Dr. Barbara O’Neill shared a number of resources during our March 4 webinar, Investing for Your Future 1: Basic Concepts and Investment Products. We hope these resources will be useful to PFMs. Please feel free to share your own resources on investing in the comments section. And please check the event page to view a recording of this webinar. Also, please be sure to join us on Thursday, March 14 at 11 a.m. Eastern for part 2 in this series, Investing for Your Future 2: Mutual Funds and Tax-Deferred Investments. Saving Vs. InvestingGoal setting worksheetTaxable vs. tax advantaged calculatorDetermining net worth in Print and Excel spreadsheetDiversificationDollar cost averagingRule of 72 on AmericanCentury.com and MoneyChimp.comAsset allocation calculatorsPortfolio rebalancingAbout stocksHistorical perspectives on stocksEarnings per shareFederal Marginal Tax BracketsBond ratingsAbout corporate bondsInvestment return calculatorHow to calculate total returnsAvoid investment fraud tipsBeware of investment fraudRutgers Investment Risk Tolerance QuizeXtension Ask an Expert and FAQsBetter InvestingAmerican Association of Individual InvestorsMyMoney.govU.S. Securities and Exchange CommissionState securities regulatorsCentral Registration Depository (CRD)FINRA BrokerCheck®Securities Investor Protection Corporation (SIPC) This post was originally published on the Military Families Learning Network blog on March 5, 2013.
You’re invited! Join the MFLN Military Caregiving concentration area for the three-part virtual learning event (VLE) on October 12, 19 and 26. Military family service providers (MFSPs) and military families can have difficulty discussing certain issues. Each of the VLE sessions will focus on helping MSFPs to acquire skills and strategies for improved communication in times of crisis and encouraging preventative action and efforts. The overall ambition of the VLE is to decrease apprehension and resistance for MFSPs and caregivers to address sensitive topics. Each of the sessions will offer 1.5 continuing education credits National Association of Social Workers (NASW) as well as a certificate of completion. Session 1: Communication for Interpersonal RelationshipsWednesday, October 12, 201611 am – 12:30 pm EasternSession 2: Challenges Facing Families in CrisisWednesday, October 19, 201611:00 am – 12:30 pm EasternSession 3: Empowering Caregivers and FamiliesWednesday, October 26, 201611:00 am – 12:30 pm EasternVisit the VLE homepage for complete information. Don’t forget to check out our other programming for the month of October! We look forward to having you join us.
Check out a project that takes tilt-shift to the extreme! Using in-camera and post-production techniques, this stunning video is a visual delight.We’re certainly fans of the tilt-shift video and photography style. We’ve posted about it several times in the past and always enjoy viewing a high quality tilt-shift video. The Lion City is a whole new ballgame. It showcases sites around Singapore using a unique tilt-shift and dynamic blurring technique that creates an otherworldly effect.Tilt-shift is known for it’s unique focus that gives the impression that the world viewed is in miniature. The Lion City uses this selective focus but puts it in motion, creating video images that morph under waves of blur. Really, you’re just going to have to see it to understand.Creator Keith Loutit states that some of the tilt-shift effect was created in camera with specialized tilt-shift lenses, while the motion effects were created in post. The video was edited on Final Cut Pro with post production effects being created in After Effects.To see more of Keith’s tilt-shift projects check out our previous roundup of 12 Exceptional Tilt-Shift Videos.Now, on to The Lion City (best viewed full screen):
Quickly composite your talent using a green screen. In this After Effects tutorial we’ll create a garbage matte, apply Keylight and add effects to increase realism!Filming against a green screen is a popular technique to composite the talent against a different background. This allows for great versatility, with the ability to put the talent in exotic locations or in fantasy worlds. All professional video editing and compositing applications allow for keying, but in this green screen keying tutorial we’ll show you how to utilize the powerful keyer inside Adobe After Effects, called Keylight. Shooting plays an important role in ‘pulling a clean key’. For a high quality key you’ll need a professional high resolution camera and an evenly lit green screen background. If you have to work with challenging footage or if keying is part of your daily workflow, check out third party solutions like Red Giant Keying Suite, Phynx Keyer, & Boris Continuum Chroma Key. These third party solutions tend to be quicker and offer more advanced keying features.To see some great examples of keying check out Stargate Studios (Walking Dead) Virtual Backlot Reel:Creating a Garbage MatteWhen working with green screen footage you’ll want to composite the foreground green shot on the top layer of your video editing timeline, with the video background on a layer below.Create a Garbage Matte to mask out areas away from the talent. This way you are only keying out the necessary areas close to the talent, while ignoring lights, badly lit edges or any other objects you don’t want to see. In After Effects, click the pen tool (G) and draw a mask around the talent. You can animate the mask shape with keyframes if you need to adjust the garbage matte over time. The free footage used in this example is from Hollywood Camera.Before the Garbage Matte:After the Garbage Matte:Pulling a Basic Key with KeylightSelect your footage. Then, in the Effect and Presets panel type Keylight. With the layer selected double click on Keylight to apply it.Now, double click on the layer in the Composition to bring up the Layer panel. Click on the gripper area (red highlight) for the layer, and drag it to the right til you see a blue area and then let go. This puts the layer panel beside the Composition panel. By doing this we we will be able to select a green area to key in the Layer Panel and see the results in the Composition Panel. In the Effect Controls panel, change the view from Final Result to Status. We will use the Status view to see the matte that we create using the eyedropper to remove the green background.Both screens turn white, but when you uncheck “Render” on the Layer panel you will see the footage again. Back in the Effect Controls panel click on the eyedropper and then in the Layer panel hold