By Kamala Glenn-Taylor, BS, BA, MS-MFTFlickr [Iranian Children’s Day 2008 by unicefiran, November 26, 2008, CC-BY-ND 2.0] retrieved on January 3, 2016Gottman & DeClaire (1997) addresses the need to raise emotionally intelligent children and defines emotional intelligence as the “ability to control impulses, delay gratification, motivate themselves, read other people’s social cues and cope with life’s ups and downs” . The essential element in this parenting skill is to first be emotionally intelligent adults. Eleanor Brownn once said, “you can’t serve from an empty vessel.” When you think about these ideas it brings to the fore the struggle that parents often feel, “I just don’t know how to reach him”, “she just won’t talk to me” . The similarity between those narratives is that it speaks to disconnection. And as parents, disconnection is the last thing you want. Disconnection means not knowing what’s going on in the life of your child, disconnection is wondering if your child is making the right decisions, disconnection is wondering how your child is able to emotionally adapt with the ever changing landscape of peers, puberty, religiosity, and relationships among other topics. Gottman & DeClaire’s definition of emotional intelligence attends to this disconnection. The authors state, “emotional intelligence…means being aware of your children’s feelings, and being able to empathize, soothe, and guide them” . Awareness is the key to connection. So how can service professionals help bridge that gap? When parents present for sessions woefully concerned about how to “fix” this child who they are concerned about; academic issues, divorce, household conflicts, we have the opportunity to model connectedness. And we model connectedness not in a way that criticizes parents but in a way that introduces new thought about available alternatives in relating to their children. Another opportunity for service professionals is to dispel the idea that the child is the one to be “fixed” or the one with the “problem.” Have you ever had a parent who admits that therapy is their last resort? Parents share that idea in different ways, “I just don’t know what to do anymore”, “maybe he’ll open up to you”, “I just want them to know this is a place where they can talk about stuff without me.” It sends the message that “I’ve done all I can” and that you, the service professional, are the white knight. While it may be flattering to know that someone regards you as a hero it also encourages more disconnection because once a child has learned to open up to you what reason does he/she have to open up to a parent? The key to creating connection between children and parents is to create the space in which connection can occur. In that space of connection parents and children can learn about how to be emotionally aware of each other and how they each play a role in becoming the emotionally intelligent family they want to be. Creating space for connection and thus emotional intelligence is especially important in military families where the need for connection is greatest. With the outside forces that determine the location of the whole family, the duration of time a family spends in that location and how much is spent with specific family members a break down in connection can be detrimental. Creating the space for connection will look differently from family to family. Our job is to come to know our families in way that honors their shared bond and helps them in creating a stronger one. The question, as always, is for you. How will you create that space?ReferencesGottman, J. M., & DeClaire, J. (1997). Raising an emotionally intelligent child: The heart of parenting. New York, NY: Simon & Schuster Paperbacks. Brownn, E. (2009). Mile 9: The true story of a lifelong couch potato who one day made a decision that changed everything. Brownn Consulting. Kamala Glenn-Taylor is a Master of Science degree recipient of the Marriage & Family Therapy Department at Valdosta State University. She is an independent contractor with Palm Tree Psychological Services and a guest blogger for the MFLN Family Development team. Love what you read? Be sure to visit Kamala’s personal blog site, here, for more.
Finally, if there is more to learn on the topic, then together with family members, plan out the next step in the same topic area. If family members have mastered the topic, then the next step is to decide what new things they want to learn next.Does this sound fairly easy? In some cases, yes, but in other cases, no it is not easy.Our June 23 webinar will be all about building the capacity of families using DEC evidence-based practices. Specifically, we will focus on what are some strategies we can use when the process is not so easy.These practices fit very nicely with adult learning principles and practices. They are also easy to use!This post was edited by Robyn DiPietro-Wells & Amy Santos, PhD, members of the MFLN FD Early Intervention team, which aims to support the development of professionals working with military families. Find out more about the Military Families Learning Network FD concentration on our website, on Facebook, on Twitter, YouTube, and on LinkedIn. You might go through this practice and reflection (coaching phase) several times in one session or over different sessions as family members work out the kinks to get it smooth.Third, once family members appear to be confident with what they have accomplished then the work turns to what else needs to be mastered. Together with family members, review what has been learned and reflect on whether or not it should be generalized to other settings, people, and contexts.Is there a need to try and make this routine richer by adding other learning experiences?Are there other developmental domains that can be focused on in the routine? By Carol Trivette, PhDFlickr [ACS provides parents unprecedented assistance by US Army MWR, August 31, 2010, CC BY 2.0]Adult learning is part of our lives. Regardless of whether we are parents, teachers, home visitors, wait staff at a restaurant, nurse, or others, we don’t stop learning just because we are “adults.” Sometimes, we have the opportunity to continue learning as adults through various formal or informal contexts like classes, discussions, reading, or listening to pod casts.As professionals responsible for supporting the learning of other adults, it is helpful for us to keep some key principles in mind. We must keep in mind that our goal is to support families to master skills so that they can help their children learn and develop.First, we want to individualize the learning to specific needs identified by the family.Second, we want to provide the most accurate, evidence-based information available.Finally, we want to use adult learning strategies that are evidence-based to ensure that regardless of the content families are learning, they can feel completely capable of using their knowledge to support their child’s development and learning.It does not matter whether or not families are learning advocacy skills, feeding skills, language skills, or social-emotional skills. Our goal is for families (adults) to develop confidence so that in their own way, they can achieve what they want to accomplish with and for their children and that they are giving themselves credit for their accomplishments.Families are the experts on their families and it is important that we let them know that we believe this. We are experts on many things that families might want to learn. So we begin by getting families to tell us what they need or want to learn. Sometimes, it is difficult to ascertain what families want or need. But we have many strategies that we can use to encourage discussions about what they want for example, by asking open ended questions and being good listeners.Once we have identified what families want to learn, then we must be clear, systematic, and consistent about what we are trying to help them learn.First, we often assume that families know what we are talking about (understand our lingo or professional terms). In fact they have very busy lives and they may not remember all of the specific ideas we were trying to help them understand from week to week. Thus, we need to reintroduce and illustrate the ideas. Ask family members what they remember about the practice. We want them to be successful and revisiting what you were working on with them is very important (introduce and illustrate). This ensures everyone is on the same page.Second, encourage family members to talk about the “practice” they have been doing. If it makes sense, watch as they practice. The “practice and reflect” parts of good adult learning principles work very well as part of everyday routines. Using “coaching strategies” within the routine encourages active participation of family members in the learning process. Digital videos can be used in various ways in this process – a previous recording taken by the family during the week or live recording that is viewed together. “Reflection” by family members about what happened in the routine is critical in this process. If they are hesitant about the reflection it can be helpful to ask the following types of questions:What was successful?What was still a challenge?Would they like to make changes in what was tried?
