Share Facebook Twitter Google + LinkedIn Pinterest Amid the flooded fields of northwest Ohio in late June, officials from the Regional Conservation Partnership Program (RCPP) announced $17.5 million from the United States Department of Agriculture (USDA) to help protect water quality in the western basin of Lake Erie.The five-year RCPP agreement was signed in May and is now ready to assist farmers in installing a variety of best management practices that will keep nutrients on fields and improve water quality. Program enrollment officially kicks off for Ohio, Michigan and Indiana farmers in designated watersheds on Wednesday, July 1, and runs through Friday, July 17, and farmers will be able to sign up at their local USDA Service Center.This multi-state project includes more than 40 collaborating public and private sector organizations with representation from Ohio, Michigan and Indiana, state and local governments, as well as nonprofit entities, universities and private sector businesses.These organizations have committed resources to leverage $17.5 million in federal funds by contributing more than $28 million to the programs for the reduction of phosphorus and sediment to improve water quality in the Western Lake Erie Basin.Project partners recommended USDA’s Natural Resources Conservation Service (NRCS) conservation practices and innovative demonstration practices that farmers can apply for through the Environmental Quality Incentives Program (EQIP) and the Agricultural Conservation Easement Program (ACEP). The financial and technical assistance available through these programs support conservation practices that protect soil health, water quality and quantity, as well as prevent fish and wildlife habitat degradation. Nutrient management practices such as cover crops, drainage water management structures, blind tile inlets, placement of phosphorus below the soil surface using variable rate technology (VRT) and animal waste management are the primary conservation focus available through these programs.The targeted approach focuses efforts on the 855,000 acres that have been identified as the most critical areas to treat within the larger seven million acre watershed. This new RCPP project expands access to public and private technical assistance, new and ongoing innovative conservation practices and expertise for modeling and evaluating outcomes to farmers in these critical sub-watersheds.Informational brochures will be distributed to raise awareness of this important multi-year project and encourage farmers and landowners to participate in the new conservation program. Agricultural producers in the Western Lake Erie Basin are eligible to apply at wleb.org or they can visit their local USDA Service Center.
We got the secrets behind how some of the classic Dungeons and Dragons artwork came to be — and making a documentary about it.I was recently lucky enough to sit down with co-director and editor Kelley Slagle and sound mixer and editor Seth Polansky of the recent documentary Eye of the Beholder: The Art of Dungeons and Dragons. They edited over 72 hours of footage in Premiere and mixed it in Audition. With interviews, pictures, and artwork that span over 40 years, the topic is both inspiring and timeless for anybody who grew up with Dungeons & Dragons or has enjoyed the artwork. It’s a documentary about creators, for creators. PremiumBeat: So how did this project come about?Kelley Slagle: Back in 2013, we made a film called Of Dice and Men, which was a narrative movie about a group of roleplaying gamers. Seth and I made that together. That was when I first really got into playing D&D. It was because of making that movie I became a gamer. But, when we were screening the film, we met a filmmaker named Brian Stillman who was screening his documentary Plastic Galaxies: The Story of Star Wars Toys at the same festival. And we struck up a conversation and a friendship. Brian was a huge gamer and had the original idea for the documentary on the Dungeons & Dragons artwork and liked our film so much that he approached us about partnering on the project. PB: I’m sure tackling something as big as Dungeons & Dragons can feel a little daunting at first, given the fanbase.Kelley Slagle: Yeah. I mean, it’s actually approaching forty-five years of the game. Now you’re talking about hundreds upon hundreds of pieces. And right now, you know, not being able to include everything. How do you pay proper homage?Seth Polanksy: Yeah. One of the biggest challenges is trying to figure out who to include and who not to include. Kelley Slagle: We did 40 interviews for the documentary, and we could have done 30 more easily. We were interviewing up until February of this year. Finally, as the editor, I had to draw the line and say no more. So, you know, we kept making sure that we represented. PB: How did you approach finding all of the footage or the artwork. I’m sure there was an overwhelming amount of content to look through. Where did you start? Kelley Slagle: We started by doing a ton of scanning of the original product artwork. So the first D&D set that came out had black-and-white