option (Mac) or alt (PC) and drag near the talents head and don’t let go. You are looking for the talent to be white and the background to be black. We only want the edges of the talent to be gray, as these are areas of semi transparency (this will give you a better initial key). Drag until you find a good spot and then click.Increase Screen Gain to remove more of the gray spots in the background. A little goes along way so hold down command (Mac) or control (PC) as you drag to move in smaller increments.Click the twirly for Screen Matte and adjust the Clip Black until the gray goes away in the background and adjust Clip White until the gray disappears inside the talent. The background should be white and the edge of the talent with semi transparent area is gray. Change status back to Final to see the Results.If you see an edge you can adjust ‘Screen Shrink/Grow to a negative number until the edge disappears. Keylight auto removes spill, so if you need to remove more select the “Despill Bias” eyedropper and click on a skin tone and more spill is removed. For more specifics on Keylight check out the user guide here.Color Correcting to Match the shotsNow, to increase realism between the green screen shot and the background we will need to tweak the colors in After Effects to match the shots.In this example I can tell that the white levels in the two shots do not match. If I scroll over the white cup in the foreground and then over a white area in the background (clouds) I can see in the info panel that the background is a bit more blue.To remedy this, I’ll select the foreground green screen layer and apply the Levels effect. The cup brightness doesn’t match the background, so I’ll decrease Output White to reduce the whites and then increase Gamma to brighten up the midtones.I also added Vibrance (increase saturation of the less saturated colors) to add in a little color.Like this example, you may find that the background is a bit sharp so apply the “Camera Lens Blur” effect to increase the realism and reduce depth of field.Adding a LightwrapTo make 2 shots look even more realistic we can add a light wrap in After Effects. A light wrap will help blend the edges of the keyed footage with the background.Most of the third party keying apps have a light wrap feature, but you can also download a script from AE Enhancers that will do this for you. After you download the script, select the 2 layers and go to File > Scripts >sb_Lightwrap.jsx. You will need to check “allow scripts to write files and access network in Preferences > General.This will apply the defaults and create a nested comp (your original is untouched and underneath the nested comp). If you want to learn how to make your own light warp check out this article.Have fun with keying and remember, the better footage you start with the easier the key!
Markers offer a lot of power in Premiere Pro to do things like communicate editing decisions to other editors or to trigger Flash actions. In this post we’ll show you how to get the most of markers in Premiere!In this post we’ll discuss the different types of markers in Premiere Pro, as well as provide some unconventional uses for them in your video editing workflow. Let’s jump in…One of the big additions to Premiere Pro CS6 with respect to markers is the new ‘Markers Panel’. It can be located at the bottom left with the Project Panel/Media Browser/Info/Effects and History tabs. As always, if you can’t find it you can get access to all panels through the window menu.This new panel will display all the markers in your sequence and also what type of marker they are by color coding – another new and very welcome features in Premiere Pro CS6. Not only that, this panel will display any comments made in the markers and allow you to navigate to specific markers by simply single clicking on the marker in the Markers Panel. Double clicking on the grey/header part of the marker in the Markers Panel will open the marker dialogue box. Otherwise clicking in the text box will allow you to add/alter text as needed.Markers PanelMarkers in the TimelineApplying Navigation Markers in PremiereThe easiest way to add a marker in Premiere Pro CS6 is to move your playhead in the timeline to the place you want the marker to be and then hitting the ‘M’ key on your keyboard. Note, this is different from previous versions of Premiere Pro which required you to use the * key on your number pad (which is still the way to add markers in After Effects).If you’re more mouse-oriented you can position your playhead where you’d like a marker on the timeline and hitting either the icon circled in red below to create an Encore Chapter Marker or the icon circled in Yellow below to create a comment marker. Alternatively, you can add a marker from the ‘Marker’ menu at the top of the UI.Creating Markers in the TimelineNavigating markers has also become more intuitive in CS6 with the simple keyboard short-cuts of Shift + M to go to the next marker in your sequence and Control + Shift + M (PC) or Command + Shift + M (Mac) to go to the previous marker. This will have you navigating to your markers very quickly which means you can be frame perfect when getting to any issues identified in your timeline.If you can’t remember these shortcuts (you should!) you can always get to them through the ‘Markers’ menu at the top of the UI. Here there’s also options to clear your current markers, clear all markers and add different types of markers.Marker MenuLet’s talk a little bit about the different types of markers in Premiere Pro.Red = Encore Chapter Markers: These need a minimum distance from each other of at least 15 frames – although if you are creating chapter markers only 15 frames apart you are either doing something very specialized or not using these markers very well!Green = Comment Markers (the default marker created when using the ‘M’ key or the marker icon in the timeline): These markers are especially useful to give feedback on a timeline and to mark and comment on any issues at the exact place of the issue in your timeline.Note that the second green comment marker shown blow is shown both in the Markers Panel and in the timeline:Comment Marker with a Duration as Seen in the Markers PanelComment Marker with a Duration as Seen in the TimelineAs you can see, any comments are shown in the Markers Panel and, as long as there is sufficient space to display it, also in the timeline. You can add to the comments in the Markers Panel as much as you like by clicking and typing your comments. This is a big improvement saving you the need to open the