Fort St John sees increase in construction values for July

first_imgFORT ST. JOHN, B.C. – The City of Fort St. John has released the construction value of building permits issued for July 2019.For July, the value of construction was $13,153,520.00 with 10 permits issued.The largest project on the list is for a commercial building on Old Fort Road with a dollar value of $9.0 million.- Advertisement -In comparison to 2018, the overall construction value of the projects is up from $17.5 million to $41.9 million.The number of permits issued so far in 2019 is slightly up at 59, compared to 54 a year ago.You can view the full July 2019 building permit report on the City’s website.Advertisementlast_img read more

Warriors, Draymond Green on a roll, but one question has him scratching his head

first_imgCLICK HERE if you are having a problem viewing the photos or video on a mobile device Except for his size, his length, his skill, his fast-twitch muscles and his high-octane competitive nature, the Warriors’ Draymond Green is just like the rest of us.“What is life going to be like next year?” Green mused during a recent appearance on the “Pull Up with CJ McCollum” podcast, hosted by the Portland Trail Blazers’ 20-points-per-game guard.“You have Kevin (Durant) and Klay (Thompson), free …last_img read more

Meet the Dynamic Master Editing Duo Behind Your Favorite Movies

first_imgBy dividing the work and sharing the load, the editing partners behind the films of J.J. Abrams have cut an unconventional path to Hollywood editing success.Top image via LucasfilmMaryann Brandon and Mary Jo Markey have been go-to editors for J.J. Abrams since Alias, all the way back in 2001. The long-standing trust built between Abrams, Brandon, and Markey eventually led to an unorthodox and wildly successful collaborative approach to the sometimes tedious process of editing.Working out of the Bad Robot suite (and cutting on Avid Media Composer), Brandon and Markey have co-edited all five of Abrams’s big-screen directorial efforts — Mission: Impossible 3, Star Trek, Super 8, Star Trek Into Darkness, and Star Wars: The Force Awakens, which garnered them each an Academy Award nomination.While both work on projects independently (for instance, Brandon on the upcoming Passengers and Markey on 2017’s The Great Wall), they still come together as a team whenever a new Abrams project pops up. So what exactly makes these two world-class editors work so well together?Secrets of the Co-Editing ProcessImage via Paramount PicturesIn a recent interview discussing their work on Star Wars: The Force Awakens, the two editors shed a little light on the overall process of working on a film of such magnitude and talked about how they approach working together and with Abrams.Abrams gives each editor separate sections of the film, letting them operate on their own to cut together scenes in their own way. This trust and freedom is one of the foundations of the duo’s working relationship. Brandon explains:Even when we work as a team, we each have our own sequences. We discuss the film as a whole and get our notes together and then go back to the sequences we have ownership of, and we finesse the sequences and then put it all together as a film. So it’s the same working experience as when we work alone.This decision to have two main editors work on a film is genius for a couple reasons. First, splitting the time up between the two will save money and ease individual frustrations. Secondly, getting two perspectives on characters and scenes is an excellent way to judge how your movie is flowing. This unusual tag-team approach to editing requires constant communication and a deep-seated understanding of the story being told. Markey goes into more detail:We go through the script and, say, if it’s 120 pages, and we know we each take about 60 pages, that maybe I’ll take 30, and then Maryann will take the next 30, and then I’ll take the next 30 and she’ll take the last 30, or something like that. In this case, I took the beginning, Maryann took the long middle, and then I took the end. We used to split it up in smaller chunks, but it just makes it easier for J.J. if we have really big pieces, so that he’s not bouncing back and forth between us as much.Editing for Emotion over EverythingImage via Paramount PicturesWhile Abrams offers vague notes at the start of production, Brandon and Markey both state that one objective is very clear and one goal certain — “making the audience feel a certain emotion.” Regardless of the specifics of the scene or the action taking place, the emotions drawn from the characters and story are top priority.In the excellent hour-long video featured below, Brandon and Markey explain their process, discuss working with Abrams, and expose the challenges that come with editing a major Hollywood production. They even break down a few scenes from their films, detailing what drove them to make the cuts required to build an effective scene.If there’s a lesson to be found in the words of these master editors, it’s that the depth of communication and level of understanding between director and editor can determine how well a story is told.Advice on Working with DirectorsImage via LucasfilmAmong the most challenging aspects of working as an editor are the constant back-and-forth discussions with producers and directors. With Brandon and Markey, the long history they share with Abrams has created a relationship built on trust and honesty. As such, notes and feedback aren’t as big of an issue. That’s not the case for everyone.For most editors, giving notes to the director mid-production can sometimes prove to be a touchy situation. Brandon and Markey urge editors to put their foot down right from the get-go. There’s a fine line between being difficult and being professional. Brandon explains:It’s a very tricky thing to do, because you want to be positive, and you want to also be constructive – and sometimes you have to be destructive to be constructive. Which I guess just means it’s hard work. It means try everything.This method of working (plus a deep understanding of relationships within the context of a film’s production) is what sets this duo apart from other editors. Their track record speaks for itself as proof.Who are some of your favorite film editors? Share in the comments below!last_img read more

