 40 minutes long, but I knew it was going to be that long. The script was close to 140 pages. We had all the musical sequences left in the cut, but there aren’t a lot of deleted scenes in this movie. There are deleted portions of scenes. So, we’d watch the movie and ask ourselves “Are we overstaying our welcome in this scene?” Some of the car scenes — the dialogue in the cars was definitely trimmed up. The scene with the fried chicken at dinner — Tony and Don stare at each other — that scene went on for another five minutes. There was a whole sequence Lip tried to cut the chicken with a knife and fork, and it’s not working, so he picks it up with his hands and convinces everyone else to pick it up and eat the chicken with their hands. It was a good, funny joke that was a little too long. The initial joke with the chicken was good enough. We already had that scene, you’re not going to top that scene. We had to cut it. Pete’s son was actually in that scene and was cut out (the true definition of “Kill your Babies”!). There were lots of scenes of dialogue that were cut out — it was all about how the flow was going and how it was feeling. If there was ever a point we felt like it was dragging on, we’d cut it.Editing takes all kinds of storytelling abilities. Editing narrative dramas is much different than editing documentaries — just like editing action movies is much different than editing comedies. Knowing how jokes should unfold takes a lot of trial and error. You really have to know how audiences read certain texts, and Patrick’s work on Green Room speaks for itself. See it in a theater for yourself: the jokes land, and the audience’s silence during the dramatic scenes is very apparent.So, Patrick received a nomination for an Oscar, and his work definitely shines through the film. If you’ve seen it, you can speak to the pacing and rhythm of the film. So I asked him what advice he’d give anybody just starting out or hoping to edit a feature one day. PDV: Keep doing the work. Keep editing. When I started out, I was an assistant, but whenever I was an assistant, I’d ask the editor if there were scenes I could cut. I always wanted to be honing the craft and working on it. You have to just keep doing it and doing it over again, and you start to develop your own sense of timing and process. Everyone’s process is a little different. I always try and talk with editors about their process, and you can learn stuff. Even if its something you wouldn’t do — maybe you can take a piece of that process and use it in yours. I think a lot of times we don’t talk to each other that much; we kind of just do our own thing. And I think we can learn from each other if we keep these conversations open. I think it’s happening more now because editors are being talked to and interviewed more now, so we’re starting to see more information about editing as a craft. It’s important and helpful for other editors to learn from people who have been there and done it before.Green Book is in theaters now.Also, I’d like to give a personal shoutout to Patrick for leaving a shot of my mom (who was an extra in the film) in the final cut. Great job!All images via Green Book (Universal).For more interviews with Editors and creators, check out our past conversations:Composer Dan Marocco of Brooklyn Nine-NineThe Editor of “This is America” on Building the Iconic VideoAndrew Shulkind, DP Behind The RitualComposer Federico Jusid Makes Some Noise in HollywoodHow the Editor Behind I, Tonya Recreated History
Land new clients and earn their trust by making sure your video production company adheres to these 7 simple (yet crucial) practices.If you’re already in the video production industry, then you know there’s nothing more important than a client pitch meeting. It’s the most essential part of the business, and it’s the biggest difference between small-time operations and bigger video production companies.And while your pitch will always be the most important part of landing new clients, there are some very concrete, helpful, and even surprisingly simple things that all clients look for when considering different video production companies.1. Brand ReputationImage via A Lot Of People.To begin with, ask yourself Have your prospective clients heard of you already? Do they know how great your company is and what wonderful projects you produce? If not, why not?Building a strong brand reputation happens two ways. One, you do solid work for solid clients, delivering the goods time and time again for years. And two, you get out there and tell people — networking, advertising, marketing, and showcasing your biggest and most-accomplished projects. Look into submitting projects for awards. Find press and publicity. Word of mouth is always great, but to really push your company forward, you’ll need to find as many solid ways as possible to get your name out there.2. Similar WorkAnd while brand reputation might get the clients to give you the time of day, by far the most important element on this list has to be the ability to showcase similar work. Ideally, if you’re pitching a car commercial (for example), you want to showcase car commercials you shot in the past.Pro tip: If you don’t have similar projects to showcase, try your best to re-frame your other projects so they share some similar aspects to the project you’re pitching.3. Real Team, Real PeopleImage via Diego Cervo.Having worked professionally on both sides of this industry, I can tell you that there is absolute value in simply being a real person in the process. Clients look for people they can connect with, solve problems with, and ultimately succeed with. So, if a company is just handing off edits to sub-contractors, this quickly becomes apparent, and you lose that genuine connection.4. Solid Point of ContactSimilarly, when a client is going to sign on for a project — especially when it’s more than