Marker Dialogue Box.The advantage of using a Premiere comment marker with a duration is that a director or anyone involved in the editing process can specifically identify an area that needs work and then add appropriate comments to the marker that the editor can quickly pick up on and work on as needed.To add longer comments it can be helpful to open the Marker Dialogue Box by double clicking on the grey/header or color tag of the marker in the Markers Panel or simply by double clicking on the marker in the timeline. This will open the following dialogue box where you can change the type of marker and add comments.Marker Dialogue BoxHere’s two more marker colors:Yellow = Flash Cue Point: will work with a final output based on Adobe Flash technology.Orange = Web Link: will require the use of an output technology that supports the feature, such as some Quicktime formats.If you want to change the type of marker your created, for example, you use the ‘M’ key to create a marker but want it to be a Web Link marker instead of the default Comment marker, simply double click the marker in the timeline or the marker header in the Markers Panel to open the Marker Dialogue Box shown above and select the type of marker you want there. Any changes will be updated in both the timeline and the Markers Panel.To add duration to a marker, you can either specify it in the dialogue box by typing a value or by clicking and dragging on the yellow text. You can also click and drag the ‘In’ or ‘Out’ point of the marker in the Markers Panel to set the marker duration.Dragging an In or Out Point in the Markers PanelTo move a marker, just click on it in the timeline and drag it to the new location you want it to go to. To delete a marker simply use the Marker Menu at the top of the UI or (my preferred choice) right click on it and choose ‘Clear Current Marker’ from the list.Clearing a Marker in the TimelineUses for Premiere Pro MarkersWant to make the most of markers in your Premiere Pro projects? Here’s a few uses to consider during your video editing:Setting Encore Chapter Markers that move into Encore with the timeline as ‘Chapter Markers’Identify where clips should come in on a timeline (often linked with audio)Identify where there are issues with clips that need to be addressedMake it simple to quickly find and navigate places in your timeline that aren’t edit points (for instance if the project is broken into multiple acts or sections)Quickly note where changes should be made while playing back a timeline (as tapping the ‘M’ key will add a blank comment marker without stopping playback)Add comments and communications between editors as to what has been done and what needs to be doneNote client comments, adding them to the timeline for reviewLog progress when dealing with editing issuesAdd web links and Flash cue points if the output file type will support itWith the new Premiere Pro Markers Panel, we not only can we quickly navigate to the markers by SINGLE clicking the marker in the Panel, but we can also see and edit the comments on that marker without the opening up the marker dialogue box. This is a huge timesaver and makes for more efficient editing!Do you use markers in an unconventional way?Share your thoughts/advice in the comments below!
Do you have any tips for editing fight scenes? Let us know in the comments. Learn the secrets behind editing fight scenes in major Hollywood releases in this Atomic Blonde breakdown.Cover image via Focus Features.If you’ve ever wondered what it takes to choreograph, shoot, and edit a complex fight scene from a major Hollywood feature film, then this 12-minute breakdown of Atomic Blonde will demonstrate just how much goes into it.Second Unit Director and Stunt Co-ordinator Sam Hargreave (check out his huge list of credits here) delivers an entertaining and informative analysis of all of the physical, mental, and filmmaking skills required to deliver some close-quarter combat mayhem.It’s interesting to note that Charlize Theron personally trained for six to eight weeks to prepare for this sequence.As an editor, I thought I’d pick out three things I took away from the video that you can also apply to your next edit, even if it’s not a fight scene.Action Editing Technique — Frame DroppingAt 2.55, you can see Sam walk through some examples of Frame Dropping from specific moments in the fight sequence.This is a common editing technique for action scenes and fight sequences that involves removing (or dropping) specific frames to make the action seem extremely fast and violent.In this fight scene, Sam picks out the gun disarm that you can see in the image above (these are the two frames in between which others have been dropped), as well as a dislocation kick to a knee as clear examples of frame dropping.This technique doesn’t apply only to combat sequences. If you need to tighten an action in a shot, this technique may well have the desired effect.Sound Sells EverythingAlthough a lot of the “selling” of a specific punch, kick, or hit comes from the stunt performers “receiving” the hit, the majority of the power comes from the sound design.Time and time again, Sam mentions how you can hide the “trickery” of filmmaking “at speed” and with a well-timed sound effect. As you watch the scene, pretty much all you can hear are impacts, grunts, whips, and whooshes.PremiumBeat keeps a giant catalog of royalty free production music, but it also offers a huge library of sound effects, including these freebies, which you can try out on your next projectIf you want to learn more about the secrets of film sound design, then check out this video essay on the sound design by Ren Klyce and Richard Hymns for David Fincher’s Fight Club.Fragments and Full TakesOne of the best editing techniques is simply not to cut. But that’s only possible in a fight scene when the actors or stunt performers can hold your attention simply with their fighting skills. Otherwise, as Sam says, you need to hide things “with quick cuts or shaky cam.”In the Atomic Blonde breakdown, Sam speaks to both short fragments edited together to create seamless whip-pans, as well as the steady shots that simply show you what’s happening.These longer shots also give the audience breathing room, in an extended fight or action sequence, before things kick off again.The following episode of Every Frame a Painting also highlights the differences between Eastern and Western fight scenes, where the emphasis in the later is on letting you see everything, showcasing the skills of the martial artists, in this case the indomitable Jackie Chan.