artwork, and then we went all the way up until the most recent release. We also looked through our personal collection, bought new collections, and borrowed some from friends. But we also approached some collectors of the original artwork — they have a lot of it. And we were able to approach them to get photographs of the original artwork. So it was really helpful that they were willing to cooperate with us on the documentary. And then there wasn’t a lot of footage because there was not a lot of original footage from 40 years ago. But, there were a lot of old photos that we collected from various artists and various insiders from the company that made Dungeons & Dragons.So, with that all combined with a tiny bit of stock footage and photos, we were able to include hundreds upon hundreds of pieces of artwork in the film.PB: So to edit this documentary you used Premiere Pro, right?Kelley Slagle: Right. I’ve been a Premiere user since 2011, and I was really looking for organizational capability because managing seventy-two hours of footage with over forty interviews was going to be hard.So I knew that I was going to be living in the Markers panel for a moment. And that’s what I did. I broke down forty interviews into their own timelines with markers for sound-bites. And I was able to search and organize those markers. Then I broke down storylines into individual sequences and took my marked footage and put it in the storyline sequences. So I had twenty or thirty storyline sequences when it was all told, but the reason why I was using Premiere was because my organization could be great in the program. I also used the metadata workspace a lot for organizing my footage. PB: Yeah, I’d imagine you’d want to keep your head on straight with all those clips and interviews. So when you’re working with the photos were you using Adobe Bridge?Kelley Slagle: That’s right. I used Bridge to view all the artwork, and then I would bring it in and then sort through it because I couldn’t bring all the artwork we had collected. So I had to select from hundreds of pieces of artwork at a time. So I would bring everything up and view it in Bridge, and then as I collected pieces of artwork I wanted to include in B-roll, I would bring it directly into Premiere. And then, if necessary, I would bring it up to edit it in Photoshop and then save it back, and I would see my changes in Premiere. So everything was hooked together through the Bridge, Photoshop, and Premiere.Seth Polanksy: Yeah, It was super helpful to be able to round-trip it so that I could just open it up in Audition, do my edits, then send it right back to her. It was unbelievably helpful.PB: Seth, what was your workflow like for this documentary? How did Audition hold up?Seth Polanksy: Well, the entire film is constructed of interviews, so my challenges were things like . . . well . . . there are a couple of interviews (I’m not going to tell you which ones, but I think I did a good job of hiding them) and there was a chainsaw going behind it the whole time right outside the window. There’s another interview that takes place in a bar, and there’s this ice machine constantly running — and there’s also tinfoil being ripped off behind the interview. So, you know, I had to do all kinds of noise removal, and Audition was super helpful for that. And I use all the tools available for noise reduction and noise removal in Audition. I also used the iZotope plugins, yet it was a task. I mean, just that chainsaw took me two days of work. PB: So were you on set? How involved were you with the actual audio recording?Seth Polanksy: With all due respect to my producers, the [interviews] that I spent the most time on were the interviews that I was not on location for.Kelley Slagle: A lot of the time it was a one-man-band situation — like with our co-producer Brian who had to do the video and audio on a couple of interviews. Seth Polanksy: Exactly. I mean it’s as good as it can possibly be, and I’m very proud of it quite frankly.PB: What type of audio equipment did you use for the for film? Seth Polanksy: I used a Schoeps Hypercardioid with three different capsules and a RME babyface. So I just put the Schoeps right into the babyface, and if I needed a LAV, I’d use one. But, personally I can’t stand wireless LAVs — half the time I’m picking up interference. So the Schoeps is really what you hear most throughout the documentary. PB: So, Kelley, as director and editor, did you find yourself directing for the edit?Kelley Slagle: Absolutely. I was co-directing with Brian, and we discussed everything that was going to be in the edit. We worked very closely together on the edit. I would do an initial edit, and then he would come in and give directions. And we would discuss things together. But we had a clear vision for the film from the beginning. We weren’t going to be in the documentary ourselves, and we weren’t going to use voiceover. So we knew that the story was coming from the people. And not something we constructed. But, yeah — in the edit, we would work very closely together on crafting the storySeth Polanksy: You’d be surprised how often you