Winning Sales: How You Need To Be Enabled

first_imgNothing that was once necessary for sales has disappeared, despite what the pundits and prognosticators suggest on the internet. Had they been right in their past predictions, there would no longer be nearly so many salespeople. Nor would those salespeople still use telephones. Instead, selling continues to evolve, transcending and including what came before, and increasingly creating more value along the way. Here is how you need to be enabled for winning sales.A Theory About Why Your Dream Client Should ChangeYou need to know why your prospective client should change. Understanding why they should change before they recognize the need on their own is more valuable than waiting until your potential client is unhappy with their results and begins searching for answers. The difference between these two approaches helps define the difference between selling at Level 3 and selling at Level 4. At Level 3, you are reactive, helping your client solve a recognized problem. When explaining a gap your prospect hasn’t yet identified or framed effectively, you are proactive and approaching them from Level 4.If you don’t have an understanding as to why your dream client should change before they are dissatisfied with their current results or partner, selling is more difficult. When you work in a business that requires competitive displacements to grow (i.e., winning customers away from your competition), it’s very difficult to eject your competitor from their seat at the table without a theory about why your prospect should change now.An Understanding of How to Create ValueThe world of sales and marketing has long recognized and spoken about “value creation.” Much of what is written or spoken about value creation is about the company or product or service’s value proposition. A stronger value proposition is better than a weaker one, and while it is helpful, it isn’t often enough by itself to win in B2B sales. What is more important is your ability to create value for the contacts you are selling to throughout the sales conversations.Creating value as a salesperson means providing ideas and insights that help provide context and direction about why your dream client should change. It means helping them understand what and how they need to do something different in the future. Value creation also means providing the advice on what to do and how to do, the very behavior that makes you consultative (which is something more than not being a pushy, smarmy, and self-oriented).If the experience of working with you through the sales process isn’t valuable for your dream client in comparison to others, your general value proposition isn’t likely to carry the day for you.Knowledge of Likely QuestionsEvery once in a while, you get a question so novel it surprises you. If you have worked in the same space for a long time, these questions should be as frequent, as say, a total lunar eclipse.Your prospective clients have questions at every phase of the sales conversation. In early discussions, they want to understand why they need to change or why they struggle to produce better results. As they move forward, they have questions about what their choices of action might be and how to make the best choices. At some point, your contacts will have questions about their ability to produce those results with your help, meaning questions about whether or not you can help them execute.Because there are questions at every stage of the sales conversation, there is no reason not to have effective language choices to answer and address them. If you are continually asked the same question, you should never be surprised, and you should never have to fumble around for an answer.Strategies for Effectively Eliciting Meaningful InformationRackham’s book, SPIN Selling, contained a framework for asking questions of increasing value. His view that “implication questions” were a necessary component to compel change (my words, not his) was transformational for some sales organizations. His work, like most other’s, is “more honored in the breach than the observance.” Most salespeople still ask questions that attempt to get their prospective client to share their dissatisfaction.A salesperson recently asked me, “If you could change one thing about your current solution, what would that be?” A variation of “What’s keeping you up at night,” and a question so direct as to leave no doubt that the salesperson is not equipped to create value outside of explaining why their solution is better.There are better and more powerful ways to elicit meaningful information. You can, for example, ask about your dream clients strategic outcomes as a way to expose a gap in their results or their overall strategy. If you want to ask more powerful questions, you can also ask questions that cause your contacts to discover something about themselves and their company, namely, that they need to change.Your performance is improved when you have strategies for effectively eliciting meaningful information. The word “meaningful” doesn’t mean useful only to you; it needs to be meaningful to your dream client. You will know you hit the mark when your contacts say, “That’s a great question.”Depth of Experience of How to ChangeToo many salespeople rely to their detriment on subject matter experts. Some have become so dependent on a SME that they don’t even want to have a discovery meeting without having one with them. There is nothing wrong with having a subject matter expert as part of the sales conversation. There is, however, something wrong with not knowing enough to explain why you recommend a particular course of action, why you do things one way instead of another, and how your prospective client should change.One way to describe the amount of knowledge is to think of yourself as a 52% SME, which is to say you can get through the first and second level conversation about your solution without needing a SME. The 52% SME concept also speaks to the need to know as much or more than the business owner, since you are advising them (something that in no way suggests you shouldn’t also allowing them to educate you, as well). It doesn’t mean you have to have more technical knowledge than your dream client’s technical expert, their SME.You need to know enough to be able to recommend how to change, the trade-offs between certain choices, and why one way is better than another in the context of your client’s strategic outcomes.Ability to Control the ProcessNeither the sales process or the buyer’s journey are linear. You need to know how to get your client from where you found them to where they’re going. Sure, they are going to have ideas about how to get there, what works for them, and what doesn’t. However, you need to know the road better than they do to give them competent counsel.One of the reasons your clients struggle to make decisions is because they don’t have the reliable guidance they need to know how to make them confidently. Controlling the process requires that you sell your dream client the value of the different commitments they need to make, as well as all the conversations and decisions they need to make. The more help you provide, the higher the likelihood of your winning—and your dream client getting the result they want.When you believe you sell your company and your solution, you miss selling the meeting and selling the process, things that mostly turn out to be more important than either your company or your solution.An Evolutionary ChangeThe outcomes you need to create have changed in meaningful ways. They are complicated, and they require more of you as a salesperson. Because these are not the common topics taught, training, or developed, you may have to start enabling yourself.last_img read more