At NAB 2019, Atlas Lens Co unveiled their impressive new 25mm anamorphic lens and LF Extender. Here’s what we know so far.Shooting with anamorphic lenses is becoming more and more accessible thanks to companies like Atlas. Their anamorphic lineup is absolutely stunning — and one of the most challenging things you can do as a lens company is design a good wide anamorphic lens. It seems like Atlas has done that very thing. The lens has a staggering 134mm outside diameter and seems to produce some truly arresting images.Atlas has revealed their latest lens prototype, the 25mm, as well as their new LF extender, which will allow their 2x anamorphic lineup to work with LF-sized sensors like the ARRI LF, RED Monstro, and Sony VENICE. The new extender will also cover the Sony a7 series, as well as other full-frame mirrorless cameras. This extender is actually available right now for $2,000, and if you purchase an extender with a lens, they’ll knock the price down to $1,849.Here is the LF Extender in action.Newsshooter spoke with Atlas about the new lens, the extender, and how the company is bringing their lenses to all types of cameras.As for the lens itself, there aren’t official specs because, apparently, they built the lens just two weeks ago. But that’s to be expected with that kind of turnaround.We recently tested their anamorphic lineup and were super thrilled with the results. Behold: Looking for more coverage of NAB 2019? Check out these articles.NAB 2019: Polar Pro’s New Peter McKinnon Variable ND FilterNAB 2019: LaCie Drops Their New 8TB Rugged RAID Shuttle DriveNAB 2019: Aputure’s New Gear — The 300d II, LEKO Attachment, and MoreNAB 2019: LiteMat Spectrum Shakes up the Light Panel GameNAB 2019: First Looks at the Sharp 8K Micro Four Thirds Camera
Production Designer Melanie Jones discusses working low-budget on “Whiplash,” the color palette of “La Llorona,” and recreating the ’80s with Mötley Crüe.Melanie Jones has a résumé that spans genres and formats. We sat down to talk about her work and the challenges of production design for both film and television.PremiumBeat: When you’re starting a new project, what’s your most important resource? Do you mine the screenplay, dialogue with the director, do independent period or regional research — or is it a combination of many elements?Melanie Jones: All of the above and tons of research. I pull hundreds of images from big scope ideas down to small detail, like door knobs and light switches, for example.Insidious: The Last Key.PB: You’ve done several horror films — Insidious: The Last Key, Truth or Dare, and The Curse of La Llorona. Are there genre design tropes you embrace or avoid? And what creates more horror from your perspective: leaning into creepy design elements or avoiding them?MJ: Color first. Dark or sickly colors can influence a mood. Shapes can be more or less scary. I make my choices based on the story, so each movie (scary or otherwise) will be a bit different.Melanie Jones with the cast of The Dirt (via IMDB).PB: The Dirt detailed the wild ride of bad boy band Mötley Crüe. I would assume much of their ’80s landscape might be different today. What was your process in recreating the look and feel of the times they rocked?MJ: We shot in New Orleans, not Los Angeles, so we had to recreate everything. Here’s a good example of research. I pulled so many images for this — any MC stuff I could find but also rock from the ’70s and ’80s, in general. Other bands, dressing rooms, equipment, fashion, furniture — once we had the research, we found or built places to look like those periods. We built the Whiskey A Go Go facade over another corner building in New Orleans. We built their apartment on stage. Totally redecorated the inside of the bus. Built the airplane on stage. And so on.The Curse of La Llorona.PB: Whiplash was such a critical success. It was Damian Chazelle’s first feature. The budget had to have been modest. What challenges did you face working on the picture, and did you have any an idea it would be so successful?MJ: I knew it was a special script, and working with Damien, you got a sense that he was an unusual talent but you never really know what will happen. The budget was tiny, so I suggested we try and stay in one place, or move as little as possible. I asked the location department to find a building that felt like Midtown Manhattan. We shot in Los Angeles, and we picked the Palace Theater. We did at least half the film there. I built Fletcher’s band studio on the actual stage — we used the foyer, the 6th floor loft, an office on the 3rd floor, the basement, etc.Bless This Mess.PB: You’ve worked consistently between TV (most recently ABC’s Bless This Mess) and feature films. How is the role of the production designer different based on the medium?MJ: With TV, there is much less prep time — a week per episode, once you’ve got the permanent sets built. So you’re busy all the time, if it’s an active show. I don’t limit my creative process, but I know with TV, the scope may not be as big, so we keep things succinct. With film, there is a lot more prep time and you tend to see more. There is more volume though. For instance, The Dirt had 86 sets shot in 35 days. So film can get crazy, too. It’s a crazy job really, either way.Melanie Jones at The Dirt Premiere (via IMDB).PB: Your resumé is wildly diverse — horror, comedy, drama, biography. Do you have a favorite genre playground?MJ: I like them all. I want