Porter Davis launched a new range for Queensland.The firm has looked to shake things up in the new home market, with displays Rochedale and Newport now “seeing more people each week than any of the Victorian displays”.Porter Davis Queensland state manager Josh Darling said the firm’s designs were striking a chord with Queenslanders.“We have more people coming through our new displays in Rochedale and Newport each week than any of our Victorian displays, which tells us that the Queensland market is interested in what we are designing.” Porter Davis launched a new range for Queensland. More from newsMould, age, not enough to stop 17 bidders fighting for this home4 hours agoBuyers ‘crazy’ not to take govt freebies, says 28-yr-old investor4 hours agoPorter Davis launched a new range for Queensland. Porter Davis launched a new range for Queensland.The firm has 500 staff and 1300 contractors yet “leaves an excellent impression of customer focus”.Among the ways the firm has been winning customer favour were complimentary 12 months RACV Emergency Home Assist, a design review team, feedback and resolution channel, plus it World of Style showroom, mobile apps and social media engagement. Porter Davis launched a new range for Queensland.A MAJOR builder that entered the Queensland market last year with a fresh take on display homes emerged with top honours for how it’s transformed itself.Porter Davis walked away with the Australian Professional Major Builder gong at the 2017 HIA-CSR Australian Housing Awards ceremony which was held on Hamilton Island. According to judges, “recent initiatives, including a major cultural workplace transformation, indicate a renewed focus on continuous improvement and respect for its customers”.
MLB-NEWSDodgers reinstate Pederson, option BeatyUNDATED (AP) — The Los Angeles Dodgers have reinstated outfielder Joc Pederson from the paternity list and optioned infielder Matt Beaty to the team’s alternate site. Pederson has struggled during the shortened season, hitting .184 with six home runs and 12 RBIs in 34 games. He set career highs last year in batting average, homers and RBIs, among other categories. Elsewhere in the majors: MacKinnon had a career-low 12 penalty minutes this season. No other forward averaged more ice time than MacKinnon’s 21:13 average while taking fewer penalties.NFL-NEWSMiller has surgery, could be out for the seasonUNDATED (AP) — Denver Broncos star linebacker Von Miller has undergone surgery to repair a dislodged ankle tendon. The Broncos are hopeful Miller could be back in three months but there’s also a possibility Miller’s season is over before it began. The Broncos dodged a second serious injury with word that wide receiver Courtland Sutton suffered a sprained A.C. joint in his right shoulder and could return to practice as soon as Saturday. Coach Vic Fangio says Sutton will be day to day.Elsewhere in the NFL: HORSE RACING-PREAKNESS-STATE SONGNo ‘Maryland, My Maryland’ at PreaknessBALTIMORE (AP) — The official state song “Maryland, My Maryland” will not be performed before the Preakness next month due to lyrics that are perceived by some to be racist. The song was written by James Ryder Randall as a poem in 1861. The poem’s opening line is “The despot’s heel is on thy shore,” a reference to President Abraham Lincoln. — Undefeated Phillies right-hander Zack Wheeler ripped a fingernail putting on his pants, delaying his next start for two days and perhaps longer. Wheeler would have taken a 4-0 record and a 2.47 ERA into Saturday’s scheduled start against Miami. That start has been pushed back to at least Monday, though manager Joe Girardi said that could be wishful thinking.NHL-BYNG TROPHYAvs’ MacKinnon gets Byng TrophyEDMONTON, Alberta (AP) — Colorado’s Nathan MacKinnon has won the Lady Byng Trophy given for sportsmanship and gentlemanly conduct combined with strong play.He finished ahead of Toronto’s Auston Matthews and St. Louis’ Ryan O’Reilly in voting by the Professional Hockey Writers Association. — The Cardinals have placed receiver KeeSean Johnson on the Reserve/COVID-19 list two days before their season opener. Johnson is the first player put on the COVID list by the Cardinals this season.VIRUS OUTBREAK-COLLEGE SPORTSBig 12 gets access to rapid COVID-19 testsUNDATED (AP) — The Big 12 has secured access to COVID-19 antigen testing that produces rapid results and will be used the day before competition on players, coaches and staff. The Pac-12 recently announced a partnership with Quidel that will provide its schools with the capacity to test daily and get results in about 15 minutes. The Big 12 said it expects the Quidel test to provide results that quickly. Associated Press PGA TOUR CHAMPIONS3-way tie after 18SIOUX FALLS, S.D. (AP) — Miguel Angel Jimenez bogeyed the par-4 18th to fall into a tie with David Toms and Dicky Pride for the first-round lead in the rainy Sanford International.The leaders were at 5-under 65 at Minehaha Country Club, with Jerry Kelly, Paul Goydos, Paul Broadhurst and Steve Flesch a stroke back.It’s the first PGA Tour Champions event with fans since returning from a break because of the coronavirus pandemic. — The Bills have ruled out cornerback Josh Norman from their season opener against the Jets on Sunday. Norman did not practice this week and has missed much of the past three weeks since hurting his left hamstring. — Jets rookie wide receiver Denzel Mims will be sidelined for the season opener at Buffalo. Coach Adam Gase announced Friday that the second-round draft injured his other hamstring at practice Thursday after recently returning from an issue with his other leg that sidelined him for much of training camp.