USC took another step on Wednesday toward obtaining day-to-day control of the Los Angeles Memorial Coliseum.The university, along with the Coliseum Commission, the stadium’s nine-member governing body, released a list of terms outlining modifications to the existing lease, which was enacted in 2008.Agreement · According to the term sheet, the university would be allowed to sell naming rights for the Coliseum as long as the name includes “Memorial Coliseum.” – Carlo Acenas | Daily TrojanThe 16-page terms sheet outlines major provisions that would be included in an amended lease. If agreed upon, the term sheet would be transferred into an amended lease document subject to the commission’s vote.“We are moving toward entering into a long-term master lease with USC, where USC would be the master tenant at the Coliseum and be responsible for operating and maintaining the stadium,” said L.A. County Supervisor Zev Yaroslavsky, a member of the commission. “In exchange for this long- term lease, USC will be obligated to undertake several tens of millions of dollars in improvements to the stadium that the Coliseum desperately needs.”Under the proposed list of terms, USC will have the exclusive right to manage the Coliseum, the adjacent Los Angeles Sports Arena, as well as other facilities around Exposition Park. It will also hold first refusal rights to lease the 88-year-old facility and be afforded the opportunity to extend the deal as far as 2054.In 2007, the university lobbied for control of the publicly-owned venue before eventually agreeing upon the current 25-year lease that stipulates that the university annually gives eight percent of ticket sales and $1.8 million to the commission provided the commission supports upgrades to the stadium.The commission, however, acknowledged in June it would be unable to make nearly $60 million in necessary renovations, breaking the terms of the original lease, which has led USC to seek day-to-day operational control of the facility.“Primarily, we believe this facility needs to be improved,” said Tom Sayles, USC’s senior vice president for university relations. “The Coliseum currently has the obligation to make those improvements. We are willing to invest the money to make those improvements.”Under the released terms, USC will be responsible for completing a list of renovations by the end of 2021. The exact cost is unknown.“The Coliseum is at a crossroads,” Yaroslavsky said. “We can either make it a functioning, viable venue for athletic events, or we can make it a museum piece. We don’t want this to become like the Roman Colosseum. We want this to be the 21st century Los Angeles Coliseum.”To help pay for the renovations, the school would be given the option to sell the naming rights of the stadium to a corporate sponsorship provided “Memorial Coliseum” is included in the name.Under the terms of the master lease, USC can also make the Coliseum available to no more than one NFL team for up to four seasons, and outside of football season, the commission can reserve eight days to hold public events such as graduations or Fourth of July celebrations.“What we want to make sure is that the public can continue to have access to this venue,” Sayles said. “They would have the right to come in and utilize the facility for a period of time.”Coliseum Commission Vice President Don Knabe said he was optimistic about successful negotiations between the university and the commission.“At the end of the day, hopefully we can negotiate the terms that are fair to both, fair to the public and preserve this wonderful facility for many years to come,” Knabe said.
Cancer can be beaten.And West Kootenay Basketball Officials are doing their part to help fight the deadly disease by participating in the fourth annual BLOW the WHISTLE on CANCER — Pink Whistle campaign.The provincial campaign, which has the support of most hoop referees in the B.C. Basketball Officials Association, runs through the month of February and strives to raise funds for the Canadian Cancer Society B.C. and Yukon Division.Hoop refs will be officiating games from high school to university using pink whistles. “As more and more men, women and children are battling this disease each year, we can take pride in knowing that our donations are helping fund researchers at the BC Cancer Agency at UBC, fight for public policies to make healthy living possible and providing support in the services the Canadian Cancer Society offers through their programs such as Cancer Information Service, Cancer Connection, Camps, Accommodation and Financial Support,” said Shelley Ganchar Director of Administration for the BCBOA.”Together we can help our fellow British Columbians living with cancer and relieve the effects on those individuals and their families.The Pink Whistle campaign runs throughout the month of February.Anyone wanting to donate to the cause may do so through the Canadian Cancer Society by clicking on this link:http://cancerevents.kintera.org/faf/search/searchTeamPart.asp?ievent=420153&team=5383215West Kootenay Association officials ref games from Kaslo to Grand Forks.”Please join us as we strive to “BLOW the WHISTLE on CANCER ” this February,” Ganchar said.