a one-off video or something with multiple deliverables and phases — they want to know exactly who their point of contact will be — and when and where to reach them at all hours of the day.This doesn’t mean you can’t set boundaries. You should. Regular business hours are important. But if you can provide a real person, one who can consistently respond in a timely manner with accurate, up-to-date information and support, your clients will sleep easier at night and be more willing to come back again.5. Clear, Professional, and Upfront FinancesHaving worked with companies and clients both big and small, I can tell you that the one thing that will always remain the same is the need for clear, concise, and upfront finances. This will benefit both parties in the long run. Clients will always appreciate clear and accurate quotes for how much a project will cost.It’s even better if you can line-item costs so clients can see exactly where their money will be going and why. The last thing you want to do is change things up and ask for more money later. Clients hate that.6. Results-Driven AttitudeImage via TZIDO SUN.When clients reach out to video production companies, they’re not looking for a robotic, manufactured product. They’re looking for a creative partner or a marketing consultant. If you can spend the time to really work with your client to understand their needs, and what problem they’re trying to solve, not only can you provide a greater product, you can also help them with their bottom line — which will always win you more work in the future.7. The Little PerksAnd finally, clients appreciate the little things. You’d be surprised by the seemingly insignificant gestures that some clients will say won them over to sign a contract. Whether it’s someone greeting them at the door with a smile, a small gift, or a nice followup email. It never hurts to make the effort to show clients you appreciate them and that their business actually means something to you and your company.Cover image by FrimuFilms.Looking for more articles on video production? Check these out.5 Ways to Add Value to Your Corporate Video Production Projects7 Tips for Working with Voice-Over in Corporate Video ProjectsIs Branded Content the Future of Commercial Filmmaking?Industry Insights: Careers in Commercial, Indie, or Corporate FilmmakingWhat Can Production Insurance Do for Your Film or Video?
Looking for more Premiere Pro tips? Check out these articles.The Secret to Working with Motion Blur in Adobe Premiere ProHow to Create Text Effects and Animations in Premiere ProHow to Speed Up or Reverse a Clip in Premiere ProMaster Premiere Pro’s Timeline with Source PatchingQuick Tip: Fixing a Crooked Horizon in Premiere Pro Here’s how to bring artificial light into your project with the Lighting Effects tool in Premiere or overlaying light leaks and lens flares.Using lighting effects in post-production can be a saving grace if you didn’t have the resources to pull off an effect in camera. While practical lighting effects are better, sometimes using the Lighting Effects tool in Premiere can save a shot. In this article, we’re going to dive into how you can use the Lighting Effects tool to create spotlights, directional light, or even do some cool color shifting in Premiere. As an added bonus, we’re also going to show you how to incorporate light overlays with opacity tools that you can download for free.Let’s get started!Lighting Effects Tool in PremiereOpen Premiere, and drag your clip into your timeline. In your Effects tab, go to the Video Effects tab, Adjust, then drag over Lighting Effects onto your clip. In your Effect Controls tab, you now have access to the lighting effects.There are many parameters that you can change, but let’s start with the major light types available in the Light Type menu: spotlight, directional, and omni.SpotlightObviously, this lighting effect looks like a spotlight you would find in a hard source on set. It creates a pointed artificial light that you can adjust using multiple parameters:Major Radius changes the size of the light source.Minor Radius changes the spread of the light.Angle changes where the light’s angle of approach.Focus adjusts the focus point of the light.Intensity changes the power of the light.OmniThe Omni light type provides a perfectly circular light shape. The Omni light has the same tools as the Spotlight, with the omission of angle, minor radius, angle, and focus.DirectionalThe Directional light type adjusts the actual light sources in your clip. You can adjust the light color here or even bring up the intensity. The Directional tool doesn’t seem to have the same power as the other two light types, but you can use it as a de facto exposure dial.Ambient Light AdjustmentsIf you would like to adjust the color of the light not being affected by the artificial light you have added, there are the Ambient Light adjustments available at your disposal. The Ambient Light color parameter will shift the color of the light outside of the source. You can also adjust the intensity of the ambient light and the exposure.If you want even more parameters to adjust your artificial light, shift around the Surface settings (Gloss and Material). These two settings adjust the power and feathering of the light source.Light OverlaysOutside of the Lighting Effects in Premiere, you can also use overlays to create artificial light in your project. This is light recorded in a studio over a black background and then placed on top of your source clip to add cool lighting effects. You then play with the opacity settings to make the light look like it’s actually a diegetic source in your clip.Todd Blankenship over at RocketStock has an excellent explainer video about how to incorporate light leaks and overlays into your project. To get started, download these 16 free volumetric lighting overlays available from RocketStock.