It’s been a year since the successful Kickstarter campaign and now the Petzval is available for public sale. The new Petzval is compatible with Canon EF and Nikon F mount analog and digital cameras. But capturing these unique images doesn’t come to cheap. Prices for the new Petzval start at $599.Check out the Kickstarter page or the Lomography shop to learn more or purchase the Petzval Lens.What do you think of this effect? Would you (or will you) add this to your lens collection? Share in the comments below! A recently funded Kickstarter campaign is reintroducing a forgotten photo relic, the Petzval Photo Lens. Known for its distinct visual style, the Petzval lens is now (once again) available to the public.When a Kickstarter campaign was launched in the summer of 2013 to bring back the Petzval lens, it’s success smashed expectations. Looking to raise $100k, Lomography (the fundraisers) raked in nearly $1.4 million in donations.The Petzval is a lens unlike any other being produced today. First created in 1840 by it’s namesake inventor Joseph Petzval, the unique construction of this lens gives the image a distinct look – “sharpness and crispness, strong color saturation, wonderful swirly bokeh effect, artful vignettes and narrow depth of field” (from Kickstarter):
Despite the shots differing in image quality, time of day, and likely the lensing and camera model, we can get them into the same world with just a single primary correction and continue tweaking with secondaries to edge them even closer.The Second Look – Pensive Yearning on the ShoreWhy won’t he text me back?Let’s continue to train our eyes by evaluating the second image just through the scopes. They show tons of purple and blue in the blacks and mids, and the highlights have been swung slightly yellow.I find the parade most useful for seeing where there’s a color offset, denoted here by me by the blue and red circles. The green circle in the vectorscope informs us that the image is skewing toward magenta.To achieve this style on our woman in the car, begin by pushing magenta-blue into the blacks. The image becomes a little milky, so it may be necessary to crush the blacks overall as the right level of magenta-blue is reached. Next let’s feed a bit of magenta into the overall image and swing the highlights a bit yellow, matching the values in our reference image. I dig this look.Hello, look number two.A comparison of the two images. Note that you may have to match different elements of the shot to make things line up. For this example, in the reference image, the girl’s shoulder is closer to the car woman’s face and the sky on the left matches the car woman’s shirt.The scopes readout of the above.The color wheels answer key. Note that this look was pushed more, particularly in the blacks, than the first example.In Part 2 of this post, we’ll look at a couple of Instagram looks that are a bit more subtle. Stay tuned!Show us your looks in the comments. Popular photo-manipulation apps like Instagram have built-in filters to jazz up normally mundane shots. These looks can be created in DaVinci Resolve, giving your video projects a hip, trendy feel.The more distinct looks are all about tinting sections of the image in unconventional ways. A look is imposed onto the image, giving it a deliberate aesthetic viewpoint that edges it away from normalcy. Contaminating the shadows, mids, or highlights with anomalous color creates highly stylized looks that are very much in vogue right now, thanks to Instagram. In this two-part post, we’ll look into creating several of them.The Reference ImagesWe’ll start with reference images of the palette we want and then impose that color scheme on a new photo. This will show us that a wide variety of looks can be dialed into a single shot given an array of reference material. Clients come into sessions wanting to see more extreme types of looks all the time, so it’s important for the colorist to be able to “read” the reference image and adapt it to the project at hand.Here are the looks we’ll be recreating (images courtesy of Shutterstock): The image we’ll be applying our looks to is a favorite of mine, an image of a smiling woman in a car. The image has a nice initial exposure with sharp focus and intact upper and lower registers.Let’s perform an initial balance on our image. The blacks are lifted in the original shot, so I’ve brought them down to around zero IRE and raised the mids to compensate for the resulting darkness. The whites in the background seem fine, but they’re a touch off so I’ve white-balanced for exact white. The image’s saturation feels fine, so I don’t affect that at all.Here’s the initial balance. It’s pretty basic; I haven’t touched the image too much aside from crushing the blacks and compensating for the darkness in the midtones somewhat.Approaching the Instagram-Style GradeVintage images are often characterized by their lack of color correction. The unprocessed nature of vintage images give them their distinct look, hearkening to a time before color correction and deliberate image filtration were so readily available to mass audiences.An image search for Polaroid images often yields the presence of color tints in the shadows and highlights. The overall image may have a color cast and natural vignetting could be present. Correcting to lessen these effects is the usual strategy, but in this case, we’re going to enhance them. Don’t worry, the irony that we’re now using color manipulation to get back to an uncorrected look is not lost on me.We’ll see that a big contributor to our modern Instagram looks are their tinted blacks, and to a lesser degree, tinted whites, and skewed midtones. Black is important because it provides a reference point for the eye. When you remove that reference, a lack of cognitive reconciliation occurs and the image becomes more complex to us from a color standpoint.Reverse-Engineer Your ReferenceWhen deconstructing these looks, it’s instructive to reverse-engineer them by looking for clues in your scopes. Knowing how to read scopes will give the look away, making it easier for us to recreate it. When the three channels of the parade view are at the same level in the whites or blacks, we say they’re balanced. A balanced image is a great starting point for most projects because they can be swung in many directions. If the values are raised in one or several of the channels, color