— The Chargers’ offensive line could be down three starters for Sunday’s opener against the Cincinnati Bengals. Center Mike Pouncey is out after not practicing all week due to a lingering hip injury, while right guard Trai Turner and right tackle Bryan Bulaga are listed as questionable.— The Falcons will be without cornerback Kendall Sheffield and defensive end Charles Harris for Sunday’s opener against the Seattle Seahawks. Sheffield was ruled out with a foot injury, while Harris is sidelined with an ankle problem. — Packers offensive lineman Billy Turner didn’t practice Friday and is considered doubtful for the season opener at Minnesota as he deals with a knee injury. That could mean a start for former Lions tackle Rick Wagner. September 11, 2020 Zverev is in the men’s final of a Grand Slam for the first time after storming back from a two-sets deficit to beat a fading Carreño Busta, (sah-REH’-noh BOOS’-tah), 3-6, 2-6, 6-3, 6-4, 6-3. Zverev had never won a match after dropping the opening two sets. He appeared in serious trouble after dropping nine straight points and 17 of 19 before righting the ship.Zverev is the first man to win a U.S. Open semifinal after a 2-0 set deficit since Novak Djokovic (JOH’-koh-vihch) did it against Roger Federer in 2011.MLB-SCHEDULEYanks blank Birds in DH opener Share This StoryFacebookTwitteremailPrintLinkedinRedditTENNIS-US OPENZverev reaches Open finalNEW YORK (AP) — It was a couple of firsts for Alexander Zverev (ZVEHR’-ehv) at the U.S. Open. NEW YORK (AP) — The New York Yankees entered their weekend series with Baltimore in danger of falling behind the Orioles for the final American League wild-card berth. The Bombers are off to a good start after dropping 15 of their previous 21 games.Gerrit Cole ended a three-start losing streak by firing a two-hitter in the Yankees’ 6-0 win over the Birds in Game 1 of a doubleheader. He struck out nine in ending his personal skid that began after he had won 20 straight decisions.DJ LeMahieu led off the first inning with a home run. Brett Gardner and Kyle Higashioka also homered off starter Alex Cobb in his return from the injured list, helping New York move 2 1/2 games ahead of Baltimore.Elsewhere around the majors:— Aaron Nola struck out 10 and pitched all seven innings for the first complete game of his big league career, pitching the Phillies to an 11-0 thumping of the Marlins. Rhys Hoskins ripped a three-run homer and Andrew McCutchen drove in three runs with three hits, including a home run. Update on the latest sports
“Usually [picture-locking is] this celebratory day where you’re all in the editing labs together,” co-producer of “Spit it Out, Margot!” and cinematic arts, film and television production major Caroline Quien said. “You have final little touches, you’re kind of working on the titles, the professor might be there with you. Instead, this was all remote. It was on Easter, we were all in different places, different time zones. When the faculty was like giving us final notes, Madison’s oven burst into flames.” “Production’s never going to look the same because we can’t be that close to each other on set anymore,” Harris said. “I think the exciting thing is, as we move forward, we get to be a part of that change … We get to be the ones to figure out what the new wave of this industry is going to look like.” The effects of the coronavirus have extended into almost every aspect of life, and the film industry is no exception. While the future of the industry remains uncertain, the CTPR 480 students believe that the production of their films equipped them for a career that will continue to evolve in a post-pandemic world. Not only did Wuolijoki have to grapple with the time difference, but she also had a movie to produce. A COLLABORATIVE EFFORT With the absence of some of SCA’s in-house sound technology or image editing equipment, the wait time for uploading and transferring film clips to show drafts to project members increased. Miriam Sachs, a cinematic arts, film and television production major, writer and one of the sound editors for “Spit It Out, Margot!,” spent hours sitting at her home desk waiting for files to upload. “Time challenges are