0Shares0000Israel Folau has been declared fit ahead of the Wallabies clash with Argentina © AFP/File / Patrick HAMILTONGOLD COAST, Australia, Sep 13 – Israel Folau will start on the wing for the first time in five years against Argentina this weekend in a surprise tactical shift after the Wallabies’ star fullback was declared fit Thursday along with influential flanker David Pocock.Both players were late scratchings from Australia’s team against South Africa in Brisbane on Saturday, but were named in the starting XV for their Rugby Championship showdown against the Pumas on the Gold Coast. Folau injured his ankle in the opening Bledisloe Cup match against New Zealand on August 18, while Pocock has been struggling with a neck problem after being targeted by the All Blacks in Auckland three weeks ago.While Folau is back, with Jack Maddocks dropping to the bench, it will not be in his favoured fullback position with coach Michael Cheika opting to keep Dane Haylett-Petty in the number 15 jersey after two standout displays in his team-mate’s absence.It is another big gamble by Cheika after he dumped veteran Bernard Foley for the Springboks clash in favour of Kurtley Beale at fly-half and Matt Toomua at inside centre.While the two players didn’t always gel, the fresh approach paid off with the Wallabies snapping a four-match losing streak to win 23-11.Folau has started 61 Tests at fullback dating back to the 2013 Bledisloe Cup, and Cheika has repeatedly stated he regards the NSW Waratahs star as too valuable there to shift him to centre or wing.But that has all gone out of the window as he mixes it up with an eye on next year’s World Cup in Japan.“Dane’s played well at fullback and I’d like to give him an opportunity to have a another go. And with Israel back in, it’s just a slightly different look and we’ll see how we go,” said Cheika.“I think everyone knows how highly I regard him (Folau) at number 15 and I’m sure he’ll want to get that jersey back.“They’ll be working together in a lot of situations, Israel is very keen and very much up for it.”– ‘Ready to go’ –The return of breakdown specialist Pocock is another huge boost for the Wallabies, who have beaten Argentina in 15 of their last 16 meetings.His treatment at the hands of the All Blacks sparked calls for rugby chiefs to start taking illegal neck roll tackles, employed to shift him from the ruck, more seriously.Cheika said Pocock had told him he felt ready to return and had taken part in contact training on Thursday morning.“He got into some contact work today and he got knocked about a bit,” he said. “No one knows himself better than David and he has declared himself ready to go.”Adam Coleman returns to the Wallabies camp after the birth of his first child and will be a replacement, with Izack Rodda starting alongside Rory Arnold in the second row.Sekope Kepu, who was axed from the Springboks squad, is set to earn his 97th cap after also being named among the reserves.Australia (15-1): Dane Haylett-Petty; Israel Folau, Reece Hodge, Matt Toomua; Marika Koroibete, Kurtley Beale; Will Genia, David Pocock, Michael Hooper; Lukhan Tui, Izack Rodda; Rory Arnold, Allan Alaalatoa, Tatafu Polota-Nau, Scott Sio.Replacements: Folau Faingaa, Sekope Kepu, Taniela Tupou, Adam Coleman, Pete Samu, Nick Phipps, Bernard Foley, Jack Maddocks.0Shares0000(Visited 1 times, 1 visits today)
South African residents and visitors tothe country can rest assured that the tap water is of the highest quality.(Image: SA Water Research Commission) MEDIA CONTACTS • Mava Scott Spokesperson, Dept of Water Affairs +27 12 336 8262 or +27 82 602 9640 RELATED ARTICLES • Cleaner water for Cape Town bathers • New solutions for water conservation • Better water supply for SA schools • A water-wise Lesotho adventure • SA’s biggest desalination plant opensSource: BuaNewsSouth Africa’s drinking water is among the best to be found anywhere, and the country remains among a few in the world where water can safely be consumed from the tap, said water affairs minister Edna Molewa.Molewa was releasing the 2012 Blue Drop report during the Water Institute of Southern Africa’s 2012 conference and exhibition, taking place at the Cape Town International Convention Centre.Introduced in September 2008, the Blue Drop certification programme encourages local municipalities to improve their water quality management while keeping consumers informed about the water they’re drinking. It was launched by Molewa’s predecessor, Buyelwa Sonjica.Molewa noted a significant improvement over the previous year’s results – she said 98 municipalities were this year awarded Blue Status, up from 66 last year.The average national Blue Status score jumped from 72.9% last year to 87.6% this year.All nine provinces showed progress in their 2012 Blue Drop results when compared to 2011. The scores have improved every year since the first Blue Drop report was released in 2009 with a national average of 51.4%.A score of 100% is rated as exceptional. A score between 95% and 99% mean that the municipality is managing its drinking water quality with excellence, while a score from 80% and 95% are rated as very good. A score between 60% and 80% is rated as good, and a score between 50% and 60% is reasonable. Below 50% means that improvement is needed.Assessing more than just water qualityIn all, 931 water systems within 153 of South Africa’s 287 municipalities were audited for this year’s report.Molewa stressed that just because a municipality was not awarded Blue Drop status, did not mean that its water was unfit for human consumption.This is because