have to remind interview subjects . . . Well, you know, in all fairness, a lot of these folks are not used to being interviewed . . . but you’d be surprised how often you have to remind them to not just answer the question and instead sort of rephrase it — like instead of saying “It was blue,” say “Well the color I chose to paint that was blue.” It was very interesting because I don’t really spend a lot of time on the producer side. I spent more time on the audio backend side. So, it was interesting to watch them ask the interview subjects to rephrase their answers. Kelley Slagle: A lot of the thing with our interviews — and the reason we got great stories — is because we took the time with the interview subject by taking them out for lunch before we interviewed them and talking and pre-talking about subjects before we got them in front of a camera. Which, some people might think is something you don’t want to do. But we found it made people feel a lot more at ease, and they were more willing to open up to us. A lot of the time people would say “You’re going to lose spontaneity,” but we found it to be just the opposite. By hanging out with them and talking about the story ahead of time, we were able to get great stories on camera.PB: What did you learn about filmmaking while making this film? And what piece of advice would you give somebody who is considering making their own documentary?Kelley Slagle: I think I was not quite prepared for the amount of time and effort it would take to edit this documentary. When you’re talking about working with seventy-two hours of footage, making that into a coherent hour and a half, and making it a good story, you need to be prepared to spend twelve-hour days in front of a computer or phone for days and days on end to get there. And it was totally worth it. I’m very proud of what we accomplished. And I had a lot of fun doing it even though I was working my butt off. But, I think people need to be prepared to invest the time and effort that it takes to get there. I think that’s the big lesson I would take away from it. And don’t underestimate good organization. I think that’s what I’ve learned more than anything on the documentary and this process: being meticulously organized. Because if you’re not, you’re going to have a harder time getting anything done, especially something of this magnitude. Seth Polanksy: For me, the takeaway was the guy who mixes should probably be the guy recording. They should probably be the person on-set because they can identify things that people who aren’t trained audio folks don’t think of — like ice machines, fax machines, and refrigerator hums . . . things that are going to be a problem in the mix. All images via Eye of the Beholder: The Art of Dungeons & Dragons.Expect Eye of the Beholder to release in Spring 2019.For more in-depth conversations with editors, DPs and directors, check out our past interviews:Adam Salky on Directing Projects with Powerful Emotional ThemesHow the Editor Behind I, Tonya Recreated HistoryThe Editor of Green Book Offers Insight Into the Art of BalanceSet Photographer Matt Kennedy on Shooting for MarvelComposer Dan Marocco of Brooklyn Nine-Nine
Read Next Fire hits houses in Mandaluyong City Santos, Matias rule Sletba Open Senior Masters Frontrow holds fun run to raise funds for young cancer patients BSP sees higher prices in November, but expects stronger peso, low rice costs to put up fight LATEST STORIES View comments Kammuri turning to super typhoon less likely but possible — Pagasa Trending Articles PLAY LIST 00:50Trending Articles05:25PH boxing team determined to deliver gold medals for PH00:50Trending Articles01:37Protesters burn down Iran consulate in Najaf01:47Panelo casts doubts on Robredo’s drug war ‘discoveries’01:29Police teams find crossbows, bows in HK university01:35Panelo suggests discounted SEA Games tickets for students02:49Robredo: True leaders perform well despite having ‘uninspiring’ boss02:42PH underwater hockey team aims to make waves in SEA Games MOST READ Lien Dale Manuel (Vicente Lim Elementary School), Lara Angela Amante (Isabelo de los Reyes ES), Liam Arc Villaran (Don Bosco-Canlubang), Kevin H. Hadap (Diosdado P. Macapagal ES), Heaven Andrei Teodosio (Ilaya Barangka Integrated School), Lorenzo Miguel Castillo Plaza (Xavier School), Alexis Caitlin Tan (Keys School Manila), Joseph Kyne Garces (Don Bosco-Cebu), Marcus Lucas Arias (Don Bosco-Canlubang), Lorenz Albert Tortona (Xavier), Enzo Gacutan Courbet (Brent International School), Boris Malcolm Uy (Keys School Manila) and Ethan Jacob Roxas (Paref Springdale-Cebu) are the members of the PH delegation.Activities, which will run until Oct. 23, include a match-viewing at Camp Nou where they will see their FC Barcelona heroes in the flesh.FEATURED STORIESSPORTSWATCH: Drones light up sky in final leg of SEA Games torch runSPORTSSEA Games: Philippines picks up 1st win in men’s water poloSPORTSMalditas save PH from shutoutThe program is also highlighted by special training sessions with Barca legend Eric Abidal.