humongous,” Goodman said. “It’s creating art, managing time, doing all those things that, in and of itself, without a pandemic, is pretty challenging.” “[There was] a lot of waiting for things to upload, things not uploading … spending so many hours just trying to get the film out so that the director and our producers could watch,” Sachs said. “That was probably the most infuriating part of it, to be completely honest, because normally you’re just all together in a room mixing together. But because it’s all virtual, we had to upload drafts.” A NEW SET OF CHALLENGES “In post-production, it’s great to be able to sit together in groups and be able to watch cuts or a soundtrack or music or whatnot and be able to give feedback on it,” Vempaty said. “So just the fact that we weren’t able to do that affected [the film] a lot.” “When we’re all separated … since the timeline for a specific work or things becomes so much longer, it becomes really important that we’re constantly checking in on each other to make sure that we’re mentally healthy,” Ravi said. “These four films are fantastic,” Goodman said. “Other than missing the physical presence and maybe some things that they technically could do like sound mixing and color grading that maybe they could have done at a slightly elevated level, I’m hard-pressed to see how these films could be any better … I was really surprised and pleasantly surprised. That’s really because of the way the students just rose to the occasion.” Kevin Maxwell, a graduate student and co-producer of “The Order,” felt that, with a great deal of teamwork, he believes that this year’s CTPR 480 experience has left students with invaluable lessons about the industry as it moves forward amid the pandemic. “One thing that it taught us as a whole is the power of collaboration, the power of flexibility, the power of clear, coherent communication and patience,” Maxwell said. “We’re not able to sit in class with each other and to react to the film. That really changed things for us and doing screenings online is a different experience. That taught us a lot about the power of cinema and the communal experience of the theatre.” (Design: Ally Wei, Photos courtesy of CTPR 480 students) Lead instructor of CTPR 480 and professor of practice Brenda Goodman knows that without a pandemic, the class is already a difficult undertaking as storytelling is not an easy task. The students may have pulled it off, but not without struggle. Quien said that, because of the collaborative nature of filmmaking, remote instruction led to a sense of creative and emotional distance from her project. “I pretty much switched my schedule around, like my sleeping schedule, because all the post-production was happening, obviously, during the day L.A. time which is middle of the night Finnish time,” Wuolijoki said. “Because I’m the one that all of the communication flows through, I was staying up a lot.” “Before the pandemic, we could just schedule a time to meet in the labs and just make adjustments,” Pu said. “But now, people can’t see those changes instantly. So they have to wait for the new cut to be exported and uploaded. And if it didn’t work, then we need to go back and change it and go through the same process again. So what usually takes maybe three hours in the lab will now take 10 hours or even a day because we all have other tasks and personal business that are also affected by the pandemic.” “Our biggest issue or biggest roadblock came just in post-production and really trying to stay focused when everything was happening,” Harris said. “Staying on the timeline was really difficult and demanding.” “Our sound designer … was building this home booth by wrapping curtains and clothes and just trying to get some sort of sound isolation,” Wuolijoki said. “We were not able to do pretty much any Foley for this film or ADR [the process of re-recording audio to improve sound quality]. Right now, all four films are still not in the proper theater mix.” It was 4 a.m. in Helsinki, Finland, and pitch black outside — a stark contrast to 2020 graduate Oona Wuolijoki’s bright laptop screen. At a time when many students might be sleeping, Wuolijoki, who majored in cinematic arts, film and television production, was hard at work. She was awake this early because she, like many other international students at USC, rapidly packed up her apartment in a matter of days, booked a last-minute ticket home and began taking online classes mid-March while staying with her family. As protocols for filming are being worked out by the industry and by SCA, future student productions will need to adhere to public health protocols once they are implemented on campus. Currently, SCA faculty are talking with their students about scripts and stories that allow both student filmmakers and actors to work safely. Without access to SCA’s state-of-the-art facilities, including the scoring stages, recording studios, editing labs