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All recommended hotels in Dublin: Under $100
31 cheap hotels in Dublin reviewed by EuroCheapo (See more hotels in Dublin by doing a CheapoSearch)
Address 15 - 17 Merchant's Quay (Around Christ Church Cathedral)
The Four Courts Hostel is the kind of high quality hostel we dig. With 236 beds in all, it's clean and features spacious lounges on two floors.
Address 2/12 Lord Edward Street (Around Christ Church Cathedral)
Located across the street from Christ Church Cathedral and Dublin Castle, the Kinlay House is one well-placed hostel, offering budget beds within minutes of the rollicking Temple Bar scene.
Address Fishamble Street (Around Christ Church Cathedral)
Well over half of the Harding Hotel's rooms offer stellar views of beautiful Christ Church Cathedral, which is just across the street.
Address Essex Gate & Exchange Street (Around Christ Church Cathedral)
The 70-room Paramount Hotel, located just south of the Liffey, has everything tourists want in accommodation, and the rates show it.
Address Christchurch Place (Around Christ Church Cathedral)
Part of a chain of hotels spanning Ireland and the U.K., the Jurys Inn offers reliable three-star surrounds and service with all the usual amenities.
Address 8-10 Waterloo Road (Around Dublin)
Just outside of Dublin's city center, the Waterloo House is the perfect place for a quieter, mature crowd.
Address 50-60 Mespil Road (Around Dublin)
The Mespil Hotel is a vast 225-room business hotel located just over the canal in Ballsbridge. Its policy against stag and hen parties, along with the Ballsbridge location, make this a quiet pick.
Address 87/88 Lower Gardiner Street (Gardiner Street Lower)
The brown brick Abbott Lodge has a pleasant, homey atmosphere inside.
Address 85 Lower Gardiner Street (Gardiner Street Lower)
Staying at the Hazelbrook House, one of the many centrally located guesthouses on Lower Gardiner Street, is a bit like staying at the home of a fastidiously clean, though aesthetically indifferent, aunt.
Address 47/48 Lower Gardiner Street (Gardiner Street Lower)
Situated at the south end of Lower Gardiner Street, this unique 80-room bed-and-breakfast located near Connolly Station has personality to spare.
Address 49 Lower Gardiner Street (Gardiner Street Lower)
The 22-room Anchor Guesthouse, situated at the south end of Lower Gardiner Street's hotel hub, features a subtle nautical theme.
Address 46/48 Lr Gardiner Street,Dublin 1 (Gardiner Street Lower)
A hostel with style? Yes folks, it's possible. Globetrotters Hostel, with its 260 beds, is cut of a different cloth.
Address Store Street (Gardiner Street Lower)
Conveniently placed adjacent to Dublin's bus terminal, the Beresford is an easy pick for its location as well as its solid rooms and often reasonable rates.
Address 2 Frenchman's Lane (Gardiner Street Lower)
It's obvious before one even enters the conveniently located Isaacs Hostel that this former wine cellar and warehouse is a favorite with travelers the world over.
Address 67-68 Lower Gardiner Street (Gardiner Street Lower)
The Adelphi Hotel has a great location on Lower Gardiner Street and offers 34 rooms at very reasonable rates.
Address 32 Gardiner Place (Gardiner Street Upper)
The Clifden's 15 immaculate rooms and high-ceilinged hallways suggest a romantic Georgian past.
Address 4, Gardiner Place (Gardiner Street Upper)
The Dergvale Hotel, offering 20 rooms in the Upper Gardiner part of town, falls into that subcategory of hotels we consider to be especially appealing to a fussy aunt or uncle.
Address 21 Upper Gardiner Street (Gardiner Street Upper)
The Marian Guesthouse is a cute 16-room B&B situated among a cluster of similar little inns along quiet Upper Gardiner Street.
Address 29 Bachelors Walk (North Quays)
The Abbey Court is located right off the O'Connell Bridge on Bachelor's Walk, placing it just across the water from the safe (yet somewhat noisy) Temple Bar area.
Address 21 - 28 Talbot Place (North Quays)
The Jacobs Inn is a mammoth hostel, cramming 420 beds into its 69 rooms. Location, a stone's throw from Dublin's main bus terminal, is an easy 15-minute walk to Temple Bar.
Address 95/98 Talbot Street (North Quays)
Sure, it's a chain, but the Days Inn Talbot Street has a friendly staff and a convenient location.
Address 5/6 Parnell Square East (Parnell Square)
The Charles Stewart's surprisingly low-priced rooms make this one frugal find, especially since it's located right across the street from historic Parnell Square.
Address Granby Row, Parnell Square (Parnell Square)
Located a full block from Parnell Square, the three-star Maldron Hotel Parnell Square offers 105 standard rooms and an aesthetically interesting hodgepodge.
Address Gardiner Row/Great Denmark Street (Parnell Square)
The Castle Hotel, located at the northern end of O'Connell St., has a bit of a split personality.
Address 55 Aungier Street (St. Stephen's Green)
With 281 beds, Avalon House is a big joint hostel/hotel facility. Its architectural grandeur, convenient location and professional management all make the Avalon a fine budget option.
Address 19/20 D'Olier Street (Temple Bar & Trinity College)
The Ashfield House, located in close proximity to Temple Bar, is another of Dublin's hostel/hotel hybrids.
Address 19 Temple Lane South (Temple Bar & Trinity College)
ne of Dublin's best-known hostels, Barnacles sits at the epicenter of Temple Bar. The epicenter. An earthquake centered on the world's Irish pubs would rip the earth open in this precise site.
Address Anglesea Street, Temple Bar (Temple Bar & Trinity College)
Named after one of Dublin's most famous historical figures, this Fleet Street hostel, which used to be a bank, is now cashing in on the backpacker and budget traveler vibe.
Address Nassau Street (Temple Bar & Trinity College)
Rooms are student dormitories and, as such, provide surprise-free furnishings without televisions or telephones, though many are equipped with kitchenettes.