contamination is at work. For our deliberately processed Instagram-style looks, this is what we’re going for. Let’s try it with our first image.The First Look: Texting in the SunDid someone say #beach?Let’s figure out what’s going on with the girl on the beach and apply them to the woman in the car. From our scopes, we see one of the biggest characteristics contributing to this look is the tonal quality of the blacks, which have been skewed towards always-popular cyan-blue. We can tell this by observing that the blue channel is elevated higher than the red and green channels. The whites are also cranked warmer, indicated by an increased red relative to the green and blue channels.The blue circle shows us precisely how much the blues are lifted. The red circles show us there’s a bias toward warm highlights.Grab a still of your beach girl reference image and set it against the woman in the car. The scopes will show their values side by side, allowing you to precisely match the two shots. Play around with the shadows until they’re matched to the exact tint of cyan-blue in the blacks. This already gets you pretty close to achieving the look. Remember when I said the blacks were important?Next dial in the highlights by introducing more red until the scopes from the two shots match. You will likely need to keep correcting for the shadows region as you play around with the mids and highs.Here’s the new look on its own.A side-by-side comparison.The scopes for the two images next to each other. One image ends and the other begins right at the center of the image, allowing us to match sections of the image with greater ease. When the traces in the scopes line up in the shadows and highlights, you’ve matched your shot.Here’s the answer key for where I wound up with my primary correction.
The jump cut can drive any editor crazy. Here are five ways to hide jump cuts and save your sanity.If you are shooting and editing a video, it’s in your best interest to prepare as much as possible. If you’re just editing a project, then you can only hope that you get plenty of footage to work with.When shooting an interview, you’ll learn that a two-camera setup can save you so many headaches in the editing bay. Get two different shots, like a wide shot and a close-up, and then alternate between the shots when you need to.If you are only editing footage that was sent to you, then things will get a little trickier. Hopefully they sent additional footage or elements along with the interview. That way you can use a few of these tricks to help you get rid of jump cuts.1. Reframe FootageLike I mentioned above, a two-camera setup will make a project so much easier. If only one camera was used to shoot the interview, you can still achieve a two-shot look with one camera. However, you will need footage that is in a higher resolution than your sequence.For example, if you are editing a 1080p project, you’ll need 4K footage to reframe. Shoot a wide or medium shot in 4K, and in post you can reframe to a close-up. (This isn’t the best way to operate, but it can help you fix your jump cut problem.) Here’s an example of 4K reframing from Lens Pro To Go. 3. Cut to Stock FootageIf you don’t have any b-roll, try using stock footage. You can search sites like Shutterstock.com for some stock video footage. There were hundreds of traffic clips to choose from. Just pick the clip that best fits your project. You’ll use the above-mentioned technique, and simply place the stock footage over the jump cuts. 4. Use Morphing/Smoothing ToolsThis technique is available to users of Premiere Pro, Avid, and DaVinci Resolve. Adobe Premiere Pro just recently introduced the morph cut. The tool is a type of dissolve that helps morph your subject’s mannerisms and faces between clips.Now this doesn’t solve jarring jump cuts, but it can make subtle jump cuts invisible. Here’s a great Premiere Pro morph-cut tutorial from Resource Magazine.Morph cut is a variation of Avid’s fluid morph tool, which has been around since the late 2000s. (The morph cut itself goes back well into the late 1990s and early 2000s in the edit bay of the Star Wars prequels.)In this video from Coffee & Celluloid, you’ll see a side-by-side comparison of Premiere Pro’s morph cut and Avid’s fluid morph.If you don’t have Premiere Pro or Avid, you can download DaVinci Resolve for free. Resolve uses a similar morphing tool called smooth cut.Check out this quick smooth-cut tutorial from Ripple Training.For more info on this technique, check out our in-depth post on using DaVinci Resolve smooth cut.5. Use Images or Stock PhotosLike b-roll and stock footage, you can use still images to cover up those unwanted cuts. For corporate videos, you may be able to get away with cutting to product images or the company logo.If the image is static for too long, throw in a quick pan to get a nice Ken Burns effect. Like before, if you weren’t provided with images, look for some stock photos that fit your project. Bonus: Don’t Hide the Jump CutThe jump cut isn’t always a bad thing. If you watch just about any vlog on YouTube, you’ll see how the jump cut has been embraced by users. A host will jump from side to side after each sentence. Audiences are getting used to rapid edits, so don’t be afraid to rapidly cut a project — as long as it still looks good.Got any video editing advice to share with the community? Let us know in the comments below. 2. Cut to B-RollThe easiest was to hide a jump cut is by cutting away to b-roll. If you have a subject that stammers or “umms and uhhs” their way through an interview, you’re going to want to edit out as many of those imperfections as possible. When the interview sounds great but looks like a jump cut disaster, you can easily hide the whole mess by overlaying b-roll.Let’s imagine you interviewed a city planner talking about traffic issues. First, edit to remove any of the “and, umms” to create a single concise sentence. The result may look like the following — a crazy jumble of jump cuts. Now you will need to add some b-roll footage that you shot. Simply overlay some traffic footage and cover up the jump cuts. You could even use multiple b-roll clips and only come back to the interview subject when necessary.Not only is the b-roll topical (as the goal of the video is to talk about traffic issues), it adds authority to the piece. Now the audience can see how bad the traffic really is.