My friend Chris Brogan is known for helping entrepreneurial, owner-types find ways to build sustainable business models. He’s also known for integrating health and business.Dave Brock is known for helping sales organizations improve their processes, including their sales management processes.Mike Kunkle is an expert at sales transformations. He knows how to look at data and figure out what changes to make and how to make them stick.Charlie Green is the world’s foremost authority on trust. He helps leaders and helps sales organizations get trust right.My friend Gerhard knows sales and he knows publishing. He also knows how to leap to new platforms when an older platform dies.I just shared the stage with Mark Hunter when we spoke to Toro for their Centennial celebration. Mark is known for teaching sales organizations how to sell at profitable margins, and he also knows how to speak to large groups. I learned a lot from watching him.Mike Weinberg is known for his work around prospecting and telling your sales story. He helps salespeople build pipelines and immediately produce better results.Bob Burg is known for his book The Go-Giver. He is known for his work helping people get value creating and value capturing in the right order. His formula for success is a proven recipe.Jeb Blount is known for his work at Sales Gravy, helping sales organizations find the talent they need and helping the talent find good companies for whom they can work. He’s also known for his work as an author and sales consultant and trainer.I just received an email from a friend who needs a lawyer. I immediately sent him to the people he needs. I’ve used them, and they are recognized as the leader in the area where my friend needs help.What are your known for? When your dream client has a problem or an opportunity they need help with, is your name the first that comes to mind? Get the Free eBook! Want to master cold calling? Download my free eBook! Many would have you believe that cold calling is dead, but the successful have no fear of the phone; they use it to outproduce their competitors. Download Now
There is a type of displacement outside of removing your competitor that is equally—and in some cases—even more difficult to execute. It’s trickier, and sometimes even more political. The displacement I am referring to here is the displacement of one priority for another, or one project for another.One of the reasons that companies refuse to change partners despite having a strong justification for doing so is because they have limited bandwidth, limited time, resources, and money. It’s likely that your dream client is working on more than on initiative now, and the thought of diverting their attention to another priority isn’t always attractive. It could divert attention from their priorities or disrupt their business at a time when they can’t afford to deal with additional challenges.Make It StrategicThat said, it’s your job to help your dream clients produce better results, and the primary frameworks in Eat Their Lunch can help you displace other projects and priorities. It starts with Chapter One and Level 4 Value Creation™, or the focus on generating the strategic outcomes your dream client is pursuing or should be. Your chances of displacing higher priorities with lower levels of value are not dissimilar to your odds of winning the lottery. There isn’t enough “there” there.The starting point of moving up as a priority for your dream client is proportional to the strategic value of the outcomes you produce. You have to tie your initiative to something strategic enough to command time, attention, and money.Mindshare > Something ElseThe second way you build the case for moving you up to the top two or three initiatives (the few that get time and attention) requires you capture mindshare, Chapter 2 in ETL. You have to shape the way your dream client thinks about their strategic outcomes, especially as it pertains to the solution you sell and its contribution to their goals. How do their other initiatives suffer because your initiative isn’t in front of the others?You have to be able to make the case that you should go first. If you aren’t able to make that case, you cannot expect the contacts you are working with to do any better. You have to tie your opportunity to the success of their other strategic initiatives.More of Us Than ThemFinally, you need consensus. You need to create a map of stakeholders whose support will allow you to move up the ranking of your dream client’s priorities, Chapters 7 and 8 in ETL. The way to think about this now is Horizontal and Vertical, which means getting support at the top of the organization chart and the bottom, as well as across different functions (think deep and wide here).The more people that believe and support you because they believe what you are proposing is valuable enough to tackle now, the more likely you are to find your opportunity at the top of your dream client’s priority.