Address 23/24 Wellington Quay, Corner of Eustace St (Temple Bar & Trinity College)
The spic-and-span Eliza Lodge is a sleek modern building poised on the edge of Wellington Quay and overlooking the Millennium Bridge.
Address 26/27 Great South Georges Street (Temple Bar & Trinity College)
The Grafton Guest House Dublin is hip and smart: the perfect mix of "something old and something new."


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Every time the Buffalo Sabres score a goal it makes me happy. Whether the team is tied 0-0 in the 4th overtime of a playoff game against the New Jersey Devils or trailing the Ottawa Senators 5-to-1 late in the third period, I get a jolt of joy. Of course, the level of excitement varies, but I have never not been happy to see the Sabres score a goal.
Thomas Vanek scored a big goal Saturday night in the team's 4-2 win over New Jersey. Not only did he get Buffalo on the board but he registered the 10,000th marker in franchise history. Vanek would later put home #10,003 for insurance.
I was fortunate enough to work for the Sabres' television broadcast for the 2005-2006 season and spent many days trapped in a video vault with, at the time, every single one of the Sabres goals. Never has a Beta VCR and an 8-inch black and white television made one man so happy. I would pour over the footage like it was the Zapruder film and I was Oliver Stone.
I watched Pat Lafontaine rip shots by Jacques Cloutier, wearing his Robocop helmet. I'd grin as Wayne Presley slipped a short-handed, break-away marker past Andy Moog . I actually stood in a room by myself and pumped my fist watching Gilbert Pearrault complete the first hat trick in franchise history, putting the puck into the Golden Seals' empty net. If I were born 6 years earlier and in California at the time, I would have thrown my hat onto the ice.
For me, no goal will ever top what Sabre fans have affectionately come to know as "May Day". Brad May ended 10 years of playoff pain and completed the sweep of the hated Boston Bruins. I was holding my 6-month old sleeping niece Christina at the time of the goal and screamed so loud she may now be in therapy. I have friends who were in a traffic jam on the Rainbow bridge, listening on their radio when May beat Moog. I'm told people just got out of their cars and went around high-fiving complete strangers in celebration. High-fives are uncomfortable and lame, except when Brad May just eliminated the Boston Bruins.
I would say that no Sabre goal-scoring season would ever top Alexander Mogilny's 1992-93 campaign in which he netted 76, but it looks like Thomas Vanek could have something to say about that. Vanek has to score goals on Michelin men, so I wouldn't bank on 76, but his pace is incredible.
I love goals. I can't wait for Nathan Gerbe's 'first', Tim Connolly's 'next' and every single 'playoff' goal of 2009.
So thanks to the Sabres for 10,003 happy moments. I can't think of an organization, outside of the ones who make peanut butter, who have contributed to so much jubilation.


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Good news on the buff talent buff removal. I'm really starting to wonder what these slimmed down talent trees are going to look like.
I'm pretty sure they already said no more limited attempts. I also think that battle rez does need some attention. In my raid, I used to consider whether a BR was necessary or not and call it based on how successfully the attempt in general was going, with the idea that a) it was a valuable cooldown and b) it might be better used on the next attempt. We are not the kind of raid to simply wait around until it comes back up again. With the current short cooldown, it seems as though you might as well throw out a BR as soon as pretty much anyone dies. The idea of an exhaustion type mechanic sounds pretty cool to me... 1 BR every few mins, available to any healing class with a personal cooldown of say 20 mins.


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Material: 100% CottonWidth: 56"Horizontal Repeat: 13.5"Vertical Repeat: 18"Durability: 9,000 Double RubsCollection: La Belle Provence
Waverly Felicite Creme is a cotton, multi-colored floral done on a creme background. The flowers are a cadet blue, a soft sage green, and a salmon-like color. The flowers have an almost (but not quite) Jacobean look. Waverly Felicite Creme is a soft cotton fabric that drapes well and would lend itself to any type of bedding or drapery - a nice overall pattern with plenty of flowers. Like other patterns of this size, Felicite Creme could be used in full-length curtains so long as the windows were not too big. With a good trim, Waverly Felicite Creme could create a very formal looking window treatment. See also Waverly Felicite Mineral and Waverly Felicite Indigo.
The maximum continuous length for this product is approximately 30 yards, when ordering more than 30 yards please note it may come in more than one piece.
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HUNTINGTON, Ind. - Huntington University Head Coach Ty Platt has added another sharp-shooter to this fall's roster with the signing of Tri-Village (Ohio) guard Kyle Pipenger.
This past season, the 6-3 shooting guard guided his Patriot squad to a 26-1 record to go along with a district and conference championship by averaging 21.0 points, 4.6 rebounds and 4.0 assists per outing.
He finished his prep career holding the No. 1 spot in Tri-Village history for most field goals made in a season (202) and most points in a season (567). His name will also go down in the record books as the second most prolific scorer in school history with 1,377 points in addition to appearing in the TVHS's Top Ten in 11 other categories.
As one of his area's most decorated athletes, the New Paris, Ohio, native racked up a plethora of honors and awards throughout his prep career which included being invited to two All-Star games at the conclusion of his senior season. Pipenger, a two-time CCC and Daily Advocate Player of the Year, was also named the District Nine and Pal-Item Player of the Year this past winter.
A First-Teamer for the All-Southwest District, District Nine and Pal-Item All-Area squads, Pipenger also earned Second Team All-State honors as a senior.
Coach Platt is looking forward to Kyle's contribution to the program. "Kyle is a strong, athletic, scorer," noted Coach Platt. "He can either play the guard or small forward position.
"His competitiveness and shooting ability, coupled with his ability to find the open man make him a dangerous player. We fully expect Kyle to have a great career."
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From well dressed men to well dressed women. What a great week it has been. To see the rest of my shots from Ascot Ladies day click here.