The Snap Zoom may feel like a cliché these days, but this once-ingenious filmmaking technique deserves to be used in new, inventive ways.Top image via Universal PicturesOne of the more popular trends of the current mega-blockbuster era is a clever (if a bit over-used) technique that, when executed properly, can yield stunning results. The snap zoom is an effective way to quickly immerse an audience into a created world and add hints of realism and spontaneity to a film.The technique is easily recognizable and simple — it begins with a wide shot of a large object or character, and then the camera rapidly (with a “handheld” shakiness) zooms in on the subject. The move is supposed to give the film an almost documentary-like vibe. More often than not, the zoom is digitally executed during post-production.Why It WorksOne of the earliest adopters of the snap zoom was Joss Whedon, who used the technique fairly frequently in Firefly. By using the snap zoom in an observed, character-POV fashion, he grounded a fantastic sci-fi universe in a very live-in human reality.Battlestar Galactica was another pioneer of the snap zoom (and the complementary zoom out), using the technique to cultivate an almost “newsreel” feel during massive space battles (see video above). Though Battlestar Galactica aired shortly after Firefly, these two shows laid the groundwork for what the snap zoom would eventually become. The technique was new, it was well thought out, and it worked.Three of the biggest directors working today — Joss Whedon, Zack Snyder, and J.J. Abrams — include the snap zoom in almost all of their work. 2013’s Man of Steel (seen above via Warner Bros.) made excellent use of the zoom, as did Star Wars: The Force Awakens, in which Abrams took his fancy for snap zooms from the Star Trek universe to a galaxy far far away.Why It FailsUnfortunately, relying heavily on the technique is a trap that many of the above-mentioned pioneers have fallen into. With an uninspired vision for why the camera is zooming in, many of these shots lose significance due to lack of motivation. The Force Awakens has a couple of snap zooms that never really live up to the originality (and fun) of past uses. There’s no real purpose for them existing, aside from adding flare and mixing up the established style.Aside from the point-of-view take on the effect, the actual movement of the image itself should be taken into consideration. Even when used well, the snap zoom is a jarring, sudden move that forces the audience to focus on a specific subject. So, unless the scene is sporadic and violent (like the scene below, via Attack of the Clones), the failure to simply let the image breathe is a misunderstanding of what the zoom can imply.Opinions are mixed on the effect as a whole. While some celebrate the technique as an effort to bring the audience into the story through a cinema-vérité approach, others feel it’s a cheap ploy that thematically and narratively doesn’t make sense. If you do decide to use the snap zoom, be sure to consider your audience and the circumstances presented by the film up to the point the technique is employed.What are some of your favorite snap zooms? Share in the comments below
In this article, we’ll take a look at the basics of shooting day for night footage — as well as post-production processing in Adobe Premiere Pro.Day for night shooting has a bad reputation — but with a little information, this process can yield incredible results that would be impossible to get while shooting at night.Shooting Day For NightThe main reason a filmmaker might shoot day for night is to save money. Nighttime lighting setups are usually extremely expensive and complex to move. By shooting during the day, filmmakers can use several tried-and-true tricks to drastically reduce time and equipment.PremiumBeat contributors Jourdan Aldredge and Noam Kroll both have fantastic write-ups on effective use of day for night.Here are the basics:Shoot at the right time of dayYou generally get the best day for night results during the middle of the day, while the sun is overhead. During the morning and the evening, the sunlight has a far more distinct look than moonlight, so it will be hard to correct in post.Set correct exposureUnderexpose your footage. For best results, the director of photography must protect the highlights in the shot and will typically underexpose the image by up to three full stops. Failure to bring down the highlights of an image can make day for night impossible in post.Adjust white balanceUnless you’re shooting raw, cool the white balance off in the camera. This helps to bake in a cooler look, which will be much easier to manipulate in post.Pay attention to contrastDaylight is bright with small areas of harsh shadow. Night light is just the opposite, with lower global illumination and large swathes of deep shadow. Incorrect contrast can make dialing the look in later much more arduous.With these essentials for effective day for night shooting covered, let’s take a look at dialing in the look using Adobe Premiere Pro.Day for Night in PremiereLet’s work with this shot from All the Real Girls. It is a very warm shot, despite the hazy mountains in the background. Due to the overcast weather, this shot lacks strong direct light, which will make dialing in the day for night look much easier.Image via All the Real Girls (Sony Pictures Classics).To begin, let’s make some basic adjustments to the original clip. The first order of business is to bring the overall exposure down. While adjusting exposure, we want to deepen the shadows and the low end of the image, while doing everything we can to bring the highs way down. I’m being careful to maintain the atmospheric glow (from the fog) in the top of the frame. I’ve adjusted the basic corrections and am quickly cooling the temperature by about 25 percent — don’t go too crazy with this; we’ll fine-tune the results a little later in the process.With the basic corrections made, we’ll head to the curves section, where we’re going to lower the reds and greens before making adjustments to the blues and exposure curves.In both the red and green channels, we’ll drop the highs to indirectly enhance the blues in the high end of the image. For the blues, we will ever-so-slightly boost the shadows. This really helps to sell the basic corrections we applied above. Before leaving the curves panel, we will also adjust the exposure by crushing the blacks and clipping the highs a bit, after placing an anchor point at the center of the curve.At this stage, we have already given the original shot a pretty effective day for night transformation, but let’s use our opacity tools to replace and enhance the sky in order to sell the effect just a little bit more.Sky ReplacementColor adjustments can usually get you where you need to go with day for night, but by using the tips in my previous article on sky replacement, we can effectively hide the transformation to all but the keenest eyes.I’ve pulled a night sky image with some nice wispy clouds and a full moon that I think will blend well with the overcast sky in the original shot. I’ve resized and positioned the new sky in the rough position. I’ll blend it in just a moment.First, I want to isolate the full moon so I can position it where I want in the frame. While this step is entirely optional, adding the moon or stars to a day for night shot can really help subconsciously sell the transformation. By adjusting a simple circular mask — with a bit of feather and expansion to capture the glow — the only step now is to find a portion of the frame