DHX Media and Nickelodeon roll out Massive Monster Mayhem internationally

first_imgDHX Media’s original “Massive Monster Mayhem” has been picked up by Nickelodeon International for air across more than 140 countries. (CNW Group/DHX Media Ltd.) Twitter Massive Monster Mayhem originally launched on Nicktoons in the U.S. in October 2017, garnering solid ratings among the network’s audience. As part of the new agreement, the mayhem will begin rolling out on Nickelodeon’s international channels beginning in 2018, with season one scheduled to premiere on the broadcaster’s Nordics, Australian and MENA channels in January. The series will roll out across remaining territories throughout the year.Global distribution for Massive Monster Mayhem is handled by DHX Media, while licensing is managed by the company’s brand management and consumer products arm, DHX Brands. With its stunning visuals, which combine cutting-edge, real-time CGI and pre-visualization technology, and its host of exciting characters – like Master Mayhem, the self-proclaimed “Greatest Ruler in the Universe” – Massive Monster Mayhem offers significant appeal for young audiences and great potential for consumer products.Produced by DHX Media, Massive Monster Mayhem is a brand-new concept in kids’ entertainment. Massive Monster Mayhem features live gameplay by kids in futuristic challenges against gigantic Monster Superstars for the chance to win prizes and save the planet from destruction. The series is executive produced by 7ate9’s Art Spigel, together with DHX Media’s Steven DeNure, Anne Loi, Ken Faier and Josh Scherba. The Massive Monster Mayhem Match App invaded the iTunes App Store and Google Play Store on October 2017 and was developed by Epic Story Interactive.About DHX MediaDHX Media Ltd. (TSX: DHX.A, DHX.B; NASDAQ: DHXM) is a leading children’s content and brands company, recognized globally for such high-profile properties as Peanuts, Teletubbies, Strawberry Shortcake, Caillou, Inspector Gadget, and the acclaimed Degrassi franchise. One of the world’s foremost producers of children’s shows, DHX Media owns the world’s largest independent library of children’s content, at 13,000 half-hours. It licenses its content to broadcasters and streaming services worldwide and generates royalties through its global consumer products program. Through its subsidiary, WildBrain, DHX Media operates one of the largest networks of children’s channels on YouTube. Headquartered in Canada, DHX Media has 20 offices worldwide. Visit us at www.dhxmedia.com.About 7ate9 Entertainment7ate9 Entertainment is a leading kids’ IP incubator and all-platform production company that creates breakthrough content for a new, global audience.  With over 20 years on the forefront of kids’ entertainment, 7ate9 combines ideas with state of the art technology to create its unique, multi-channel properties. 7ate9 has the privilege to collaborate with Disney, Nickelodeon, Universal, Warner Brothers, and others to invigorate top global franchises like Mickey Mouse,Looney Tunes and Disney Princess. Based in Los Angeles, CA and Toronto, Canada, 7ate9’s credits include the Emmy award-winning Disney Channel Games, Nickelodeon’s Massive Monster Mayhem, and the celebrity kids’ series, Best Day Ever.About Nickelodeon InternationalNickelodeon, now in its 38th year globally, has built a diverse, global business by putting kids first in everything it does. The company includes television programming and production in the United States and around the world, plus special events, consumer products, digital, recreation, books and feature films. Nickelodeon is one of the most globally recognized and widely distributed multimedia entertainment brands for kids and family, with 1.2 billion cumulative subscriptions