There is a difference between being likable (something I recommend, as it can build rapport faster and more naturally), and the need to be liked (something that will limit your success in sales, management, leadership, and success more generally). Post-Challenger Sale, the idea that relationships are not essential and that one needn’t be liked are prevalent in the places where prognosticators do their prognosticating.While it’s true that competency counts, the idea that one need not worry about their bedside manner (desk-side manner, for our purposes) is a dangerous idea. The need to be liked is more often than not detrimental to success in sales. However, having someone unhappy with you is not the same thing as not being liked.In PracticeIf you are worried that a gatekeeper with the power to say no to your request to a meeting, and who also lacks the power to say yes to a deal, is preventing you from meeting with a stakeholder, obtaining that meeting may require that you choose another path. Taking a path that is almost certain to make the gatekeeper unhappy, and it isn’t a decision you take lightly (and nor is it one you should take after a single attempt unless there is real urgency), but it may be necessary to go over, under, or around the gatekeeper.Persistence is also a trait that, while being necessary for success in sales, can cause some people to become a little miffed with your attempts to gain a meeting with them. As a sales leader, I always expect one or two calls to complain about a salesperson’s persistent efforts to contact them. I was guilty of this when I started selling, and at some point I learned to say, “I am so sorry I am over-zealous in my attempts to get a meeting with you, but I want you to know I’ll be just as over-zealous in making sure you get what you need.” This mostly reduced their annoyance with my persistence.If you aspire to be your dream client’s strategic partner, from time to time, you are going to have to share ideas that conflict with what your client believes and what they want. Some people will be pleased with having someone push back against his or her ideas, but others will be unhappy. If you’re going to provide the best advice, you have to be willing to have people be unhappy with you occasionally.You have to be comfortable with people being unhappy with you, but that doesn’t mean that you should work to achieve that outcome—and is should certainly not be their default experience with you. The occasions should be rare, and you should do everything in your power to use charm and levity and collaboration to have tough conversations without making them worse than they have to be. 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
A woman allegedly making money by bailing out criminals from local courts and impersonating a government servant, was arrested on court order. A Mizoram Excise and Narcotics department spokesman said on Wednesday that the 36-year-old unemployed woman was allegedly impersonating another woman who was a clerk at the State sericulture department. She had bailed out an accused in a narcotic case on March 16, 2015. The man was arrested for allegedly possessing 29 gm of heroin. She was arrested after she failed to produce the accused in the Narcotic Drugs and Psychotropic Substances Act special court and for failure to pay the bail bond of ₹ 1 lakh. Two months’ RIThe Special Court Judge also sentenced her to two months’ imprisonment, the spokesman said.
Prime Minister Narendra Modi inaugurated India’s longest bridge across the Lohit river, a tributary of the Brahmaputra, in Assam on May 26, 2017, naming it after famous singer Bhupen Hazarika. The bridge, 9.1-km-long, connects Sadiya and Dhola, in Tinsukia district, situated close to Arunachal Pradesh. It will reduce travel time between Assam and Arunachal Pradesh from six hours to one hour. Built at a cost of ₹2,056 crore, the Bhupen Hazarika bridge has been designed to allow movement of military vehicles, according to ocials. This will make it easier for Army convoys to reach border outposts. Mr. Modi said the Northeast region must lay stress on development of infrastructure so that it can attract more tourists. China, which has a dispute with India over Arunachal Pradesh, put out a statement, asking India to be “cautious” about building infrastructure in the State.
A Maoist couple, carrying a hefty reward on their head, surrendered before the police in Malkangiri district of Odisha on Wednesday.Ram Kawasi alias Surjya (38) and his wife Weli Madkami alias Malati (25) surrendered before Malkangiri Superintendent of Police Mitrabhanu Mohapatra.Major blow The surrender of Surjya is being seen as a major blow to the Maoists in Malkangiri as he was considered the most senior tribal cadre. He was among the few tribals of Malkangiri who initially joined the organisation in 2002. He played a key role in building up the support base for naxalites in this district bordering the Maoist-infested regions of Andhra Pradesh and Chhattisgarh.Surjya was carrying reward of ₹5 lakh on his head, while the government had declared ₹4 lakh for the capture of his wife, Parvati.After their surrender the two told media persons that they had realised the futility of violence and were frustrated with Maoist activities. They said they wanted to lead a normal life.Violent incidentsAs per police records, Surjya was involved in more than 50 incidents of Maoist violence, while his wife was named in at least 15. Surjya had allegedly masterminded the landmine blast in Kaliajhula jungle of Malkangiri district on January 8, 2016, that had killed two Border Security Force personnel.