to do them all, and I don’t want to be typecast. I come from theater (originally), and in my experience, there is less of an issue about genre. It’s just all theater. I watch all different types of movies and enjoy them equally. I am about the story — 100%. The aesthetic is a product of that, then you push it one direction or another, to help set a mood. I enjoy the challenge of creating sets I haven’t done before, so crossing genre is a good way to keep experiencing new things.Cover image via Whiplash (photo by Daniel McFadden — © 2014 — Sony Pictures Classics).Looking for more industry interviews? Check these out.Interview: “My Dinner with Herve” Composer David NorlandThe Universal Language of Music: Interview with Composer Jacob YoffeeIndustry Insights: Behind the Scenes with Editor Nena ErbMake Your Documentaries Matter with Awe-Inspiring MaterialComposer David Schwartz on VEEP, The Good Place and Arrested Development
The first time you take a test, you have no idea what questions to expect. The second time you take a test, having already had a glimpse at the questions, your score should be better than the first time you took that same test. What about the 3rd, 4th, 80th, or 200th time you take that same test?Sales is a series of tests. There are questions that your prospective clients are asking. You are providing the answers. The questions don’t change much. And having already seen them before, you should be getting better at answering the questions.Do I know you?For all the changes that have occurred in the world of sales over the last decade and a half, the deep truths have not changed at all. To create and win an opportunity you must be known.If this is true, and if you have failed this test in the past, you will double down on nurturing your dream clients, even though they are completely cold right now, even though they already have a strategic partner in your space, and even though they are not yet compelled to change.Eventually, your prospective client is going to ask the question, “Who do we know that can help us with this issue?” Because you know this is the question, you now also know the answer.Can you create value for me?One of the fundamental changes in sales is the dramatic increase in the need for business acumen and situational knowledge. It is no longer enough for a salesperson to be able to tout their product or service’s features, benefits, and advantages; the internet already does that.The question your dream client is asking is, “Who has the ideas and the experience to help us obtain the results we need now?”Because you know that this is the question, you understand that you need to demonstrate your ability to think like a businessperson in solving your client’s challenges. The answer to this question requires that you understand your business, your prospective clients business, and enough about the overall business environment to know what choices they may make and what trade-offs they are going to have to consider.The answer to this question is proof that you are a peer, not a vendor.Why should I choose you?This question also shows up in another form that every salesperson hears from time to time. That question really means, “What makes you different?”A lot of people underestimate the need to create a strong preference for themselves, for their company, and for their solution as they move through their sales cycle. People play the game to play the game and not to win. They don’t recognize that how they sell, and who they are, is part of the value proposition they are asking their prospective client to buy.To create that preference and to answer the question “Why should I choose you,” You need to know how and why you are different, as well as how those differences make a difference for your prospective client.This question is being asked all the time, even if you never hear those words escape your prospect’s lips.Do you care about me?This question is also being asked all the time whether or not you ever hear your perspective client say these words. trust is the foundation of trust. People don’t often do business with people that they do not trust.Some people rush their sales process, believing that moving faster will allow them to close deals sooner. Some people mistakenly talk about their needs instead of their dream client’s needs. Many people make the mistake of presenting a solution that doesn’t consider what the individual stakeholders who are making the decision need individually and collectively.Not spending time with people who have real needs is evidence that you do not care. Not listening or taking into account your prospects fears and concerns is proof that those things are not important to you. Speeding through your sales process to get to “the close” faster gives your prospect the idea that the deal is more about you than about them.In human relationships, slower is faster.Selling is a series of tests. When you first start selling, you don’t intuitively know the answers to these questions. You may not know they are even being asked. Once you have taken the test, you know what the questions are, and you know what the right answers should be.What question is continually asked of you for which you still lack a good answer? If you are losing opportunities you believe that you should be winning, you need a better answer to this question.If you were to look over your losses in the last 12 months, what questions cause you to fail the test?