“May the journey of these kids inspire more young Filipinos to reach for their dreams,” said Milo’s Robbie De Vera during the recent team sendoff at Abe Restaurant in Bonifacio Global City. —VANESSA B. HIDALGO LOOK: Loisa Andalio, Ronnie Alonte unwind in Amanpulo for 3rd anniversary Brace for potentially devastating typhoon approaching PH – NDRRMC A total of 13 kids will comprise the first Milo FC Barcelona team that will take part in a global camp starting Sunday at Camp Nou, the home team of the famed football club.The final cast was culled out of a pool of 150 kids who took part in the Milo FCB Road to Barcelona Training Camp on Sept. 2 and 3. They were picked by an expert panel from Milo Philippines, Philippine Football Federation and FCBEscola Youth Academy.ADVERTISEMENT Typhoon Kammuri accelerates, gains strength en route to PH Don’t miss out on the latest news and information. Nonong Araneta re-elected as PFF president
Ty Law, Adam Vinatieri, Vince Wilfork, Richard Seymour. Lawyer Milloy, Jimmy Garoppolo, Wes Welker, Damien Woody. New England said goodbye to all of them when they still had gas left in the tank.They unexpectedly benched the cornerback who saved the 2015 Super Bowl, Malcolm Butler, at the Super Bowl three years later, then let him go via free agency. Drew Bledsoe got injured in 2001 and his days were numbered. He got traded to the Bills after a backup named Tom Brady stepped in and did fairly well.Through it all, Brady and Belichick have been the constant.“Some of it is perception, and some of it is reality,” said Eric Winston, the former NFL offensive lineman who is now the president of the players’ union. “Every NFL team, in certain areas, goes through maturations and goes through the process of, ‘How do we build a team?’ And then it changes. One year, it’s finding a few older free agents who can play. Another, everyone wants to get younger when the Seahawks win with an average age of” 26.4.The average experience on Seattle’s 2013 Super Bowl champions was 3.66 years, the lowest among the teams AP surveyed. Not surprising, then, that Seattle only turned over 15 players from that roster. Seattle returned to the Super Bowl the next season, but went into a rebuilding mode not long after, with many of the top contributors from the Super Bowl teams becoming too pricey. The team scrambled to put fresh talent around still-young quarterback, Russell Wilson, but has never returned to the Super Bowl.“Teams will try to find a younger, cheaper option even if the drop off in production isn’t there” from the player they’re cutting ties with, said Seahawks 11th-year offensive lineman Duane Brown. “If they’re not as productive but a little cheaper they’re willing to sacrifice it.”Even by jettisoning around one-third of their rosters, teams don’t always end up younger the next season. Of the 10 teams the AP analyzed — all seven title teams since 2011, along with the 2001, 2003 and 2004 Patriots — six actually got older. That’s because even with the turnover, essentially two-thirds of the roster stays and ages a year.That only amplifies the need to work hard at staying young.Jets offensive lineman Kelvin Beachum recalled conversations he’s had with assistant coach David Diaz-Infante, who played on the Broncos title teams in the late 90s.“He said, ‘Man, I remember when I was in my room, the youngest person in our room was 29,‘” Beachum said. “That’s considered almost older than a geezer now.’” An Associated Press analysis of Super Bowl champions over the past seven years revealed that title teams shed an average of 20.4 players off their 53-man rosters from the Super Bowl to Week 1 of the next season. That’s 38.5 percent. On average, the new players had 1.8 fewer years of experience than the players they replaced.The findings were in line with data analyzed by the AP that showed a steady trend downward in experience of all teams despite attempts in the 2006 and 2011 collective bargaining agreements to stem that tide. Average experience on opening-day rosters has dropped from 4.6 years to 4.3 since 2005 .FEATURED STORIESSPORTSPrivate companies step in to help SEA Games hostingSPORTSUrgent reply from Philippine football chiefSPORTSWin or don’t eat: the Philippines’ poverty-driven, world-beating pool stars“I mean, look, there’s a lot of turnover in the National Football League on every team in every year,” Patriots coach Bill Belichick said. “It’s the National Football League. Teams turn over a lot of players and a lot of coaches every single year, every single team.”No team does it with quite the high-profile effectiveness as the Patriots, who have collected five Super Bowl titles since 2002, and will be going for No. 6 on Sunday against the Rams. SEA Games hosting troubles anger Duterte ‘We are too hospitable,’ says Sotto amid SEA Games woes Don’t miss out on the latest news and information. View comments PH underwater hockey team aims to make waves in SEA Games PLAY LIST 02:42PH underwater hockey team aims to make waves in SEA Games01:44Philippines marks anniversary of massacre with calls for justice01:19Fire erupts in Barangay Tatalon in Quezon City01:07Trump talks impeachment while meeting NCAA athletes02:49World-class track facilities installed