After successfully conducting recruitment rallies for the Indian Army, the Rajasthan government’s Department of Skills, Employment and Entrepreneurship (DSEE) is planning to start skilling former soldiers to help them take up gainful occupations that utilise their experience.According to DSEE Commissioner Krishna Kunal, since most Armymen retire early, often before they turn 50, their experience can be utilised to enhance the “skills ecosystem”. The DSEE and the Army have, in fact, identified certain sectors for this purpose during a meeting at Kaushal Bhawan here on Thursday. A memorandum is now expected to be signed between the Rajasthan Skill and Livelihoods Development Corporation and the Rajasthan Soldiers’ Welfare Department for mobilising and certification of former Armymen.Major General S.P. Goswami from the South Western Command said that Rajasthan accounts for 6.74% of the ex-servicemen’s strength in the country, with as many as 61% concentrated around Jhunjhunu, Alwar, Jodhpur, Nagaur and Sikar districts.“There is a need for seamless transition into a second career by empowering them with training through certification and enabling them with new skills based on their aspirations,” he said.
Terming the case a serious violation of the right to life of patients, the National Human Rights Commission (NHRC) on Monday issued a notice to the Uttar Pradesh government over the deaths of dozens of children and others at the Baba Raghav Das Medical College hospital in Gorakhpur, even as 41 children died since Saturday. With the fresh spurt in fatalities, the death toll shot up to 104 in the past week.Taking suo motu cognisance of media reports, the NHRC asked the U.P. Chief Secretary for a detailed report within four weeks.Details of action soughtThe NHRC also asked for the steps taken for the families of the victims and the action taken against officials responsible for the deaths.A total of 63 patients admitted to the intensive care unit of the government-run facility died in a span of days, reportedly because of the oxygen supply being stopped due to pending payments to the supplier.Thirty of the deaths took place over 48 hours on August 10 and 11. The government has maintained that the children died due to different illnesses, including Japanese encephalitis (JE).Acting Principal of the hospital Dr. P.K. Singh said that 12 children succumbed to JE on Saturday, 13 on Sunday and 16 by 9 p.m. on Monday. “The full report for the day will be available only after midnight,” said Dr. Singh. “We see these many cases every year at this time. The deaths are actually in keeping with the corresponding figures from last year,” he added.The NHRC said the incidents pointed towards “gross callousness on the part of the hospital administration and the Medical Education and Health Department of the Government of Uttar Pradesh.” It observed that it had taken up the issue of deaths caused by JE with the Chief Secretary during an open hearing and camp sitting conducted in Lucknow on August 9-11.“However, in spite of the assurance given by the State administration, the situation has not improved,” the NHRC said.As reported earlier, the private company providing liquid oxygen to the medical college hospital stopped supply as an outstanding bill of ₹70 lakh had not been cleared. After the deaths, a magisterial inquiry was ordered to find the cause.
Pune: In a volte-face, the Bharatiya Janata Party (BJP) on Monday withdrew its candidate for the Palus-Kadegaon Assembly seat in Sangli district, paving the way for Youth Congress president Dr. Vishwajeet Kadam to be elected unopposed.The by-election, to be held on May 28, has been necessitated after Dr. Kadam’s father, former minister and senior Congressman Patangrao Kadam, passed away in March this year.Senior BJP leader and Maharashtra Revenue Minister Chandrakant Patil had a closed door meeting with Sangramsinh Deshmukh, the party’s nominee for the seat after which a formal announcement pertaining to the BJP’s withdrawal was made.“It has never been the party’s [BJP’s] policy to put forward a candidate in the event of a senior leader’s death. Hence, out of respect for the late Mr. Kadam, the BJP is taking back the candidature of Sangramsinh Deshmukh,” said Mr. Patil after the meeting of Sangli’s BJP leaders.Following Patangrao Kadam’s death in March this year, it was expected that major political parties would not field candidates against his son Vishwajeet Kadam in keeping with an unwritten political tradition.Sharad Pawar’s Nationalist Congress Party (NCP) — and Congress’ estranged ally — too had already abstained from fielding a candidate, and the Shiv Sena too announced its support for Dr. Kadam.Last week, Sena president Uddhav Thackeray assured Dr. Kadam of his backing after a phone conversation with the Congress leader.However, the BJP last week decided to field Sangramsinh Deshmukh, son of late BJP legislator Sampatrao Deshmukh for the bypoll.The motivation behind this was allegedly due to Patangrao’s decision in 1997 to contest Palus-Kadegaon after Sampatrao Deshmukh’s death instead of letting a kin of the deceased BJP MLA be elected unopposed.The late Patangrao Kadam had defeated BJP’s Prithviraj Deshmukh (Sangramsinh’s cousin) twice — in 2009 as well as 2014 Maharashtra Assembly elections — to win the seat for the Congress.Sources said that Mr. Patil’s closed door meeting with the Deshmukhs eventually persuaded the latter to take back Sangramsinh’s nomination.The Kalus-Padegaon Assembly by-election, along with the Palghar and Bhandara-Gondia Lok Sabha bypolls are to be held on May 28, with counting of votes scheduled on May 31.