The more you treat people like they’re a transaction, the more they will treat you the same way.There are a lot of things that you might buy or sell that require nothing more than a transaction. You can buy a lot of things for your household where no additional value is necessary. Because what you are buying isn’t risky, complicated, or particularly important, you don’t need anything other than a transaction. That is exactly the level of value you need, and when that is delivered, it’s perfect.But there are other things you buy where the transaction itself is not going to be enough. When you eat at a restaurant, even if the food is good, if the experience is terrible the meal may be ruined. The experience is another level of value that may be necessary, and you notice it when it is missing, when you are treated like a transaction.When you treat human beings, like your clients, as if they are a means to an end and not the end in and of themselves, that lack of caring is felt. So is your self-orientation. When you treat people as if they aren’t important, the fact that you are transactional is the standard you set for the relationship, and it is what you should expect to receive in return. If you don’t care, why should they care?Of all the things that you can do to eliminate a preference to work with you, your company, and to buy your solution in a B2B sale, behaving in a way that is low caring and taking a transactional approach to the relationship may be the most damaging. More still, when a decision comes with a fair bit of risk, is complicated, is relatively expensive, and rises to a level of importance that would benefit from the advice of trusted counsel, a more consultative relationship is what is required—and it is what creates a preference to work with you.If you don’t want people treat you like a commodity, don’t treat them like a transaction.
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 you look to see the differences between people who are succeeding and those who are struggling, you will notice that those who are succeeding have a strong sense of personal leadership. Those who are more successful lead themselves.Internal Locus of Control: Some people believe that the world is acting on them, that everything is outside of their control, providing them with excuses for not acting or absolving them of responsibility for not producing some result. Others, those with an internal locus of control, believe that they determine their own fate, that they are acting on the world. This is not to say that those who have this internal locus of control don’t recognize that there are external factors to consider, it’s that they take action and adjust their strategies.Determine Their Own Work: No one ever has to tell someone with a strong sense of personal leadership what they need to do, when they need to do it, or that they need to work harder and do more. Those with a strong personal leadership do what needs to be done before anyone ever has to ask them to do it. They direct their own work, they manage their time, and they are mature enough to avoid the distractions that ensnare those who lack a sense of personal leadership and lack self-discipline.High Personal Standards: Those with the ability to lead themselves also have high personal standards. They do good work because they are conscientious and believe their work matters. They produce results consistently without ever having to be asked to do more or do better, both the quality and quantity of their work being more than those who need to be told what to do.Hold yourself accountable for results that are greater than anyone else would expect from you. Personal leadership provides a freedom denied to all those who need someone to manage them because they lack the ability to manage themselves.
PANAJI: The desecration of religious artefacts in South Goa district continued on Friday, with another Catholic cross vandalised in Margao in the early hours of the day. A spokesperson for the Goa Police said, “The desecration of the cross occurred in the Calconda area in Margao.” This is the seventh instance of desecration of a religious artefact in South Goa in the last few weeks. Chief Minister Manohar Parrikar had earlier called the desecrations an attempt to disturb the communal harmony of the State. Goa and Daman Archbishop Filipe Neri Ferrao had urged the police to crack the cases, and called on people to maintain peace and harmony.
Concerns escalated after Tiwari deliberately damaged the vessel’s Automatic Identification System (AIS), and switched off the ship’s satellite phone, so that Morani would not know its location, an NCB official said.“There were apprehensions that the ship could be part of a terror attack. Call details of several drug dealers were scanned through and reams of documents on movement of similar ships were analysed. The 26/11 records were taken out to look for a similar pattern,” said a senior Intelligence official.Over the next 20 hours, a Coast Guard Dornier aircraft conducted a sea-air coordinated search with two helicopters and two vessels, finally accosting the MV Hennry on July 29, 400 nautical miles off the Porbandar coast. Eleven persons — eight crew of the ship, including Tiwari, and three others — were arrested by the NCB.According to NCB officials, the consignment was loaded into the vessel at sea by a Pakistani boat near the Gwadar port and it left, supposedly for Egypt, on July 20. Pakistani loaders had worked four days to hide the consignment of 1,526 packets of heroin in various cavities, water tanks and pipes.Investigations found that Captain Tiwari was a resident of Kolkata, where he completed a marine engineering course. He was hired by Morani in Iran in May this year to command the ship, originally registered as “Prince-2”. Tiwari had contacted another sailor from U.P. to find the prospective buyers in Mumbai, Vishal Yadav and Irfan, who offered him a commission of ₹50 crore for the consignment worth more than ₹3,000 crore. Yadav, Irfan and Tiwari’s brother, who went to collect a token amount from them, have also been arrested.“The contraband was to be sold through hawala channels based in Chhapra, Bihar, and in Sealdah in Bengal,” the official added, indicating that for each such ship and crew traced, there could be several others that ply their deadly trade regularly to Indian shores. For the Narcotics Control Bureau (NCB) and intelligence agencies, the 1,400 kg heroin capture from the Panamanian ship MV Hennry, caught off Porbandar last week, was a big success. But the extent of the network, and the high risks in the operation is only now being realised, as an investigation report, accessed by The Hindu, reveals, with the captain of the ship, Suprit Tiwari, on the run not only from the authorities but also from his Iranian employer.According to an official involved in the case, the original input for the ship-chase came from “phone chatter”, picked up by the National Technical Research Organisation (NTRO) in the Arabian Sea on July 27. From the intercepts it appeared the 26-year-old captain of Indian origin had decided to strike a side deal with one Vishal Yadav, a drug dealer in Mumbai, for a commission of ₹50 crore, instead of sticking with the original plan made by his employer — a Dubai- based Iranian Sayeid Ali Morani — of conveying the narcotic shipment to Egypt.As soon as the NTRO intercepted the satellite phone conversations, a crisis centre was set up in Delhi and intelligence officials from 12 locations in Gujarat and three analysts, who had worked on the 26/11 Mumbai attack case, were tasked for the job.Shadow of 26/11Two big worries hung over the control room, according to the report submitted to the government — one was that though the ship was suspected to be carrying only drugs, it was impossible to ignore the fact that it could also be used for a 26/11 style attack, especially as it came via Pakistan. The second was to avoid a repeat of the 2014 New Year’s eve incident when the Coast Guard claimed that an explosives-laden Pakistani boat had blown itself up in the sea, when asked to surrender. Differing accounts of the incident has caused embarrassment to the government.