where the moon fits best, based on the illumination for the shot.Now that I’ve found a place for the moon, I am drawing a basic mask around the natural features in the background of the original shot, before adjusting the feather and expansion to assist the blend. From here, I am simply changing the opacity blend mode to Luminosity to desaturate the new sky and base the blend of the shots on the brightness levels of each. After some tweaking, I settled on a 45 percent blend.The Final BlendI’m quite happy with the results so far, but there is one final step to tie the blended layers together. Simply nest your blending layers with your day for night footage and make final adjustments with the basic corrections tab in Lumetri.By nesting your footage together, you apply corrections to all simultaneously. This really helps tie all the work together. With a bit of an adjustment to the shadows, highlights, contrast, and color balance, I’m really happy with our results.If your next script calls for extensive outdoor night shooting, have no fear. As long as your crew knows the basics of shooting day for night, you should be more than capable of bringing the look home, right in Premiere.Cover image via Mad Max: Fury Road (Warner Bros).Looking for more post-production tips and tricks? Check out these articles.Getting Creative: Five Cool Video Edits that Genuinely WorkReview: DaVinci Resolve 16’s Cut Page — Is It Any Good?The History and Power of Sound Design in the Film IndustryQuick and Easy Compositing Tips for Adobe Premiere Pro Learn to Create Your Own 8-Bit Art in Adobe After Effects
It’s unlikely that your company’s leadership team is stupid. That doesn’t mean that they always make the right decisions, and it doesn’t mean that they don’t make mistakes. If they are trying at all, they will make bad decisions and mistakes (some more serious than others).Much of the time when you believe your leadership team is stupid or out of touch, they are innocent of those charges, but guilty of not communicating well enough, frequently enough, or clearly enough.Trade-OffsYou believe your territory is too big. But your company’s leadership team had to determine how best to organize territories while at the same time they had an opportunity to make a strategic acquisition. They didn’t have money for both, even though both would have been good decisions. You might not know what their choices were or how they reached the decision they took, but they determined it was what was best based on the information they had available.You believe that your company should be investing more in marketing to create greater awareness about your new offerings. It would make your job easier. As much as your leadership team would have liked to have spent more on marketing, the issues with your technology were overwhelming. The investment in technology was even more important to the company’s growth. You might not have understood the timing of the decision, even though it might have been the best choice available.Assume Good IntentionsJust like you, your company’s leadership team wishes that money was no object and that they could invest in every great opportunity available. They wish there were no constraints on what and how they could invest, but nothing could be further from the truth. Money is always a constraint.Instead, your company’s leadership team is forced to make tradeoffs. If they spend in one area, they are depriving another area of money it would no doubt benefit from that same investment. Most companies spend a lot of time on these decisions. They argue about what is right, what is next, and what choice they need to make. The marketplace punishes leadership teams who are stupid or reckless, even it takes time for the marketplace to dole out the punishment.If you don’t understand why your leadership team is making some decision that you believe to be wrong, assume good intentions. Know that they were almost certainly making a trade-off and that you may be unaware of the choices they were forced to make.Lessons for LeadersIf you are in leadership, take the time to explain the decisions you make to the people who work for and with you. Tell them why you decided what you decided. Make sure they know that you are going to make a lot of decisions, always with people who oppose that decision and wish a different one had been taken. Remind them that you are always trying to do what’s best, even when the decisions aren’t easy. And ask them for their trust and support.How much experience do you have making the trade-offs that leaders make?How likely is it that there is information that is unavailable to you?What happens when you assume people are stupid or that they have bad intentions?If you are a leader, how well do you communicate the reasons you make the decisions you make?
The idea of a false dichotomy is that one is presented a choice of two ideas that are seemingly exclusive when they are not. It also leaves out other possibilities. The false choice forces the person to choose one to the exclusion of the other.When says that you can either cold call or use social channels to reach your prospective client, they pretend that one precludes the other. You can easily see how one could use the telephone and use social tools, something many people routinely do. You should reject this choice on principle.You may also have read that you can either build relationships or offer insights and advice. I have never understood the choice being presented here because the very idea of trusted advisor suggests that you have a relationship and you have advice. Why would you have to choose between developing a strong relationship and possessing the ability to be good counsel? Isn’t it more likely that the strong relationship would aid you in having a greater understanding about what advice you offer and improve your ability to help execute it?Mutually exclusive choices are different. You cannot be a rainmaker (one who creates opportunities) and an order-taker (one who wait passively for opportunities). You cannot be a trusted advisor (the component parts being trust and advice) and be a know-nothing (one who lack the ability to advise).When you are presented with an “or,” look and see if there isn’t also possible for there to be an “and.” Some things that are presented as opposites are no such thing. When two things are truly opposite, when they are genuinely mutually exclusive, look and see if the context of the way they are being presented makes one choice better than another in a certain situation, and keep an open mind to looking at the opposite choice in other circumstances.Look carefully at anything deprives you of choices. 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