Enthused by the victory of the Trinamool Congress and other non-BJP parties in the by-polls, West Bengal Chief Minister Mamata Banerjee on Thursday said the beginning of the end for the BJP has started from Uttar Pradesh. Ms. Banerjee said the general elections can be held anytime in the next few months. Trinamool won the Maheshtala Assembly seat, earlier held by the CPI(M), by a margin of over 62,000 votes on Thursday. After an extremely violent panchayat polls there were hardly any complaints from the Opposition in the Maheshtala bypoll.Trinamool candidate Dulal Das secured 1,04,818 votes, while his nearest rival BJP’s Sujit Ghosh got 42,053 votes and the Left Front nominee Prabhat Chowdhury secured 30,384 votes. The Congress did not put up a candidate and decided to back the Left Front nominee in the by-poll. The margin of the Trinamool victory, at 62,765 votes, is almost five times the 2016 Assembly poll win, when the Trinamool candidate Kasturi Das won by a margin of 12,452 votes.While by-polls in West Bengal rarely spring a surprise and the ruling party has an edge over its rivals the rise in the vote of the BJP and slide of the Left-Congress vote is something that makes the polls crucial to political observers. The Left Front nominee in the 2016 Assembly polls secured 42.2% of the votes while its vote share in the by-poll dropped to 17%. The BJP which had got 7.7 % of the votes in the 2016 Assembly polls emerged as the main Opposition, securing nearly 23% of the votes. The decline in the vote of the Left parties and the Congress and the increase in the vote share of the Trinamool and the BJP has been a recurrent phenomenon in most of the by-elections in West Bengal since 2016.Ms. Banerjee described the results as “a lesson for the regional parties to unite” and take on the BJP. “The mandate is very clear: whichever party is strong in any particular region should take on the BJP in the general polls. This is requirement and also the formula,” she said. Citing examples from different States, she said regional parties are very strong now and the situation should not be compared to earlier times when H.D. Deve Gowda, Chandrasekhar and I.K. Gujral led governments at the Centre supported by regional parties.
The Shiromani Akali Dal is battling internal crisis as the party’s (Taksali) old guard has come out in the open against the top leadership. With senior leaders virtually revolting against its president, Sukhbir Singh Badal is now facing a leadership challenge.Facing criticism over issues, including pardon granted to Sirsa-based Dera Sacha Sauda chief Gurmeet Ram Rahim in a blasphemy case and the Kotkapura-Behbal Kalan police firing incidents of 2015, which followed the Bargari sacrilege, the Akali Dal is once again attempting to return to its core “panthic” agenda, political analysts have told The Hindu.Ranjit Singh Brahmpura, Member of Parliament from Khadoor Sahib who was expelled from the party last week, had hit out at Mr. Sukhbir and former Minister Bikram Singh Majithia, accusing them of deviating from the “panthic” agenda and causing an “irreparable damage to the party”. Mr. Brahmpura along with two other expelled leaders, Sewa Singh Sekhwan and Rattan Singh Ajnala, have announced that they would launch a new party keeping intact the original values and ideology of the “Akali Dal”.“The Akali Dal has come under the sway of the ‘Badal family’ in the past few years. Mr. Sukhbir’s (son of former Punjab Chief Minister Parkash Singh Badal) attempt to change the basic character of the party, making it catch-all party seeking vote in the name of the region (Punjab) instead of Sikh panth, has not gone down well with the senior (Taksali) leaders, who believe that the party has deviated from it’s core ideology of giving voice to Sikh issues,” said Ashutosh Kumar, professor of Political Science at Panjab University.Mr. Ashutosh points out that the old guard, who have been feeling ‘sidelined and ignored’, believe that the handling of the issues by the top party leadership in an ”autocratic” manner had damaged the party. “So far, Mr. Badal has managed to cruise the party quite well, but to say that his son Sukhbir would be able to retain the panthic support seems difficult. Mr. Sukhbir’s acceptance among the senior party leaders as their chief has been time and again questioned,” said Mr. Ashutosh. As the senior leadership of the party, including Mr. Badal, Mr. Sukhbir and daughter-in-law Harsimrat Kaur Badal sought atonement for “mistakes that might have been committed inadvertently during their rule” at the Akal Takht, the supreme temporal body of Sikhs, the move is being seen as a ”damage control” effort.