Saturday, 22 June 2013
Out and about....Ascot Ladies Day
From well dressed men to well dressed women. What a great week it has been. To see the rest of my shots from Ascot Ladies day click here.
16 comments:
- fashion and frank said...
You have been so busy - wonderful shots from both ascot and menswear - your composition and eye go from strength to strength - always enjoy seeing your work xx
- 22 June 2013 18:45
- Nacho Uve said...
Love the first look, it's autentic!!
- 22 June 2013 19:49
- Coline Chavaroche said...
so much classe and elegance :)
Coline ♡
- 22 June 2013 20:32
- Milex said...
that's major
- 22 June 2013 20:50
- Marcela Gmd said...
Beautiful looks!!! would you like to follow each other with GFC and Bloglovin?
Besos, desde España, Marcela♥
- 22 June 2013 21:57
- Nonchalant Rebel said...
How lovely!!
xx Mounia
- 22 June 2013 23:05
- Sacramento Amate said...
Thank you dear Dvora for sharing so much beauty.
I love and want the yellow dress, ahhhhhhhhhhhh
have a grand Sunday.
- 23 June 2013 09:22
- Lauren@Styleseer said...
This looks like great fun!
- 23 June 2013 15:35
- Smallblond said...
This is so WOW !!!!!!!!!!!!!
Most beautiful !!!!!!!!!!!!!!
Love it !
- 24 June 2013 11:42
- The Foolish Aesthete said...
Oh, my favorite season for people watching - Ascot! Lovely ladies you captured here accompanied by their interesting millinery. -- J xxx
- 25 June 2013 04:54
- Fashion art and other fancies said...
Love watching the stylish and fashionable set here. Adore the hats. Warmly hope you are well.
- 25 June 2013 14:12
- antonia said...
little bit funny but i choose martha lynn :)
great post
have nice day!
- 25 June 2013 19:22
- Mileide Almeida said...
omg!! magnifique hat!!
i love total yellow,so chic!!
- 25 June 2013 22:38
- Rosalind said...
Actually, I love how much you reveal about your own attention to detail, in "stepping back from fixing her hemline." There's a reason why your images are always impeccably framed/located/angled/posed - because you see in an instant how to arrange and catch the best shots. Pure professionalism for the rest of us to stand back and admire.
- 26 June 2013 12:25
- Regine Karpel said...
Love these hats!
- 26 June 2013 18:09
- Not Just A Pretty Dress said...
The ladies at Ascot are always so stylish and I love a good 'dramatic' look! Dear Dvora, I hope everything is well and, as for the following, your beautiful blog is already on my Bloglovin list! Take care, Caterina
- 2 July 2013 14:43


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Turner provides employees with the resources to succeed personally and professionally. The work we do here has an impact on the world, and you can be part of it.
Simply, Turner Broadcasting is a place that values individuals. We strive to support our people with resources and rewards designed to foster whole-life satisfaction and to provide an environment where professional aspirations and personal goals can co-exist and even further each other. We place a premium on innovative thinking and entrepreneurial drive and we recognize the benefit of diverse expression and experience. With offices and networks around the world, the opportunity to chart an interesting, exciting career is only limited by your imagination. Working at Turner Broadcasting means you'll have more than a great career, it means you've got a leg up on a great life.
With offices in more than 150 countries around the world, we pride ourselves on being part of the communities in which we live and work. We see it as an asset that our many and varied cultures impact everything from our programming to our outreach.
Learn a little about life in two of our cities: Atlanta, home to our corporate headquarters, and New York, where we produce many of CNN's programs.


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It is our goal to keep all citizens of Buncombe County informed in the fastest and most efficient way possible and in a cost effective manner. Sign up for the eZine and you'll get an email every Monday with all the latest news in Buncombe County Government.
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A large amount of rain could be headed our way. Are you prepared for possible flooding?
Floods are common in Western North Carolina, but not all floods are alike. Some floods build up gradually, while others can develop quickly in just a few minutes, causing flash flooding. Be aware of potential flood hazards no matter where you live or work, but especially if you are in low-lying areas or near water. Many places can flood, even small streams, creeks or low-lying areas that normally appear harmless.
Preparing for an emergency before it happens makes sense. Follow these steps to get safely through a flood:
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Robyn announces joint tour with Royksopp
Listen to Robyn on iHeartRadio | Listen to Royksopp on iHeartRadio
Robyn is making her way back the U.S. this summer and she's bringing along Norwegian electronic duo Royksopp! The trio are hitting the road together on their "Do It Again" tour, which includes six North American dates.
The U.S. tour dates begin at the end of June in Seattle, then making stops in San Francisco, Los Angeles, New York City, and Washington, before ending in Boston in mid-August.
The new dates mark Robyn's first trip back state-side since joining Coldplay as the opening act on their 2012 tour. Pre-sale tickets for the U.S. dates are available starting April 9th.
Robyn U.S. Tour Dates:
June 26: Seattle, WA - Marymoor Park
June 28: San Francisco, CA - Bill Graham Civic Auditorium
June 29: Los Angeles, CA - Hollywood Bowl
Aug. 20: New York, NY - Pier 97
Aug. 21: Washington, VA - Filene Center at Wolf Trap
Aug. 22: Boston, MA - Blue Hills Bank Pavilion
If you've never had the pleasure of hearing these artists together before, check out their previous collaboration "The Girl And The Robot."


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Latest update : 2011-11-02
Debt crisis key issue in presidential campaign
The two frontrunners in next year's French presidential election have one issue on which to convince voters: the economic crisis. Also, we take a look at a protest by Christian fundamentalists against a play they say is blasphemous. Finally, we pay tribute to one of France's most celebrated singers with a look back at George Brassens' career, 30 years after his death.