For someone to sell, someone else has to buy. It is a single act with two parties. We very much like our linear processes, the sales process, or our best plan for what you need to do to create and win opportunities. Most sales processes pay little attention to the buyer’s process, neglecting factors like how compelled to change are the individual buyer’s stakeholders. The conceptualization of the buyer’s process, sometimes called the buyer’s journey, to describe the stages of another process that is portrayed as being linear. The buyer’s journey is often used to describe what a potential client needs, but takes no account of the sales process. Set aside the fact that both the sales process and buying process are mostly nonlinear, and ignore the fact they are both becoming more so in business-to-business sales. Focus instead on the potential conflicts between the two processes and the unparalleled value of negotiating the process.Whose Process and WhyOf all of the things I have written and published, the one idea that has caused more people to retreat from a strategy while others run towards it is the idea of controlling the process. One of the dominate ideas written and promoted on Linkedin is how the balance of power has shifted from seller to buyer. Those who suggest this idea point to the proliferation of information as the root cause. They’ve stuck to the story long enough that salespeople and sales organizations have started to believe it’s true. While it’s true that there is more information available thanks to the internet, a more substantial factor in the shift would have to be the glut of suppliers and alternatives in most markets. The increase of too many suppliers competing for a finite number of prospective clients is a more plausible explanation.The same people who suggest the balance of power has shifted would also have you believe that you should be a conflict-averse errand-person, serving your client by waiting patiently to be told what to do and when. That approach would be the opposite of serving your clients. It would be servility.The reason the salesperson should control the process is that they have more experience in knowing what conversations their clients need to have and what commitments they need to make to get the better results they need. Even when their buyer is educated and knows what they want, and it’s impossible to know what options are available when they haven’t seen them. The salesperson is helping different companies in different verticals, learning what works and why, and discovering when it makes sense, provided their company continues to try to improve their execution and innovate.Sell the ProcessThe idea that you should sell the process is so you can create some alignment between your process and your client’s process if they have a process that is something other than a formal request for proposal. In The Lost Art of Closing: Winning the Ten Commitments That Drive Sales, you will find a methodology for selling your dream client a process and negotiating the conversations about what comes next, how it creates value for your prospective client, and some language choices for acquiring commitments, including the more difficult commitments. The methodology is nonlinear, acknowledging that your contacts may need to have some conversation sooner or later in their process.Your linear sales process might not be an exact match for your dream client. They may need something else from you, or they may require you to accelerate some conversations and commitments and decelerate others. Your prospective client’s process may also not allow you to do your very best work for them, depriving you of the opportunity to create the most value for them and differentiate yourself and your offering in a way that would help them understand why they would prefer you over alternatives. The more you can agree on what you might do and in what order, the better you can serve your client in making the best decision.Conflict Aversion and Creating ValueUnless you are fortunate enough for your prospective client to have a process that precisely lines up with yours, you are going to have to negotiate the process, i.e., sell the process. i.e., control the process.There is bound to be some conflict when you try to do your best to serve your prospect, especially when they have ideas of how they want to proceed. Doing something less than selling the process will likely prevent you from creating value through the process and result in your prospect skipping conversations and commitments that would not only have served them but would have allowed you to shine.When we speak about selling, we talk about the power of constructive tension. Most of the time, the idea is applied to introducing change and the consequences of doing nothing. That same constructive tension is as valuable—if not more valuable—when applied to the process. What makes one consultative is their ability and willingness to have difficult conversations around what their clients should or should not do. If you are willing to dole out your advice about the change you would recommend your client make, how can you be resistant to the idea that you should also provide your best guidance on the process of making a good decision?One Process at MostThere is one process with two parties, often riddled with conflicts. If those two parties were to communicate about what each needs to do their best work and produce the best result, there might be one process. When there are two processes, the competition between the two causes both parties with a suboptimal process, the seller skipping steps because their buyer doesn’t recognize the value, or the buyer skipping steps because the salesperson is deferring to their process.If you are going to serve your client, start by negotiating the process.
Pune: The reels of classic films allegedly lost by the National Film Archive of India (NFAI) are in fact safe in its state-of-the art vaults, officials from the archive said on Friday. A series of articles, which appeared in a prominent English daily based on RTI queries, had alleged that several reels, which included films by cinematic legends, were missing.The organisation on Friday posted photos of the film reels being preserved in its vaults on its Twitter and Facebook pages, with Santosh Ajmera, officer on special duty, NFAI, tweeting about the news reports: “it’s factually incorrect. Correct version is already in the public domain. There r multiple copies available in NFAI.”NFAI director Prakash Magdum told The Hindu, “We have all the classics of Satyajit Ray, Akira Kurosawa and rare footage like Gandhi’s visit to Paris in our collection. In fact, some of the classics reported to be missing, like Mrinal Sen’s Bhuvan Shome and Guru Dutt’s Kaagaz Ke Phool, have been digitised and restored by us.” Record-keeping was never given priority over the years at NFAI, and therefore there are discrepancies, he said.One of the reports said that 14,900 reels of more than 1,000 “rare and precious cinema” titles lay rotting in gunny bags inside the NFAI’s Kothrud premises. However, NFAI records accessed by the Hindu revealed that most of these reels comprise not classics, but titles like Aunty No. 1, LoC Kargil, Julie, Veeru Dada and Rog.An official, requesting anonymity, said the archive obtained these reels, often in decayed condition, from the Railways.Ujjwal Nirgudkar, technical expert, on the National Film Heritage Mission, said, “Very often, distributors want to dispose of reels of a film once its commercial run is over. So they typically send these reels under fake receipt addresses by rail. As there is no one to claim them, the reels make their way to the Railway godowns.” In fact, the NFAI team identified the 14,900 reels in a bid to free space in the archives.Meanwhile, filmmakers like Jahnu Baruah, Adoor Gopalkrishnan and Jabbar Patel lauded the NFAI’s conservation efforts, saying that the news reports reflected past problems and that remedial steps were already being taken by the current team. “It is very sad that the reality has been grossly misrepresented. It is demeaning to the efforts of the NFAI team, who are working round-the-clock to strive for the preservation of India’s cinematic heritage. This is especially unfortunate at a time when the culture of archiving has only recently picked up in the country and the NFAI is performing yeoman service in conserving films,” Mr. Baruah said.