Bihar Chief Minister Nitish Kumar on Wednesday defended Electronic Voting Machines (EVMs), saying it was “perfectly fine” and suggested that there will not be any problem if voter verifiable paper audit trails (VVPAT) are made available at every polling stations. Amid raging debate over EVMs, which Opposition leaders have been critical of, Mr. Kumar said he was not in agreement with the things said. Dig at CongressIn an apparent dig at the Congress, which is among opposition parties who are criticising EVMs, Mr. Kumar asked “during whose time the EVM system was introduced?” “My stand on the use of EVM is very clear. EVMs are perfectly fine. There will not be any problem if VVPAT is made available at every polling stations. I do not agree with things which are being said about EVM. In my view, EVM has strengthened people’s right to vote,” Kumar told reporters. Tributes to NetajiHe was talking to reporters here after paying tributes to Netaji Subhash Chandra Bose on his 122nd birth anniversary in the capital. The incidents of bogus voting and booth capturing used to be witnessed during voting through ballot paper but things have improved with the introduction of EVMs, Mr. Kumar, who is also JD(U) national president, said.
The Election Commission on Friday put a 48-hour prohibition on BJP’s Himachal Pradesh president Satpal Singh Satti from campaign activities for allegedly using an expletive against Congress president Rahul Gandhi.Taking cognisance of Mr. Satti’s derogatory remark in Solan on April 13, the poll panel reprimanded him and restrained him from campaigning and giving any political statements for 48 hours beginning 10 a.m. on Saturday.The order also prohibits the BJP leader from giving any statement in the media in connection with the election process.The police have already registered an FIR on the issue.‘Inadequate’ banHimachal Congress president Kuldeep Rathore termed the ban on Mr. Satti “inadequate”, saying he should have been banned from campaigning till the completion of the election process.State BJP general secretary Chander Mohan Thakur said, “BJP leaders do not engage in indecent remarks.” (With PTI inputs)
Things fall down: Thanks to gravity, it’s one of the defining features of life—and physics—on Earth. So how to explain the chain fountain above, in which a 50-meter string of metal balls briefly flows up before plunging to the ground? Steve Mould, the BBC science presenter whose YouTube video recently drew attention to the weird phenomenon, has one explanation: The chain, which has to travel over the lip of the beaker before it can make its downward turn, is moving so quickly that it can’t instantly change direction. Instead, it continues traveling up for a bit, “chang[ing] direction slowly, over the course of a loop.” But when two Cambridge physicists tried to write an equation describing the chain fountain’s behavior, they discovered that Mould’s intuitive explanation was wrong. Math tells us that chains have no problem instantly turning even the sharpest corners, the physicists say, so they had to look elsewhere to explain the chain fountain’s surprising vertical leap. By working through the calculus, they discovered that the creation of the flowing loop depends not on inertia, momentum, or gravity, but rather on the upward force coming from the bunched-up end of the chain still in the beaker. In other words, as gravity pulls down, the chain itself pushes up—and it’s these opposing forces that create the fountain effect. Still, the physicists’ model—described online today in the Proceedings of the Royal Society A—doesn’t explain what causes the twists and waves at the top of the chain, leaving room for Mould’s explanation that they are the result of the chain hitting the lip of the beaker during its journey.