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[ADOBE TV PRESENTS] [mechanical clunking and whirring] [JASON LEVINE] [clunking and whirring continues] [KARL SOULE] [clunking and whirring continues] [SHORT AND SUITE - ON THE ROAD WITH JASON AND KARL] Hello, everyone, and welcome to another episode of Short and Suite. My name is Jason Levine, worldwide product evangelist for Adobe's video and audio tools, and today we're going to take a look at DSLR workflow. There are many videos on Adobe TV about DSLR workflow. In fact, I even have a few from the CS5 days. The point of this episode, however, is to showcase a really fast way to allow you to go directly from the camera to the timeline, do some basic editing, basic motion, basic moving things around, and then exporting it through the 64-bit Adobe Media Encoder. What I'm going to showcase today is all some footage that I shot on the Canon 7D here in different frame rates and frame sizes, so a mixture of frame rates and frame sizes, things that the Mercury Playback Engine in Premiere Pro can handle very easily, very seamlessly. We've already shot some footage here, so what I'm literally going to do is take the CF card directly out of the camera and use a card reader to pull my media directly into Premiere Pro. Remember, in CS5.5 there is no transcoding. You can literally shoot your footage, take it off the card, you don't even have to copy it to an external disk, and begin bringing that media directly inside to your timeline. So let's go and do that. I've got a card reader attached. If you pay attention to the Media Browser, you should see in a moment that a new drive will pop up that says something like EOS Digital. And there it is. And now we can actually see the card that houses all of the media that we just shot with my Canon 7D. And this will work the same for any kind of DSLR camera that you're shooting with. So I can go to the folders here. We'll go into DCIM, 70, and now I have the ability to preview all of the content on that CF card. So by simply double clicking on the first clip, it brings it into the Source Monitor, and there you can see there I am moments ago being shot by some of the guys in the studio here. We can scrub through this. We can play it. And you can see that it plays brilliantly right off the card. So again, we haven't even copied this over. We're truly going from the camera to the timeline. So at this point I can set some in and out points. I can use these icons here to mark the in or out, or I can simply use shortcut key I and O. These are some of the few shortcuts that I actually know. They're fairly standard in all of your NLEs, and we can do that right here. So I can set in, set out, and drag it into my Project panel. Now we have a clip that we're ready to begin editing with. It's that simple. At this point you can also see the attributes of those clips, so once again, 1920x1080, aspect ratio 1.0, 4 seconds, 23.976 at 48K. Very cool. So let's take a look at some other footage. Here again I can double click on another one. This is a kind of cool artsy shot here. It looks pretty neat. So again, I can set an in point here. Let's go ahead and play through a couple seconds of this. Something like that. Set an out and drag it in. Done. These are both 1920x1080 or 1080p. Let's go ahead and add some 720p footage as well. I shot a couple of clips at the end here, so if we take a look at this one, this is actually me shooting into the studio. There's the boom mic ahead of me. [male speaker on recording] It's really funny be-- [Levine] Okay, something like that. So once again, I can wind back, I can set an in, I can set an out, and I can drag it in. And now you can see this is actually 720p footage. So at this point we're ready to begin the process of cutting these things together, and we can choose any number of additional clips. In fact, we've got a couple of shots here when I was being made up earlier. I wanted to look my best for you on camera. Maybe not that one. Here, let's take a look at one of these here. All right. Again, reading it right off the card. There is our lovely makeup artist, Esther. So again, adding some makeup--much needed here. I'll go ahead and I'll set an in point, set an out point, drag it in, and we're done. Okay, so now we want to begin the process of actually building the sequence. Traditionally, you would go to the New Item button here, go to Sequence, and actually choose a preset. You can do that. The cool thing is in 5.5, as you may know, we have this new feature called New Sequence From Clip. So without bothering with this dialog here, I can literally right click on a clip and choose New Sequence From Clip, and it will build a sequence for me in the correct frame rate, frame size, and pixel aspect ratio. If you're mixing media together at different frame sizes, chances are if you've got 720p and 1080p, you probably don't want to scale the 720p up to 1080p. You can, and sometimes it can look okay. Generally, though, you want to scale down. So if that's the case, if that's actually how you want to work, we can take the 720p clip, right click on this, New Sequence From Clip. Now we have a 720p sequence. And if I take another one of my 1080p pieces of footage, I can drag that in, and of course the problem now is it's too big, right? It's not fitting the frame properly. So another cool feature is I can simply right click and choose Scale to Frame Size, and it will automatically scale that footage down to fit the proper aspects of that particular sequence. Real simple, real easy. Go ahead and add a couple more clips in here. Let's go ahead and maybe add this one at the beginning. We can move these around just like this. Maybe we'll shrink this up a little bit. And again, I'm just dragging my cursor over the edges of the clips, and you can see that I have the ability to trim the edges. If you hold down the Command key, or Control key on the PC, you'll see that you have new options for ripple trimming as well. So again, lots of different key modifiers to allow you to change the way that you're editing. Keep in mind, of course, that you also have your tools housed here, and this Tools panel can be docked and moved around the interface as well. So let's go ahead and grab some of these other clips. We'll just drag those in just to build up our sequence a little bit more. And again, I keep shrinking the sequence here so I can see everything in full view. Let's grab the last one here. So we've got about 20 seconds there. And if we want to do some simple effects like adding some fades-- fade in, fade out, or crossfading between the clips-- these can all be accessed via the Effects menu under Video Transitions, Dissolve. New in 5.5 is the new Film Dissolve. This is also known as a linear light dissolve. If you've ever seen the way things typically dissolve when you're watching film or sort of fully produced movies, this is sort of the type of dissolve that people typically want. So this is new in 5.5. It looks great. Traditionally, when I go from the first clip, I'll use something like the basic cross dissolve here just to fade up from black so you can see what that looks like. And again, if we want, we can simply take one of these filters and just drag them between clips to crossfade. You'll see here that it's not allowing me to crossfade the edges here because we don't have enough space between the beginnings and ends of the clips. So once again, I can hold down my Control key or my Command key here, I can do a little bit of a ripple like this, and now when I drag my Film Dissolve, now it's going to allow me to crossfade between them. If you find that it's not