According to Monalisa Rakshit, geo-morphologist who was involved in exploration of the site, river Manikarnaka which now flows as a moribund tunnel very close to the site must have played a crucial role in the settlement.Former Director General of the Archaeological Survey of India Gautam Sengupta, who visited the site on Friday, described it as a “significant excavation” as it reveals the “inner working of the earliest village settlements in Bengal.”“The skill and finesse of the artisans is beyond our imagination. Moreover it tells us what kept the villages going thousands of years ago,” Dr. Sengupta, currently Professor of Ancient Indian History, Culture and Archaeology, Visva Bharati University.The discovery of the excavation site also has an interesting story. A large amount of black and red ware pottery (BRW), which signifies a proto historic level of human occupation in different parts of India, has also been found at the site in large quantities. Saptarshi Chowdhury and Bidhan Halder, researchers of the department working at the excavation site, said both coarse and fine varieties of BRW pottery, which appear to be remains of bowls and handis, have been discovered.“Along with BRW, large quantities of other contemporary pottery such as red ware, black ware and buff ware have also been found,” Mr. Halder said.There is evidence of high temperature burning and charcoal deposits at the mud floor of this monocultural site . The cultural deposit, varies from 60 cm to 1.2 metres, at various levels of the 7,700 sq.m. excavation site.“We have found beads made of semi-precious stone like agate, carnelian and chalcedony. Unfinished beads and drills further suggest that craftsmen working at the settlement were not only making these artefacts for local consumption,” Dr. Sanyal, who is director of the Asurdanga excavations, said. “It was in March 2015 during an exploration of the Mayurakshi-Dwaraka interfluves, we came across this unexplored mound at one end of the village. The legend around the site was very interesting and people kept associating this mound with stories of Mahabharata, as it happens with many ancient archaeological sites across the country,” Dr. Sanyal said.Haripada Bagdi, a local villager, said that his forefathers believed that the mound was associated with Bakasur, a demon slayed by Bhima whose references we get in Mahabharat. About six km from this site there is another archaeologically significant place known as Kotasur and the elderly villager is convinced that there is some link between Asuralay and Kotasur.“Till a few years ago not many villagers would dare to visit the mound called Asurdanga. This could be one of the reasons that the mound was left undisturbed for so many years,” Mr. Bagdi said.Photographs from Asurlay Excavations. The trenches dug at the excavation site, a carnelian bead, small bone tools and a crystal drill. | Photo Credit: Special arrangement Minute bone and crystal drills of less than 2 cm size used for making beads, different varieties of beads of semi-precious stone, bone points as well as a large number of microlithic tools have been unearthed by archaeologists of the University of Calcutta during a recent excavation at Asuralay village in West Bengal’s Birbhum district.A month-long excavation from the first week of March to April 2018, on a mound, which is about two metres from the surface of the earth, has revealed a proto historic settlement. The initial estimate tells that the settlement could date to the second millennium BC (about 3500 years from the present times).“We have found evidence of raw materials in the form of bones and stones, finished materials like minute stone tools and beads, tools like stone and bone drills used for making these products and several hearths or fire places at the excavation site used for making the tools,” Rajat Sanyal, Head of the Department of Archaeology, University of Calcutta told The Hindu.
The lawyers’ associations at the Calcutta High Court on Thursday set a record for the longest strike in its history by extending their ceasework, making it a over two-month-long agitation over demand for appointment of judges.Compounding the plight of thousands of litigants, the Bar Association took a resolution to extend the ceasework till April 25 on the grounds that the authorities concerned have not appointed any new judge or a permanent Chief Justice to the High Court despite the two-month long agitation. The High Court at present has 33 judges, even as the sanctioned strength is of 72 judges. High Court Bar Association president Uttam Majumdar said with no tangible results despite the agitation, the ceasework has to be extended by another week. “With this extension, this will become the longest strike in the history of the Calcutta High Court,” he said. The previous longest strike was of 2 months in 2002 in protest against hike in stamp duty by the West Bengal government. It was observed across all courts in the State. After today’s resolution, the extended period would cross the two-month mark.
A dust storm accompanied by squall hit the national capital on May 13 after a scorching hot morning.In a sudden change of weather, the sky turned cloudy around 4.30 p.m. and gusty winds swept the city.The temperature was recorded at 30.6°C. The humidity was recorded at 60% at 8.30 a.m., a weather department official said. The Met office has forecast light rains will follow the dust storm.The India Meteorological Department on May 12 forecast thunderstorm accompanied by squall in Uttarakhand, Jammu and Kashmir and Himachal Pradesh. It had also forecast parts of Rajasthan might witness dust storm.Thunderstorm over these hill States and its subsequent effect on plains in North India is due to a new western disturbance, the IMD had said. “Thunderstorm accompanied with gusty winds are also very likely at isolated places over Punjab, Haryana, Chandigarh, Delhi, west Uttar Pradesh, Vidharbha, Chhattisgarh, Bihar, Telangana, north coastal Andhra Pradesh, south interior Karnataka, Tamil Nadu, Puducherry, Lakshadweep and Kerala,” the IMD had said in an advisory said. Warning issued for 26 U.P. districts Meanwhile, the weather office has warned that thunderstorm and dust storm with wind speeds of up to 70 km per hour were “very likely” on May 14 in 26 districts of Uttar Pradesh.It said the districts that could be affected are: Bahraich, Shrawasti, Balrampur, Gonda, Siddharth Nagar, Maharajganj, Kushinagar, Gorakhpur, Sant Kabir Nagar, Basti, Faizabad, Sultanpur, Azamgargh, Ambedkar Nagar, Mau, Deoria, Ballia, Ghazipur, Jaunpur, Pratapgargh, Allahabad, Sant Ravidas Nagar, Varanasi, Chandauli, Mirzapur and Sonbhadra.The IMD has also forecast rain in isolated parts of eastern Uttar Pradesh and said the weather is most likely to remain dry in western U.P.On May 9, several parts of the State were hit by a severe storm that left 18 dead and 27 others injured. Five people died in Etawah district, three each in Mathura, Aligarh and Agra, two in Firozabad and one each in Hathras and Kanpur Dehat.Thunderstorms and lightning on May 2-3 killed 134 people and injured over 400 in U.P., Rajasthan, Telangana, Utttarakhand and Punjab. U.P. was the worst affected, accounting for 80 deaths, most of them in Agra district.