Blue Drop certification goes beyond the quality of drinking water to include aspects such as risk management, operations and asset management of water services.The programme is not voluntary, but is an incentive-based regulatory initiative which requires water services institutions to provide information in line with the legislative requirements of Section 62 of the Water Services Act.In this year’s Blue Drop report, Ekurhuleni in Gauteng came out as the top scoring municipality, with a score of 98.95%. It was followed by the City of Johannesburg with 98.92% and Mogale City with 98.79%.Ethekwini in KwaZulu-Natal, Tlokwe in the North West and the City of Cape Town were the next highest scoring municipalities, respectively.The top performing province is Gauteng – with a score of 98.1%, followed by the Western Cape (94.2%) and KwaZulu-Natal (92.9%), respectively.The remaining six provinces all notched up scores below that of the national average of 87.6% – with Mpumalanga ranked as the worst performing province at 60.9%, followed by Northern Cape (68.2%).The greatest improvement was seen in the North West province, with an increase from 62.3% in 2011 to 78.7% in 2012.Molewa commended the Victor Kanye Local Municipality (formerly Delmas), in Mpumalanga, which increased its score from 18.26% last year to 80.07% this year.She also congratulated the Thembisile Local Municipality, also in Mpumalanga, which increased its score from 27.77% to 78.30%.Tackling problem areasHowever, Molewa said she was concerned about the worst scoring municipality – Koukamma (5.6%) – and iKwezi (7.9%) both in the Eastern Cape, which are among 15 municipalities that have received warnings over the quality of their water.“Communities have been informed not to drink the tap water without improving the quality first by either boiling or using other methods of purification,” she said, adding that her department was working closely with these municipalities to bring the water quality up to standard.Molewa said despite the 15 warnings, her department now knew where the problems were and would be attending to them.Helgard Muller, acting deputy director-general of policy and regulation at the department, said the involvement of water boards and the private sector were key to improving the management of water services.While other countries’ water audits only looked at the quality of water, the Department of Water Affairs also considered risk management and asset management in the Blue Drop report.Of the 98 municipalities that achieved Blue Drop certification, 38 were serviced by water boards and about 20 by the private sector.
That’s the breakdown for these different feature film budgets. I hope you’ll be making one in the very near future.Cover image via Janelle Lugge.Looking for more on the film and video industry? Check out these articles.The History and Power of Sound Design in the Film IndustryFilmmaking Fads and Trends: Don’t Let Them Bother YouThese Tribeca Docs Will Renew Your Faith In The Power of The CameraThe Cameras and Lenses Behind the Marvel Cinematic UniverseBreakout Director Kat Candler on the Best Festivals for First-Time Filmmakers Making a Film on a $10,000 BudgetSo let’s start with $10K. I’m going to say $10K, but it’s really anywhere between $10-$25K. This is as much as most people have in savings or could put on a credit card (I don’t recommend the latter).It’s probably not going to be a SAG (Screen Actors Guild) project, so your actors will be non-union. Your film is certainly not going to be union for other departments, including cinematography, electrical, sound, grip, catering, etc. — these will all be way over your budget.You’re probably not going to pay anyone very much money, maybe around $50 a day. You’re going to shoot in under two weeks, and most of your money is going toward one main location and feeding everyone.You’ll have to choose a script that’s very contained (that only takes place in a couple of locations), and you’re going to have to know a lot of other filmmakers.At $10K, you won’t be able to afford to pay $700-1,500 a day for a professional sound person.You’re going to be working on your own script, or a script that someone has given to you (because you can’t afford to buy one).You’re going to be getting locations of friends, family, yourself, or shooting outside in a park or on the street, if your city allows you to shoot publicly without a permit.Generally, you’re going to have to cut every corner you can and only use your budget to bail you out of an emergency.So the money will go toward whatever your network can’t supply.Hiring a camera or lenses (but probably not both).Lights and grip (some you’ll probably borrow or get for free — either the DP or gaffer will have them).Post-production. If you’re not a colorist or sound editor or mixer or musician, you’re going to have to pay one of those people (but hopefully not all).You can make a movie for zero dollars; it just means that you’re going to be asking for favors from everyone, all the time, which can take longer than if you just worked to save up the money and paid for whatever you couldn’t get as a favor.The budget of a $10K movie isn’t that complicated because (basically) you set out to get everything for free, and then when something falls through, or when you just can’t find it no matter how hard you look, you have to dip into your limited resources.A lot of people do this every year. Some of them break out and find wider acceptance. It’s basically a film school. You get to spend a month preparing, a week shooting, and then 3-6 months in