In a milestone for the field of gene therapy, the National Institutes of Health (NIH) will no longer subject all proposed gene therapy clinical trials to review by a special federal advisory committee.“Given the progress in the field, I am confident that the existing regulatory authorities can effectively review most gene transfer protocols and that a streamlined process will reduce duplication and delays in getting gene transfer trials initiated,” said NIH Director Francis Collins in a statement today. Instead, the 40-year-old Recombinant DNA Advisory Committee (RAC) will review only a few trials that pose special risks.Originally created to review all gene transfer experiments, the RAC in the late 1980s shifted its focus mainly to gene therapy trials. The committee selects about 20% of submitted protocols for discussion at public meetings.Sign up for our daily newsletterGet more great content like this delivered right to you!Country *AfghanistanAland IslandsAlbaniaAlgeriaAndorraAngolaAnguillaAntarcticaAntigua and BarbudaArgentinaArmeniaArubaAustraliaAustriaAzerbaijanBahamasBahrainBangladeshBarbadosBelarusBelgiumBelizeBeninBermudaBhutanBolivia, Plurinational State ofBonaire, Sint Eustatius and SabaBosnia and HerzegovinaBotswanaBouvet IslandBrazilBritish Indian Ocean TerritoryBrunei DarussalamBulgariaBurkina FasoBurundiCambodiaCameroonCanadaCape VerdeCayman IslandsCentral African RepublicChadChileChinaChristmas IslandCocos (Keeling) IslandsColombiaComorosCongoCongo, The Democratic Republic of theCook IslandsCosta RicaCote D’IvoireCroatiaCubaCuraçaoCyprusCzech RepublicDenmarkDjiboutiDominicaDominican RepublicEcuadorEgyptEl SalvadorEquatorial GuineaEritreaEstoniaEthiopiaFalkland Islands (Malvinas)Faroe IslandsFijiFinlandFranceFrench GuianaFrench PolynesiaFrench Southern TerritoriesGabonGambiaGeorgiaGermanyGhanaGibraltarGreeceGreenlandGrenadaGuadeloupeGuatemalaGuernseyGuineaGuinea-BissauGuyanaHaitiHeard Island and Mcdonald IslandsHoly See (Vatican City State)HondurasHong KongHungaryIcelandIndiaIndonesiaIran, Islamic Republic ofIraqIrelandIsle of ManIsraelItalyJamaicaJapanJerseyJordanKazakhstanKenyaKiribatiKorea, Democratic People’s Republic ofKorea, Republic ofKuwaitKyrgyzstanLao People’s Democratic RepublicLatviaLebanonLesothoLiberiaLibyan Arab JamahiriyaLiechtensteinLithuaniaLuxembourgMacaoMacedonia, The Former Yugoslav Republic ofMadagascarMalawiMalaysiaMaldivesMaliMaltaMartiniqueMauritaniaMauritiusMayotteMexicoMoldova, Republic ofMonacoMongoliaMontenegroMontserratMoroccoMozambiqueMyanmarNamibiaNauruNepalNetherlandsNew CaledoniaNew ZealandNicaraguaNigerNigeriaNiueNorfolk IslandNorwayOmanPakistanPalestinianPanamaPapua New GuineaParaguayPeruPhilippinesPitcairnPolandPortugalQatarReunionRomaniaRussian FederationRWANDASaint Barthélemy Saint Helena, Ascension and Tristan da CunhaSaint Kitts and NevisSaint LuciaSaint Martin (French part)Saint Pierre and MiquelonSaint Vincent and the GrenadinesSamoaSan MarinoSao Tome and PrincipeSaudi ArabiaSenegalSerbiaSeychellesSierra LeoneSingaporeSint Maarten (Dutch part)SlovakiaSloveniaSolomon IslandsSomaliaSouth AfricaSouth Georgia and the South Sandwich IslandsSouth SudanSpainSri LankaSudanSurinameSvalbard and Jan MayenSwazilandSwedenSwitzerlandSyrian Arab RepublicTaiwanTajikistanTanzania, United Republic ofThailandTimor-LesteTogoTokelauTongaTrinidad and TobagoTunisiaTurkeyTurkmenistanTurks and Caicos IslandsTuvaluUgandaUkraineUnited Arab EmiratesUnited KingdomUnited StatesUruguayUzbekistanVanuatuVenezuela, Bolivarian Republic ofVietnamVirgin Islands, BritishWallis and FutunaWestern SaharaYemenZambiaZimbabweI also wish to receive emails from AAAS/Science and Science advertisers, including information on products, services and special offers which may include but are not limited to news, careers information & upcoming events.Required fields are included by an asterisk(*)As the field has matured and gene therapy has been used to treat disorders such as inherited blindness and immune deficiencies, researchers have argued that the risks are no different than those of other experimental treatments. They point out that they must already go through reviews by institutional ethics and biosafety boards and the U.S. Food and Drug Administration. RAC review is redundant and slows progress, argued the American Society of Gene & Cell Therapy.In December 2013, an Institute of Medicine (IOM) panel agreed. It said that although NIH should continue to register trials, the RAC only needs to publicly review protocols that cannot be evaluated by standard oversight bodies and pose unusual risks, for example because they use a new vector. NIH issued a noncommittal response, making it unclear whether it would follow through.But today, Collins announced that NIH has “decided to accept the IOM committee recommendations on RAC review of gene therapy research.” The agency will soon issue a proposed change to its oversight rules for recombinant DNA research.Collins’s statement does not address another IOM recommendation, however—that NIH consider replacing the RAC with a similar body that would also review other types of risky clinical research. NIH is still “considering” that recommendation, says spokeswoman Renate Myles.