allowing you to actually see a crossfade between the two clips, shrink the edge and the beginning of the adjacent clips together so that you have more space to crossfade between the two clips, all right? Something like that. So we can do a couple little trims on the edges here. I'll grab my Command key and we'll shrink this one up like that and do the same on the edge here like this, grab our Film Dissolve, dissolve between the two, dissolve like this, and then we'll do a little cross dissolve at the end. So now as we cross dissolve between the clips, you can see what that looks like. It plays very smoothly. Something else to keep in mind: We're playing all of this in real time, and one of the brilliant things about working natively with DSLR is that because we're not transcoding, we can read in those H.264 files natively, you don't have to worry about, "Well, what type of file format do I need "to get the best performance?" We're going to do all this work for you. But if you're having any kind of playback performance issues, this is where you can leverage what's known as the fractional playback resolutions with the Mercury Playback Engine. From within the Program Monitor here under Output, you'll see that we have fractional Playback Resolution and Paused Resolution. And here's where you can actually set how you want to allow your machine to handle the playback of this footage to give you the best editing performance. Currently I'm playing back everything at half resolution. We're not destructively throwing pixels away, we're not changing the media, we're just changing the way it's displayed on screen during the editing process. But when I pause or when I stop, everything is being displayed in full resolution. So again, the brilliance here is that it allows you to customize playback. We're editing 1080p HD. I might not be able to edit multiple streams and multiple clips of this in full resolution all the time on a laptop, per se, or even on a desktop. So I can say, "Okay, let's go ahead and play it back at one-quarter res or one-half "but when we pause, let's display it at full." And you can see that probably with the machine that I've got here if I go to full quality, let's go ahead and wind this back and hit Play. Yeah. On this particular system, it works brilliantly. The key is you have these tools, you have the ability to change that playback resolution to give you the best performance possible. Very cool, very simple, very easy. Once you've started doing all this and you've started finessing these things, lots of different things that you can do with Effects. Typically, the next step would be adding some kind of color correction or color grading. You can simply type Color into the search field here and you'll see all the different types of color effects that we have. The ones that you probably want to focus on are things like the Fast Color Corrector, the RGB Color Corrector, and the Three-Way Color Corrector. And you'll also notice that these have 32 next to them. So one of the other cool things in Premiere Pro CS5.5 is that we were always working in 32-bit floating point. Again, this is one of the benefits of us being able to work natively with all different types of footage. You don't have to transcode to an intermediate codec to get greater than 8-bit depth. This is one of those misconceptions that people have had for years. And in other NLEs, it's true, you have to do that. But in Premiere Pro you're always working in 32-bit floating point. Here's something to keep in mind. If you are adding color effects and different types of effects to your clips, if you mix 32-bit effects like the Fast Color Corrector with something like Color Balance, which is not 32-bit, you're effectively going to be working again in 8-bit. So if you're going to mix lots of different effects together, you want to maintain 32-bit depth, you want to keep 32-bit effects on all of your clips. If you mix them with 8-bit effects, you're now going to be working at 8-bit. The point here is that this allows you to move very seamlessly between Premiere Pro and After Effects and consistently work in whatever bit depth you want. Okay, so here's where you can find all your color effects. Another thing that people ask me is, "How do I just move these clips around?" "How do I adjust opacity? How do I time remap or change timing?" Well, you'll notice that we have these little yellow handles here on the clips. And by default those handles handle the opacity. An easier way to access those controls is simply to select a clip, go up to Effects Controls here, and you're going to find that you have something here called Motion and something called Opacity and Time Remapping. Naturally, the Opacity is going to control the opacity of the clip, and of course that can be keyframed over time. You can see that it just added a keyframe there for me. And here's also where you can adjust position, scaling, rotation, anchor point, etc. Here's where you access all of that. I can simply click and drag if I want to. Let's go ahead and undo that. Again, vertically or horizontally. All of that can be keyframed. Here's where you can adjust scale, and here's where you can do things like fly clips in. If we wanted to, say, scale this down and then have it fly over to the side, I can simply click on Motion, and now I can freely move this clip very simply, very easily. So lots of different ways to work with these clips, keyframe them, and actually create some motion on the clips right inside this Effects Controls panel. And again, it makes it very easy if you want to use multiple clips to do something like a picture in picture or just fly different layers over top of one another. You'll also notice with regard to opacity that this is also where you can add blend modes. And if these blend modes look familiar to you, well, they should. They're the same blend modes that you already know from Photoshop. So again, a lot of similar techniques and tools that you know from other Adobe applications applied here directly to your DSLR footage. Okay. If you wanted to begin adding things like lower thirds or text or titles, you can do that with Photoshop files, or you can use the native Premiere Pro Titler. If you wanted to create a new Photoshop file directly to be used inside Premiere Pro, you can do that here. You can also import PSDs directly to your DSLR footage right inside Premiere Pro. And in another episode of Short and Suite I'll show you how you can bring those elements in. You also have the ability to use the Premiere Pro Titler where you'll choose the basic attributes of the title based on the sequence settings here. We can call this Intro, something like that. Okay. And this will bring up our Title Designer dialog here. It's a little scrunched in this particular resolution. Here's where again you can begin typing a title. We can just call this In The Studio... Again, you can justify this, you can decide how you want it to look, you can add a drop shadow if you want. Let's just overdo that. We'll use the default here. I can click this to close it. It's created that title right there. I can drop the title on there. If we wanted to have that fade up and fade down, I can simply go to our Dissolve here. Let's go ahead and cross dissolve this up, cross dissolve it down, wind it back, hit Play, and there you go. You've got a really simple title. Not brilliant, just very easy to do. Okay, so at this point now let's export this. Let's actually see what this DSLR content looks like, and you've got a couple of different ways that you can do that. The traditional way, of course, would be to while you're in this sequence here