post. After that, you try to find an audience for your film.It’s a great training ground for filmmakers of all kinds.Making a Film on a $100,000 BudgetImage via 9387388673.At $100K, you have some money, but you don’t have enough money to pay full price for everything.You’re probably going to move up to SAG actors because you want a couple of recognizable faces (or names) in your film. These are people at the end or beginning of their careers — actors transitioning from TV or Broadway into movies.At this budget level, you’re going to pay everyone something.You’re going to shoot for 18 days or three weeks, taking Sunday off.You’re going to be able to hire camera, lenses, and a grip, but not at full rate.You’re going to have to find people who believe in the vision of the film in order to make it.You’re still going to be directing the movie yourself because you still can’t pay the $100K it costs to get someone from the DGA (Director’s Guild of America).Hopefully, you’ve made a $10K movie already, and you know the process. You’re aware of your blind spots from the first film, so you’re going into the second film with your eyes more open.You can probably afford a professional colorist, professional sound mix, and professional musicians — all at a reduced price. You can afford to pay $2K for a mix, not $20K, and generally you still need to beg, borrow, and steal everything. By the time you write the script, cast it, find all the locations, shoot it, post-produce it, and find a buyer for the film, a year will have gone by. $100K is real money. People expect a return. You need to sell that movie and get that money back, which can take a lot of time. That’s time that you’re not working at a regular job.$100k will allow you to give yourself a small wage, but you’re probably still going to need to work part-time in order to avoid dipping into the budget to support yourself while you make the film.Making a Film on a $500,000 BudgetImage via 9387388673.This really could be anywhere from $500K to $1 million. This is the first time you’re paying union rates for your sound mixers, transportation, union members, AC (Assistant Camera), post, etc. You simply find the people you want to work with and ask them what their rate is. You’re not going to pay them their TV commercial rate of $8K a day; you’ll pay their feature rate of maybe $800 dollars a day.You’re going to pay for a casting director who will handle all the SAG elements for you.You’ll probably give yourself a wage of about $50K, depending on your living expenses, and you’re probably going to have a producer (as well) at the same price, which needs to cover your costs so you can work on your film and sell it. Remember, it takes 18 months to get a feature film from inception to sale.Having said that, there is very little money in a $500K budget for any of the things that you see in major Hollywood movies.There’s very little money for visual effects.You can’t fix things in post.You’re probably going to get one “name actor” at Schedule F, which is $60-$70K. Everyone else is going to be a bit player or a favor.You’re certainly not going to get Brad Pitt or Charlize Theron. You’re just going to try and find a rising star who really wants to be in your film.You’re still going to have to work with the new, hungry post-production houses. You’re not going to walk into Industrial Light & Magic and say, “I want a CGI character.”You’re going to really have to keep it very bare bones, but at $500K-$1 million, you’re going to at least be able to pay for most of what you need. These budget breakdowns demonstrate the wild difference money makes when shooting a feature film. Here’s what you can expect.$10K, $100K, and $500K — they all sound like a lot of money. And they are. But they are also not as much as you might think when it comes to producing a feature film — especially a feature that will be compared to projects with budgets of millions (or hundreds of millions) of dollars.Here’s what you can expect from these three sample budgets.
The South Dakota Highway Patrol has identified a Sioux Center, Iowa man who died last Friday afternoon in a two-vehicle crash west of Harrisburg.The patrol says 86-year-old Anthony De Haan died when his eastbound Chevy Blazer was struck by an oncoming westbound semi cab near a rural intersection.Authorities say De Haan turned into the path of the oncoming semi while attempting to enter a driveway.The driver of the semi-truck with no trailer attempted to avoid the Blazer, but the two vehicles collided.The Wisconsin truck driver was not injured but his female passenger, who was not wearing a seat belt, was hospitalized with non-life threatening injuries.
Twitter NEW YORK — “You Oughta Know” Alanis Morissette is coming to Broadway.The singer-songwriter has allowed songs from her 1995 breakthrough album “Jagged Little Pill” to be used in a new musical and producers plan to land it on Broadway this fall. “You Oughta Know” was a song on that Grammy-winning album.“Jagged Little Pill” played the American Repertory Theater last summer. It’s directed by Diane Paulus and has an original story by Diablo Cody, who wrote “Juno.” Advertisement Facebook Advertisement Morissette wrote the album with Glen Ballard, who collaborated with Dave Stewart of the Eurythmics on the music for “Ghost: The Musical.”Morissette joins a glut of pop and rock stars to try their hand at Broadway, including Bruce Springsteen, Sting, The Go-Go’s, Sara Bareilles, Billy Joel and Cyndi Lauper.The Associated Press Login/Register With: Advertisement LEAVE A REPLY Cancel replyLog in to leave a comment