at NCC for SEA Games02:11Trump awards medals to Jon Voight, Alison Krauss Lacson backs proposal to elect president and vice president in tandem Oil plant explodes in Pampanga town MOST READ New England’s five Super Bowl champions turned over an average of 19.2 players the season after they won their titles. The season after their 2015 win over the Seahawks, they brought in 24 new players — the biggest number among all the teams surveyed in this analysis.How does all this turn out? Not very well, except for the Patriots. Of the past seven Super Bowl teams, none has repeated. Two have returned to the Super Bowl to lose. Two have lost in the playoffs. Three didn’t even make the playoffs.The 2003-04 Patriots are the last team to repeat.Belichick’s famously unsentimental view of rosters, and the players who fill them, has led to some of the most awkward, unpopular and sometimes downright messy break-ups in recent memory.Coming off a season in which the Patriots lost the AFC title game, Belichick traded away linebacker Jamie Collins — to the then 0-8 Browns, no less — in the middle of the 2016 season. New England won the Super Bowl that year.ADVERTISEMENT Oil plant explodes in Pampanga town LATEST STORIES US judge bars Trump’s health insurance rule for immigrants Private companies step in to help SEA Games hosting FILE – In this Jan. 21, 2018, file photo, New England Patriots quarterback Tom Brady, left, hugs coach Bill Belichick after the AFC championship NFL football game against the Jacksonville Jaguars in Foxborough, Mass. New England’s five Super Bowl champions turned over an average of 19.2 players the season after they won their titles. Brady and Belichick have been the constant. (AP Photo/David J. Phillip, File)A word of warning to all those soon-to-be Super Bowl champions in New England or Los Angeles: Don’t get too comfortable. You might be looking for a job fairly soon.The NFL’s inexorable trend of going younger and cheaper does not bypass the best teams in the league. In fact, it may help them stay as good as they are.ADVERTISEMENT Grace Poe files bill to protect govt teachers from malicious accusations Sports Related Videospowered by AdSparcRead Next A somber Super Bowl reminder in ‘Mr. Falcon’ CTE diagnosis
About the authorPaul VegasShare the loveHave your say Man City boss Guardiola: Our attack was ruthlessby Paul Vegasa month agoSend to a friendShare the loveManchester City boss Pep Guardiola praised his players after their record-smashing 8-0 triumph over Watford.The Premier League Champions headed into half-time with a 5-0 lead, sensationally established in the opening 18 minutes of the game, and continued where they left off to add three more after the restart.Guardiola expressed his delight that his team did not let up, adding that doing so would have been disrespectful to the Hornets.”The quality of players upfront made the difference,” he said. “We were ruthless in terms of five shots, five goals. Sometimes, we have 20 and cannot score.”After the Champions League – a huge trip and no time to prepare – it was a lovely day for us all. For the City fans, there was sunshine and a lot of goals.”One of the things I loved the most is the fact that at 5-0 at half-time, sometimes players think for themselves and play their own game. It was the complete opposite – we were more aggressive, and we changed the set-up a little bit. We were more aggressive, high pressing.”In the second half, we scored more goals and played well. That, I like a lot.”
APTN National NewsA murder in British Columbia led to the search of a home in Winnipeg, which unearthed the remains of Myrna Letandre who went missing 2006.Her family held a vigil in her honour, but still struggle with unanswered questions surrounding her death.APTN’s Ntawnis Piapot has this story.
With the objective of DOD’s former Energy Conservation Investment Program recently extended to include projects designed to enhance energy resilience, officials from across the Army responsible for the rechristened Energy Resilience and Conservation Investment Program (ERCIP) met last month to learn about the service’s new planning guidance for prospective projects. The importance of updating the Army’s process for reviewing candidates was heightened due to the service’s directive requiring installations to ensure critical mission capabilities are protected from disruption, said Dominic Ragucci, the Army’s ERCIP program manager. The directive calls for installations to develop the capability to sustain their energy and water requirements for at least 14 days during a service interruption.The directive requires backup power systems which may not save an installation money in the same way a conventional energy efficiency or renewable project would, leading to a revision in the lifecycle cost analysis for projects, Ragucci said. Achieving energy resiliency and security means installations essentially are backing up backup systems, he explained, and trying to satisfy a minimum savings-to-investment ratio can be challenging, reported the Army Engineering and Support Center, Huntsville.Photo by Stephen Baack Dan Cohen AUTHOR