go up to File, Export, Media, and that's going to bring you into the Export Settings dialog, a familiar dialog to those of you who have used Premiere Pro before. In here is where you can choose the multitude of different formats to export to. If you go up to Formats here, you'll see here's all the want that we have in the menu, including things like H.264, which is going to be probably your most common export format whether you're delivering to Blu-ray or to the Web or to a tablet device or really anything. H.264 is very flexible. It'll play on anything, play anywhere. Also, all of your MPEG-2 variations, MXF, P2 Movie. Remember that you can also do PNG and TIFF sequences here and you can also do audio only, so you can even just export audio directly from a Premiere Pro timeline using the Adobe Media Encoder. So if we chose something like H.264, you'll notice that one of the great things in 5.5, lots of presets to get you started. Where is this media going to end up? Are we trying to devise a piece of media to be watched on something like YouTube or Vimeo, or is the main goal to watch this on an iPad or a tablet? Well, you'll see that we have lots of presets in here to get you started. So if I wanted to go to something like the iPad, I can use one of the higher bit rate variations here. I can choose this one. Of course if you go into the Video or Audio tabs here, you can see that you've got complete control over changing all of the different attributes of that when you're actually exporting. A couple things to keep in mind here. You'll notice that we have a couple of check boxes: Render at Maximum Depth, Maximum Render Quality, and Frame Blending. So Render at Maximum Bit Depth. Again, you can see what this does. It's going to improve the render quality. Of course it's going to take a little bit longer. I typically always keep this one checked. The one that I will always keep checked, particularly in the case of exporting something that's 1080p or 720p down to the iPad, is Maximum Render Quality. Why? Because this is going to give you the highest quality scaling when you actually export this down. So these two check boxes, for me, it's worth it to take a little bit of hit in time for encoding just to make it look better. If it's going out to YouTube or to the Web or it's a low bit rate piece of media, you don't have to keep them checked. They'll export that much faster. Of course you can do that here. And if you want to stay in this modal dialog, you can choose Export Immediately. This is going to use all of the resources in your system, and it's going to perform an extremely fast export right in front of your eyes. The issue there is it's modal, meaning that you can't really do anything else. You're basically locked out of the application. So in that case I might want to use the queue, and this is going to allow us to send this media to the Adobe Media Encoder. We can export and process in the background and keep working in Premiere, keep working on additional edits. So if I choose the Queue option, you'll see that it will automatically send it directly to the Adobe Media Encoder. And there it is. You also have the option--and this is really cool-- if you don't want to go through the Encoder dialog at all, let's just choose this sequence here. I can click and drag this 6136, bounce over to the Media Encoder, and just drag and drop it in. If you want to go back, however, to make changes or to create your own presets, simply by clicking on Format or the preset highlights--you can see them there-- it's going to take you back to the Export Settings dialog where now you can make those necessary changes, click OK, and they'll update here very simply. So once you've done that, now we're ready to actually export this content. Something else to keep in mind: If you have some of our competitors' NLEs on here like Final Cut, like Avid, if they're on the same system you'll also be able to tap into all of their codecs, things like ProRes, things like DNxHD or Meridian, and those are all accessible by leveraging the QuickTime format. So again, if you have FCP or Avid on your system with Premiere Pro and you want to export to ProRes 422 HQ or ProRes 444, choose the QuickTime format and then under Video Codec in that Export Settings dialog you'll have access to all of those different flavors very simply right there. Okay. So now at this point we want to export these. We'll choose where we want them to go. Let's just remove that last one. I'm going to place this on the desktop here. We'll just leave the name as it is, click Save, and hit Play. You'll see that now right inside the dialog it shows you what's happening. Of course this is 64 bit. This is happening in the background, meaning that I could go back here and I could keep working in Premiere, and you can see that it keeps processing and then it finishes. It's done. So very quickly we've taken footage shot on the 7D, we didn't copy it, we didn't transcode it, we took the card right out of the camera, placed it in a card reader, used the Media Browser to drag the footage in, set in and out points, create a new sequence from clip with the right click option, start putting pieces of footage together, adding transitions, adding color correction, adding motion effects, changing scaling, adding blending modes, adding titles or Photoshop files, dragging it into the Media Encoder, and spitting it back out to place it on the iPad, to place it on the Samsung Galaxy, to place it on a BlackBerry PlayBook, to place it on the Web, on Blu-ray disc, or wherever you want. It's that simple and it's short and sweet. That is the essence of our DSLR workflow. Thank you ever so much. My name is Jason Levine. We'll see you next time. [Executive Producer - Bob Donlon] [Producer - Karl Miller] [Director/VFX - Kush Amerasinghe] [DP/Post-Production - Erik Espera] [ADOBE TV PRODUCTIONS - tv.adobe.com]
Quick-Start DSLR Editing Workflow for Final Cut Users/Switchers (updated for CS5.5!)
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About This Episode
In this tutorial, Principal Worldwide Evangelist for Adobe, Jason Levine will take you 'from the camera to the timeline', showcasing a complete Ingest-Edit-Export workflow when working with DSLR video media, or really any tapeless, file-based format in Premiere Pro CS5.5. Along the way, he'll describe many of the benefits of working natively with Photoshop and After Effects as well. And, if you're coming from Final Cut Pro or Avid Media Composer, this short tutorial will have you editing and exporting your DSLR footage very quickly.
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Runtime : 00:19:53 Added : 08/11/2011
About this show
Short and Suite
Join your hosts Karl Soule' and Jason Levine as they show you important insider tips and tricks in the exciting world of video and audio production.
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Club Monaco to launch first shoe collection
If you're a Club Monaco shopper, you've probably noticed that the men's and women's fashion company has just about everything besides footwear, but that's about to change.
The brand has announced plans to launch its first ever shoe collection, just in time for revamping your fall wardrobe this August.
Women's Wear Daily reported the brand is launching a shoe line composed of 25 Italian made styles including stilettos, pumps, pointed toe flats, booties and more.
The brand's premiere shoe collection will mix the elegant with the exotic . . . there will be rich materials such as leather and suede and animal inspired prints and textures ranging from snakesin to cheetah. Prices will range fr $198 and $395.