The Supreme Court on Tuesday consented to hear a petition filed by a lawyer for cancellation of the membership of Bihar Chief Minister Nitish Kumar in the State Legislative Council for allegedly concealing a criminal case pending against him. The SC Bench said it would look into the matter after petitioner-advocate M.L. Sharma sought an urgent hearing. The petition alleged that a criminal case against the JD(U) leader was filed in connection with the death of a local Congress leader Sitaram Singh ahead of Lok Sabha by-election to the Barh constituency in 1991. It also sought a direction to the CBI to register an FIR against him.The petitioner has also sought a direction to the CBI to register an FIR against Mr. Kumar in the case.“Respondent number 2 [Election Commission], despite knowing facts about his [Mr. Kumar’s] criminal case, did not cancel his membership of the House and respondent [Mr. Kumar] still enjoys constitutional office till date,” Mr. Sharma argued during an oral mentioning.The lawyer has sought cancellation of Mr. Kumar’s membership as per the Election Commission’s 2002 order stating it is mandatory for candidates to disclose criminal cases against them in their affidavits annexed to nomination papers.He claimed that Mr. Kumar did not reveal about the criminal case that was pending against him in affidavits since 2004, except in 2012.
The Home Ministry said on Monday that it had “no business” to interfere in the police investigations regarding a “local case” in Chandigarh.“The Home Ministry has no business to get into [interfere with] a local case,” Union Minister of State for Home Kiren Rijiju said denying allegations made by the Congress.New SSP appointedAmid the controversy around the stalking incident, the Ministry appointed a woman Indian Police Service (IPS) officer, Jagdalek Nilambari Vijay, as Senior Superintendent of Police, Chandigarh, a post lying vacant for months. Ms. Vijay, a 2008-batch officer of the Punjab cadre, was sent on deputation to Chandigarh on Monday.Chandigarh is a Union Territory, which is administered by the Home Ministry, in accordance with the provisions of Article 239 to 241 of the Constitution. “Since my response is strictly according to media coverage, my assessment is that the accused should not have been allowed to be let out on bail immediately. His custody ought to have been sought to verify the complaint,” Puducherry Lieutenant-Governor Kiran Bedi told The Hindu.
West Bengal Director General of Police Surajit Kar Purkayastha on Tuesday took stock of the situation in North Bengal’s Kalimpong and said locals and police were working to help restore normalcy in the district. “Today [Tuesday], I visited Kalimpong. It is heartening to see that the situation is becoming normal. The local public is also very happy. The police and the locals have worked hand in hand to restore normalcy and make the situation better,” Mr. Purkayastha said. Identifying miscreants“We have identified a few people trying to create disturbance. Many of them have already been arrested, the rest will also be arrested,” he said. He went around the Damber Chowk area in Kalimpong and talked to a few locals there.
In the 24th week of her pregnancy, doctors at the Nowrosjee Wadia Maternity Hospital in Parel informed Sheetal Zalte that she was carrying conjoined twins, and immediately began counselling her on the implications and steps to be taken.On Wednesday, doctors at the Bai Jerbai Wadia hospital in Parel carried out a 12 hour long surgery to separate a set of 14 month old conjoined twins. Luv and Prince Zalte were attached from lower part of the chest and shared a common liver, intestine, bladder and pelvic bone since their birth on September19 last year.The high risk surgery that started at 4 a.m. involved a team of 30 doctors including paediatric surgeons, anaesthetists, orthopaedic surgeons, gynaecologists among others. The hospital had shut down seven of its operation theatres and only kept one emergency OT open so that the team of specialists could be fully focussed on this surgery. The twins are now in the Paediatric Intensive Care Unit (PICU) of the hospital and are in a stable condition. The parents of the twins, Sheetal and Sagar, who reside in Ghatkopar can’t contain their happiness. “It is hard to express in words how happy I will be to hold my children in both my arms,” said 26-year-old Sheetal who was told about the condition of the twins when she was in 24th week of her pregnancy. “The doctors at Wadia hospital explained me every minute detail. It was only because of them that we sailed through,” said Sheetal who delivered the babies at the same hospital through a caesarean section. At the time of their birth, OTs were kept ready in case they would require an emergency surgery. But the twins were fine after birth,” said paediatric surgeon Dr Pradnya Bendre adding that in many cases, separation surgeries are carried out within 6 months. “But we decided to wait for some more time and let the organs grow to an optimal level, “ she said.According to anaesthetist Dr Pradnya Sawant, the babies were positioned on top of each other like a scissor. “Giving anaesthesia to tiny babies is generally difficult. In this case, it was tougher as any of the babies could have reacted different and collapsed. We anticipated a lot of problems during surgery but fortunately no complications came up, “she said adding that post surgery, the babies have been left with small part of liver which will grow over a period of time. The babies had a common 40 cm long intestine which has been divided into two. The urinary bladder too was divided and the doctors suspect that they may face a problem with bladder control but that can be noticed only after they grown up. The twins have been identified as xiphi-omphalo-ischiopagus tetrapus, a kind of conjoined twinning that is considered rare. Since they were fused from below the chest level, doctors had to use a large quantity of artificial membrane to cover their body post the surgery. In future, they may require several bone and plastic surgeries. Luv and Prince are the third set of conjoined twins operated at the Wadia Hospital. The first surgery was carried out in 1993 and the twins, who are now healthy, live out of the country. The second surgery was on Riddhi and Siddhi from Raigad district who were abandoned by their parents. The girls, now 4 year old, live in the hospital. “It was after meeting Riddhi and Siddhi that Sheetal became convinced about the surgery for her children, “said hospital’s CEO Dr Minnie Bodhanwala.