and classrooms, the 480 film teams had to overcome both technical and communication difficulties. “We have amazing technology that allows us to do so many of the functions in our business online,” Goodman said. “But how to do that collaboratively was really my biggest fear.” Fire or no fire, the teams grappled with perfecting their films. The spirit of collaboration and sense of community that is created among the CTPR 480 students would be difficult to maintain without in-person classes and meetings, Goodman thought. But her students shocked her. Director of “The Order” Ryan Zhang admitted that, at times, a film school education can be overwhelming. But, this experience, he believes, taught him the importance of empathy in the creative process and looking at film production from a broader perspective. For Wuolijoki’s film, “You Missed a Spot,” one of the biggest challenges she faced as co-producer was sound editing. Since the sound editors did not have access to the SCA Foley sound stages, students had to find creative ways to execute their work from home. The separation also brought about surprising challenges. When the “Spit It Out, Margot!” team met with their professors to picture-lock — a process that involves all team members agreeing to be done with editing the frames — the group faced an unexpected distraction. While meeting via Zoom, co-producer Madison Holbrook had to simultaneously receive feedback from faculty and speak with firefighters who put out an accidental oven fire that erupted in her apartment during the meeting. “When you’re doing editing and you’re doing sound work, and you’re all in the studio together, as a team, it’s way easier to focus,” Quien said. “But if you’re just watching clips alone, you’re going to have a different experience, and it’s going to be hard to communicate.” “We’re just people struggling through life, and we just all care about making the movie as best as possible,” Zhang, a 2020 graduate who majored in cinematic arts, film and television production, said. “But sometimes, life gets in the way. And this is the most perfect example.” LOOKING TO THE FUTURE Although the pandemic interrupted the typical workflow of CTPR 480 production, co-producer of “Strawman” Erik He stated that the entire process reinforced his belief that, despite all the hours spent in pre-production, things will never go perfectly according to plan. Luckily, however, all of the 480 students were fortunate to have completed filming before USC transitioned to online instruction and were transitioning to post-production. Co-producer of “Strawman” and cinematic arts, film and television production major Aditya Vempaty echoed Pu, stating that this abrupt transition took a toll on the traditional creative process. Director of “Spit It Out, Margot!” Ella Harris felt the challenge of balancing schoolwork while meeting class deadlines. Harris, who is majoring in cinematic arts, film and television production, also said that it was difficult to keep everyone up to date without the luxury of being in the same room to disseminate information. All of this work was for Wuolijoki’s “Advanced Production” class, also known as CTPR 480, which is the School of Cinematic Arts’ longest-running production class reserved for students of senior standing. Designed to mimic the creation of a professional film, CTPR 480 students are assigned principal crew positions on four faculty-approved film scripts. This year’s chosen films included “Spit It Out, Margot!,” “The Order,” “You Missed a Spot” and “Strawman.” Co-producer of “The Order” and cinematic arts, film and television production major Akshay Ravi affirmed that, without the luxury of face-to-face communication, coming together as a team is even more crucial. In what he called a “tumultuous school year,” supporting his crew became a top priority. The class involves immense collaboration and coordination. Directors, producers, writers, editors and actors must come together to tell a cinematic story. The students involved are typically enrolled in 18 units and may have other internship or job obligations. Many students are assigned to these positions for the first time. (Design: Ally Wei, Photos courtesy of CTPR 480 students) Instead of meeting together in person, the teams had to communicate online via Zoom and other platforms to stay connected and manage time efficiently. Editor of “The Order” Yiwei Pu, who majored in cinematic arts, film and television production, remembers feeling both the strain of time management and the difficulties of communicating online. “This was such a good exercise in learning that you sometimes don’t have control … Even with everything prepared, there can be the absolute worst-case scenario,” he said. “It’s such a humbling lesson that no matter how much time you devote … ultimately, it’s not like assembly work. It really comes down to being flexible and just being prepared for absolutely anything.”