They'll be available at Club Monaco stores on Fifth Avenue, in SoHo and on Bleecker Street in Manhattan and at clubmonaco.com.
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Tennessee House Democratic Caucus Chairman Mike Turner, of NashvillePhoto by Contributed Photo /Chattanooga Times Free Press.
NASHVILLE — House Democrats are asking the Republican legislative leaders, Speaker Beth Harwell and Lt. Gov. Ron Ramsey to investigation why the Department of Children's Services refuses to release records relating to abuses and deaths of children in its care.
"The mission of the Department of Children's Services is too important for them to operate in secrecy," said Democratic Caucus Chairman Mike Turner. "It is well past time that we have a full accounting of problems within the agency, so we can determine how best to move forward and fix them."
Turner sent a copy of the request to Republican Gov. Bill Haslam.
News organizations including the Chattanooga Times Free Press have sued the department for denying requests to access files on 151 children who have died since 2009. The agency had investigated the children and confirmed neglect or abuse in 47 cases. A Davidson County judge is sorting through the files and will rule later on what, if any, information must be made public.
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Subject: Staunch conservative to be new EU health commissioner
20:00 23 November 2014
Removing their white winter coat once kept snowshoe hares hidden in spring, but as the snows melt earlier, they are increasingly exposed. Can they fight back?
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Without the Pauli exclusion principle, matter as we know it would not exist. But at low, low temperatures, even this quantum law gives way
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bigsis..you are a master of understatement...
And someone one on the judging panel is a master of rug-pulling. I don't begrudge the Hubbells they performed well..but the #2 Chinese team...? That was would be wire-fu on ice...?!?
I don't wonder the poor kids looked stunned.
I really like Chock and Zuerlein but this was far from their best performance.
Huang / Zheng ..great looking couple but I don't know what that costume or dance had to do with Zorba or Greek folk dance...Clash of the Titans , maybe ?


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Vivaldi: Sacred Music, Vol. 7
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Movement 05: Domine Deus, Rex caelestis
Track 21 on CDS44171/81 CD8 [1'46] 11CDs Boxed set (at a special price)
Movement 06: Domine Fili unigenite
Track 22 on CDS44171/81 CD8 [1'12] 11CDs Boxed set (at a special price)
Movement 07: Domine Deus, agnus Dei
Track 23 on CDS44171/81 CD8 [2'24] 11CDs Boxed set (at a special price)
Movement 08: Qui tollis peccata mundi
Track 24 on CDS44171/81 CD8 [1'30] 11CDs Boxed set (at a special price)
Movement 09: Qui sedes ad dexteram Patris
Track 25 on CDS44171/81 CD8 [3'00] 11CDs Boxed set (at a special price)
Movement 10: Quoniam tu solus sanctus
Track 26 on CDS44171/81 CD8 [1'33] 11CDs Boxed set (at a special price)
Movement 11: Cum Sancto Spiritu
Track 27 on CDS44171/81 CD8 [3'24] 11CDs Boxed set (at a special price)
The chronology of the two settings is disputed by scholars. Both manuscripts show clear evidence of reworking, probably over a period of several years. One thing is certain, however: whichever of the two was written first served as the model for the second. The two versions may have coexisted in the repertory of the Pietà for several years.
RV588 possesses a very unusual feature that may provide a reason for the slowness of its revival. Not only does it have a designated introductory motet (introduzione) for solo contralto, but this motet is actually dovetailed into it in an ingenious and radical way. The second and final aria of Jubilate, o amoeni chori is united in a single movement with the opening chorus of the Gloria. The celebratory text of the introduzione, paraphrasing Psalm 150, is non-specific enough to be suitable for any feast. The second aria invokes the sound of plucked (citharae) and bowed (lirae) stringed instruments, wind instruments (fistulae) and the organ (organa). Ostensibly praising God, it reminds the congregation of the virtuosity of the Pietà's instrumentalists. Obligingly, the orchestra provides little touches of illustrative colour, the most conspicuous of which is a five-bar solo for obbligato organ.
Vivaldi reckoned with occasions on which the introduzione would be omitted. Crosses in his autograph score in Turin tell the copyist of the separate parts which passages of the third movement to leave out if the Gloria is to be performed 'neat'. Leaving out the solo portions makes the movement too short, however, and this brutal solution is rarely adopted. Later in the decade Vivaldi wrote out a slightly modified vocal part for the introduzione, notating it in the soprano instead of the alto clef, even though the compass hardly changed. His purpose in preparing this new version (RV639a) seems merely to have been to make the part accessible to a singer more accustomed to read from the other clef.
The most impressive choral movement of RV588 is its second, 'Et in terra pax', an unhurried, chromatically-inflected chorus in B minor very similar in mood to its counterpart in RV589. Also worthy of mention are the short 'Gratias agimus tibi', with a startling enharmonic change in its second bar, the severe 'Domine Fili unigenite', which is possibly a borrowing from an older composer, the 'Domine Deus, agnus Dei', with its oboe obbligato, and the 'Qui sedes ad dexteram Patris', an aria for contralto in which a pair of solo violas accompanies a pair of solo violins in a chamber texture reminiscent of Mozart's string quintets.
from notes by Michael Talbot © 2001


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Barry and Shelley Bacon recently returned from working four months in Rwanda, Africa the scene of terrible genocide in 1994, where 800,000 people were killed in 100 days. Many children were left orphaned by the atrocity, and one man is raising 35 of these children, most of who were orphaned as a result of the genocide.
"He desperately needs assistance with their food and education, and you can help," says Shelley Bacon.
Robert Joseph Graham, 80, a lifelong resident of Stevens County, passed away Dec. 23, 2011 at his home in Northport, surrounded by his wife of 57 years, Gailene, four sons and three daughters. Death came after a courageous five-month battle with cancer. He was born April 12, 1931, in Spokane. His father, Patrick H. Graham, was born in Ireland and came to Stevens County in 1878. His mother, Grace Hoffman Graham, came to Ferry County in the 1890's. Robert grew up in Boundary, nine miles north of Northport, where his father operated a pole yard.