in more than 500 million households across 170+ countries and territories, via more than 100+ locally programmed channels and branded blocks. Outside of the United States, Nickelodeon is part of Viacom International Media Networks, a division of Viacom Inc. (NASDAQ: VIAB, VIA), one of the world’s leading creators of programming and content across all media platforms. For more information or artwork, visit http://www.nickpress.com. Nickelodeon and all related titles, characters and logos are trademarks of Viacom Inc.DisclaimerThis press release contains “forward-looking statements” under applicable securities laws with respect to DHX Media including, without limitation, statements regarding the business strategies and operational activities of DHX Media, including the timing and location of broadcasting of DHX Media’s Massive Monster Mayhem and the potential for and forms of consumer product licensing of Massive Monster Mayhem. Although the Company believes that the expectations reflected in such forward-looking statements are reasonable, such statements involve risks and uncertainties and are based on information currently available to the Company. Actual results or events may differ materially from those expressed or implied by such forward-looking statements. Factors that could cause actual results or events to differ materially from current expectations, among other things, include the ability of the Company to execute on licensing arrangements, consumer preferences and risk factors discussed in materials filed with applicable securities regulatory authorities from time to time including matters discussed under “Risk Factors” in the Company’s most recent Annual Information Form and annual Management Discussion and Analysis, which also form part of the Company’s annual report on Form 40-F filed with the U.S. Securities and Exchange Commission. These forward-looking statements are made as of the date hereof, and the Company assumes no obligation to update or revise them to reflect new events or circumstances, except as required by law. Login/Register With: HALIFAX – DHX Media (or the “Company”) (TSX: DHX.A, DHX.B; NASDAQ: DHXM), a leading global children’s content and brands company, and Nickelodeon are spreading mayhem worldwide with a new international broadcast agreement for season one of the original DHX Media series, Massive Monster Mayhem. Following the show’s successful premiere on Nicktoons in the U.S., Nickelodeon International has picked it up for air across more than 140 territories. Produced by DHX Media, Massive Monster Mayhem is co-created by Artur Spigel (founder of 7ate9 Entertainment) and Michael Chaves.Massive Monster Mayhemis an original show for kids 6–11 that combines live action and CGI animation with real competition and comedy. Each episode features three real-life kid heroes competing in a gauntlet of Intergalactic Battle Alliance challenges to become Earth’s champion and face off against Master Mayhem’s league of monsters in the ultimate “Monster Mashdown.” The unique series combines cutting-edge, real-time CGI and pre-visualization technology.“With its high-tech hilarity and competitive craziness, Massive Monster Mayhem is an audacious and action-packed show that kids just love,” said Josh Scherba, EVP, Distribution and Content. “Following a strong start with solid ratings in the U.S. on Nicktoons, we’re delighted to extend the series to Nickelodeon’s international audience. We see exciting potential with this brand to reach beyond TV into games, toys and other consumer products, and we look forward to spreading more Massive Monster Mayhem to kids worldwide.” Advertisementcenter_img Advertisement LEAVE A REPLY Cancel replyLog in to leave a comment Advertisement Facebooklast_img read more