Franco Mulakkal, head of the Roman Catholic Diocese in Jalandhar, has transferred his powers to vicar-general Mathew Kokkandam ahead of deposing before the investigating team probing his alleged rape of a nun.“In my absence Mathew Kokkandam will administer the diocese as it is the normal practice,” said a circular.Fr. Mulakkal has also appointed Father Joseph Thekkumkattil as Dean of Tanda Deanery and Father Subin Thekkadathu as Parochial Vicar, St Mary’s Church, Tanda.In a letter addressed to fathers, sisters, and brothers of the diocese on September 13, Fr. Mulakkal said: “As you have come to know from the media thr investigation into the allegations raised against me, there are several contradictions in the evidences collected against me as per the report of the police. It is reported that I am to be called for further clarifications by the investigating officer in Kerala. I request you to continue to pray for me and the alleged victim and her supporters who have come out against me so that divine intervention may bring about change of heart and truth of the matter may be revealed.”The police team probing the alleged sexual abuse of the nun has summoned Fr. Mulakkal for interrogation on September 19.The Kerala High Court expressed its prima facie satisfaction over the ongoing investigation when two Public Interest Litigation (PIL) petitions, one demanding the arrest of the bishop and another for a probe by the CBI probe came up for hearing.
Former Chief Minister and Mizo National Front (MNF) president Zoramthanga will contest from Aizawl East-I Assembly constituency, according to the list of candidates released by the party on Monday for the November 28 poll. The MNF declared that it would contest all the 40 seats in the upcoming election to the State legislature, but announced names of 39 candidates sans the Tuichawng Assembly seat within the Chakma Autonomous District Council (CADC) area where the NGO Coordination had appealed to all the political parties not to field candidates belonging to the Chakma community.The MNF is a constituent of the North-East Democratic Alliance formed by the BJP in 2016 as a political coalition along with regional parties, but both the parties are contesting the polls separately. Robert Hmingthansanga, an advocate, has been fielded at the West Tuipui seat in south Mizoram’s Lunglei district, the constituency where Chakmas are a majority. The announcement of the candidates was made at Vanapa Hall in Aizawl.MNF senior vice-president Tawnluia, former chief of the erstwhile underground Mizo National Army and former Home minister in the Zoramthanga government from 1998-2003 and 2003-2008, would contest from Tuichang seat in Champhai district on the Myanmar border. Party vice-president R. Lalthangliana would file his nomination from the South Tuipui seat in Lunglei district.Vanlalzawma, the party treasurer, former Lok Sabha member and present Opposition leader, would contest from Aizawl West-III seat again. R. Lalzirliana, who resigned as a Minister from the Congress ministry headed by Chief Minister Lal Thanhawla on September 14 last, would contest as MNF nominee from his home Tur-Tawi constituency in Aizawl district. Another former Congress Minister Lalrinliana Sailo, who resigned as legislator on October 3, would contest from Chalfilh in Aizawl district. The youngest candidate in the MNF list is Robert Lalhmingsanga — born on October 2, 1980 — will contest from West Tuipui. The oldest candidate, K.Sangthuama, was born in 1940. Among the MNF candidates, four have doctorate degrees and two are medical degree holders. The MNF is fielding 17 first-timers in the coming polls.
Meanwhile, Mr. Adityanath has termed the Bulandshahr incident an “accident”.He had earlier said the incident was result of a “big conspiracy” but at a media event in Delhi on Friday, he said that the incident was actually an accident.“Uttar Pradesh mein koi mob lynching ki ghatna nahi hui hai… Bulandshahr mein jo hua wo ek durghatna thi (No mob lynching happened in Uttar Pradesh, what happened in Bulandshahr is an accident),” he said.The police have arrested nine accused but the main conspirator Yogesh Raj, the district convener of the Bajrang Dal, continues to be at large. The Uttar Pradesh government on Saturday transferred Bulandshahr SSP Krishna Bahadur Singh to the DGP office in Lucknow, five days after two people, including an inspector, were killed in violence following an alleged cow slaughter incident.Principal Secretary (Home) Arvind Kumar said that the Senior Superintendent of Police will be replaced by Sitapur SP Prabhakar Chaudhary.Also Read Mob gathered fast, outnumbering police Additional Director General (ADG) Intelligence SB Shiradkar had on Friday submitted a report on the violence. Based on it, the government transferred two other policemen of Bulandshahr — Circle Officer Syana Satya Prakash Sharma and Chingravati police chowki in-charge Suresh Kumar.On December 3, Inspector Subodh Singh and a local youth, Sumit, were killed in violence over an alleged cow slaughter incident in the city.The action was taken after a high-level meeting was presided over by the Director General of Police (DGP) O.P. Singh, who had handed over the report to Chief Minister Yogi Adityanath on his arrival from New Delhi.Also Read Bulandshahr violence: absconding key accused releases video, claims innocence
American lender Citi said it is eyeing a greater pie of the Indian wealth management business, concentrating both on the domestic opportunity as well as non-resident Indians (NRIs).It has made two senior level appointments in pursuit of this in its private bank vertical, an official statement said, without quantifying the size of the market it aims to capture.Read it at Money Control Related Items