The State government on Wednesday transferred 16 Indian Police Service officers, making changes in several key posts in Mumbai which include creation of a new post in the Economic Offences Wing, Mumbai. Among the significant changes is the posting of Joint Commissioner of Police Ashutosh Dumbare, who heads the EOW, as head of Mumbai Crime Branch. Mr. Dumbare replaces Sanjay Saxena, who has been promoted and transferred as Additional Director General (Training), Maharashtra Police. Mr. Dumbare will be replaced by Vinay Choube, Inspecter General of Police, Nashik Range. The Mumbai EOW will be headed by an ADG level officer. Prabhat Kumar, IG (Law and Order), was promoted and will be the first ADG, EOW, Mumbai. Jt CP (Administration) Archan Tyagi has been transferred to the State Reserve Police Force, and will be replaced by Santosh Rastogi, of the State Intelligence Department. Additional Commissioner of Police (Crime) KMM Prasanna has been promoted and posted as IG, Nagpur range, while Additional Commissioner of Police (West region) Chhering Dorje, has been promoted and appointed Special IG, Nashik range. Mr. Dorje’s wife Aswathy, Additional CP, Armed Police, has also been promoted and appointed Director, Maharashtra Police Academy in Nashik.
Launching a scathing attack on the Centre, Chief Minister and Biju Janata Dal president Naveen Patnaik on Wednesday demanded financial autonomy for Odisha to transform it into a prosperous State.Recalling late Biju Patnaik’s demand for fiscal autonomy for the State, Mr. Patnaik said that “Biju Babu had rightly sought financial autonomy to transform Odisha into the most advanced State in South Asia”.“Give me financial autonomy. I don’t need special State category status or any funding or assistance from the Centre. I need financial autonomy. I will use Odisha’s money for development of its people,” said the Chief Minister.Addressing a gathering at the BJD headquarters on the occasion of the party’s 21st foundation day, Mr. Patnaik said that be it Congress or BJP, no national party had any concern for Odisha.“We all are experiencing this. They will come when elections are round the corner. They will talk big and lay foundation stones and thereafter they won’t be seen,” Mr. Patnaik added.Stating that they believe in work but not promises, Mr. Patnaik said that is how BJD had become a movement. “The movement is for the right and dignity of the people of Odisha and it will continue in the times to come.”Stating that people’s support for regional parties was growing across the country, Mr. Patnaik sarcastically listed the “success” of the Central government in various fields during the past four and a half years by citing as many as nine points.Mr. Patnaik highlighted the “pathetic condition” of national highways in the State narrating the condition of the NH between Sambalpur and Cuttack and Baripada and Deogarh. The coastal highway project remains confined to announcement in the last four and a half years, he said.He mocked the performance of BSNL stating that while the network was always busy in cities there was no network in half of the villages of the State. “One has to climb trees or go atop a building to use the mobile phone,” he said.Coal royaltyMr. Patnaik also slammed the Centre over the issue of coal royalty stating that the royalty was not hiked since 2015 though it would take five minutes to decide.
Two police personnel were killed and a villager was injured on Saturday evening when suspected Naxals opened fire on them in Chhattisgarh’s Bijapur district, police said. The incident took place when the two policemen and the villager were going to a nearby village under Pamed police station. Constable Arvind Minj and assistant constable Sukku Habka died on the spot. PTI A ‘small action team’ (typically comprising four-five rebels) of Naxals opened fire on them, leaving constable Arvind Minj and assistant constable Sukku Habka dead on the spot and the villager injured, said Deputy Inspector General (anti-Naxal operations) Sundarraj P. Locals took the injured villager to Cherla in neighbouring Telangana for treatment, he said, adding that security forces have been rushed to the spot.