George Kelly, age 75, passed away in Spokane Dec. 22, 2011. He was born on Jan. 6, 1936 in Ontario, Canada, the son of George and Lucy (Tye) Kelly. George attended school in Canada and completed school in River Rouge, Michigan.
Mr. Kelly married Mary Belman in 1975 in Canada, and the couple moved to Colville in 1991. He was employed by Hewes Marine until his retirement.
In George's spare time, he enjoyed fishing, hunting, riding his four-wheeler and motorcycle. He thoroughly enjoyed living in the country and spending time with his wife of 36 years.
Edward N. Gilson, 68, passed away, Dec.22, 2011 in Colville. He was born in Chewelah on Dec. 13, 1943, the son of Maynard and Lillian (Staff) Gilson.
Edward was raised and attended school in Chewelah. He graduated from Jenkins High School in 1962 and in January of 1963 decided to serve his country by joining the United States Navy.
Our dear sweet mother, Dorothy Barrett, passed away on Dec. 18, 2011 at the age of 95. She was born Nov. 19, 1916 in Douglas.. In 1933, she graduated from Waterville High School, and in June 1935, she graduated from Morse Beauty School in Spokane.
Despite government funding issues, Providence St. Joseph's Hospital in Chewelah is not slated for closure, according to Providence Mount Carmel and Providence St. Joseph's CEO, Bob Campbell.
After an article explaining how state and federal funding affects "critical access" hospitals appeared in the Spokesman-Review last week, Campbell says he received numerous phone calls from a concerned public that Providence St. Joseph's Hospital was going to shutter its doors.
Colville High senior middle linebacker Alex Pond has been named to the 2011 Associated Press Washington All-State football team (Class 1A).
The teams (4A, 3A, 2A, 1A, 2B, 1B) are annually voted on by writers and editors from around the state.
Pond, named in the fall as the Northeast A League Co-Most Valuable Player on Defense, helped lead the Indians to a second straight Northeast A League championship. Colville finished 6-5 and made the state 1A playoffs.
Colville Junior High School captured the District Middle School wrestling championship last Tuesday at Colville High School.
The Warriors, who crowned five district champions, edged Lakeside for the team title.
Riverside and Deer Park finished third and fourth. Kettle Falls, with only seven wrestlers in the meet, finished fifth.
After dominating Chewelah, Kettle Falls and Northwest Christian at home during the regular season, CJHS lost a close dual to Lakeside, 36-37.
Colville High School cross-country standout Kevin Carpenter finished 34th in the boy's intermediate division of last Saturday's 2011 USATF National Junior Olympic Cross-Country Championships at Myrtle Beach, S.C.
Carpenter, who helped lead the CHS cross-country team of Dean Fischer to its second straight Class 1A runner-up finish last month in Pasco, turned in a time of 16:33.04 over the flat, fast Whispering Pines Golf Course track, located a half-mile from the Atlantic Ocean.
A tip-in with three seconds left by 6-9 sophomore post Matt Hubbard lifted Colville High (4-3) to a wild 52-50 win over visiting Lakeland last Thursday night.
On Friday at Medical Lake, the Indians were outscored 16-4 in the second quarter and dropped a 48-32 decision to the Cardinals of the Great Northern League.
Back on Dec. 12, Colville used a big second half to rout visiting Wellpinit, 60-33.
Colville was at Okanogan (5-2) on Tuesday in a non-league game against the Caribou-Trail League club. The Pioneers are led by 6-6 senior post Joe Townsend.


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Gütersloh, 01/12/2011
Regina Körner, 51, a consultant with international experience in journalism and corporate communications for nonprofit organizations, will assume the position of director of communications at the Bertelsmann Stiftung as of January 1, 2012. She will succeed Karin Schlautmann, who was appointed head of the corporate communications department at Bertelsmann AG in October 2011.
Körner has an international background in journalism in Germany, the US and UK and has gathered extensive management experience heading the corporate communications departments for globally active NGOs. She earned her master's degree in journalism at the University of Missouri's Columbia School of Journalism and worked for several US broadcasters in Washington, DC.
In Germany, she completed a traineeship at the Voice of Germany, and worked as a reporter and correspondent for German public broadcasters such as WDR and Voice of Germany TV before joining RTL TV, Europe's largest commercial broadcaster, for 12 years as a reporter and program producer for n-tv and SuperRTL.
In 2008, Ms Körner left television for the nonprofit sector and served as the director of communications for the World Future Council in Hamburg and Fairtrade International in Bonn. Before signing on with the Bertelsmann Stiftung, she worked as a nonprofit management and communications consultant and business guest writer.
About the Bertelsmann Stiftung:
The Bertelsmann Stiftung is dedicated to serving the common good. It executes projects in its four core areas of education, business and social affairs, health, and international relations, and strives to promote peaceful coexistence among the world's diverse cultures. Through the example of its civic engagement, it wants to encourage others to support their own communities as well. Founded in 1977 as a registered charity, the Bertelsmann Stiftung is majority shareholder of Bertelsmann AG. Structured as a private operating foundation, it is politically nonpartisan and works independently of Bertelsmann AG.
Contact Person
+49 5241 81-81129


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Following in an older sibling's footsteps can be daunting, but thank GodĀGreg PoehlerĀhad the balls to try or else we never would have gotten to see the refreshing and hilarious new comedyĀWelcome to...
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Original Post Located at:A Voice Of Reason - by Sherry Petro-SurdelOrginal Author:
Goalkeeper Sergio Romero saved two penalties Wednesday to send Argentina into the World Cup final with a 4-2 shootout win over the Netherlands after the game finished in a 0-0 stalemate.
Cue up thatĀ.GIFĀofĀ
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