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Canon announces 14mm T3.1 and 135mm T2.2 Cinema EOS prime lenses
Canon has announced two additions to its range of Cinema EOS prime lenses, a 14mm T3.1 and 135mm T2.2. The CN-E14mm T3.1 L F and CN-E135mm T2.2 L F are both designed to be used on movie cameras with image sensors up to 35mm full frame in size, and include a range of features optimized for movie shooting. These include geared focus and aperture rings with markings designed to be read from the side of the camera, 11-bladed circular aperture diaphragms, and all-metal weather-resistant construction. The 14mm T3.1 will be available from April 2013 at an estimated retail price of $5,500, while the 135mm T2.2 will appear in May for $5,200.
Press release:
Canon U.S.A. Introduces Two New Cinema Prime Lenses, Expanding The Cinema EOS Prime Lens Product Line To Five Models
|Canon Cinema EOS CN-E135mm T2.2 L F
Designed for Film-Style Operation, Canon Cinema Prime Lenses Deliver Exceptional 4K Performance
LAKE SUCCESS, N.Y., January 10, 2013 – Canon U.S.A., Inc., a leader in digital imaging solutions, announces the new CN-E14mm T3.1 L F and CN-E135mm T2.2 L F single-focal-length lenses for large-format single-sensor cameras employing Super 35mm or full frame 35mm imagers. These two new lenses join with Canon's CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F primes to provide a broad line of five precision-matched, competitively priced EF-mount Cinema prime lenses that provide high optical performance levels and a choice of versatile focal lengths for a wide range of creative shooting choices. All five Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera and EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses.
"Since our introduction to the film and television production industry back in November 2011, we have brought to market five Cinema prime lenses, two top-end Cinema zoom lenses, two compact Cinema zoom lenses, and four professional digital cinematography cameras all within 18 months," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. "This is a testament to the Company's dedication to the needs of the growing and diverse universe of professionals creating 4K, 2K, and HD moving-image content for theatrical, television, and other high-resolution digital production markets. We look forward to continuing to serve these professionals with Canon Cinema EOS products designed to help them achieve their creative imperatives and commercial aspirations."
All Canon Cinema EOS lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096 x 2160) production standards. Each Canon Cinema lens is equipped with an odd-numbered 11-blade aperture diaphragm, which is ideally suited to achieve creative depth-of-field manipulation and pleasing "bokeh" effects of cinematographic quality. The Canon line of five Cinema prime lenses is precision-matched for consistent and solid optical performance that minimizes focus-induced changes in the angle of view. All feature a full-frame image circle in a lightweight, compact design, and they incorporate proven Canon lens elements designed to fulfill contemporary 4K production standards. All five primes also deliver color tone and balance that matches Canon's top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses are also water-resistant for severe shooting conditions and deliver the operation and reliability required in professional film-style shooting environments.
All five Canon Cinema primes feature mechanical attributes specifically designed for motion-picture production, as opposed to still photography. These strategically integrated film-style characteristics include 300 degree rotation on the focus ring for precision focus control as well as large, highly visible engraved focus scales for convenient operation. These markings appear on the angled surfaces on both sides of the barrel, making them easy to both read and to adjust the stepless focus and/or aperture settings of the lenses from behind – or from either side – of the camera. Focus markings can be switched from standard labeling to metric, and control rings are engineered to maintain the proper amount of resistance with consistent operating torque and familiar tactile "feedback" for satisfying manual control. All Canon Cinema prime lenses also share the same uniform gear positions, diameters, and rotation angles, as well as front-lens diameters, making them compatible with matte boxes, follow focus gear, marking disks, and other third-party film-industry-standard accessories. Film crews can quickly change lenses without the need for accessory gear-position adjustments or other changes to the rig setup.
The new Canon CN-E14mm T3.1 and CN-E135mm T2.2 Cinema prime lenses – as well as the Canon CN-E24mm T1.5, CN-E50mm T1.3, and CN-E85mm T1.3 primes – are fully compatible with the Canon EOS C500, EOS C300, EOS C100 and EOS-1D C digital cinema cameras. The EF-mount design of all five Canon Cinema prime lenses provides communication with these cameras for such handy features as display of the f number in the electronic viewfinder, recording of focus/zoom position and f number, and Peripheral Light Compensation1 for more pleasing effects shots.
The versatility of image-capture options using Canon EOS digital cinema cameras can be further extended with Canon's Super35mm top-end Cinema zoom lenses (the CN-E14.5-60mm T2.6 wide-angle and the CN-E30-300mm T2.95-3.7 telephoto) and compact Cinema zooms (the CN-E15.5-47mm T2.8 wide-angle and CN-E30-105mm T2.8 telephoto). All four are available in both EF- and PL-mount versions, as are the EOS C500 and EOS C300 cameras. Almost all of Canon's EF Series photographic lenses can also be used with these Cinema EOS cameras, including Image Stabilized zooms, tilt-shift models, and macro lenses. All of these products are designed to contribute to the continued advancement of tools for visual storytelling and all express Canon's continuing commitment to cinematic culture.
Pricing and Availability
The CN-E14mm T3.1 L F single-focal-length lens is expected to be available in April 2013 for an estimated retail price of $5,500. The CN-E135mm T2.2 L F single-focal-length lens is expected to be available in May 2013 for an estimated retail price of $5,200.
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one thing is certain... little if any people in the (target) cinema industry will care about what is published in this forum let alone on this website.
I work in a film school and have associates at Lucas films, and in my own experience and what opinions are expressed here will not affect the real consumers of these lenses.
Regardless, most cinematographers will rent these lenses, and many cinema rental places will have them in stock. Whether or not you understand the price point or not, the people in the actually industry will only care about how it performs in the situations that they are faced with.
"... what opinions are expressed here will not affect the real consumers of these lenses."
That is correct, Kinematic, if only because the true "consumers" of these lenses will be the remaining few larger camera and accessories rental houses that, as a rule, buy a few copies of EVERYTHING that comes out. That is what they do.
Will these cost less to rent than the competing, well established Cooke, Angenieux, C. Zeiss, Fujinon, and Panavision lenses? if not, will the Canon lenses be higher quality than the brands I jsut mentioned? And if so, why?
Anyhow, this would take care of the "rental market." The recent trend is, however, for the workers (videographers and filmmakers) to actually OWN their means of productions -- cameras, lenses, accessories. For those "consumers," these pricey Canon lenses priced up to $48,000 for a single zoom lens will simply not be happening, IMO at least.
Waste of money this digital moviemaking. In 10 years there will be probably some 20mpixel video mode and your 2k/4k old stuff will look crap. While something shot on 35mm film or higher could still have more details.
If Canon is marketing these pricey "cine" lenses of theirs as "4K capable," I guess you can toss them out to the garbage heap in about 8 years time, when the 8K resolution digital cameras are expected to hit our shores. Canon F65 will be able to record 6K resolution video this year already. A 4K-only lens -- not too smart for an investment in 2013, I would think.
If you are very careful, you can get a higher quality scan Lasergraphics from 35mm negative film at 8K than at 6K, i.e. the horozontal line resolution of Eastam Kodak Vision3 film is somewhere around 6 to 8 thousand lines per 4-perf 35mm film frame.
Shooting on 65mm film would quadruple this. So you are at least partially right. Unfortunately, we all can only shoot with equipment available today, and so far there are very few superior alternatives to 35mm motion picture negative film stock acquisition, followed by a 2K to 8K scan to DPX files for the Digital Intermediate.
4k isn't all that much resolution for a lens... I expect they'll work fine on 8k cameras as well, after all they work on 20mp+ DSLRs.
In terms of the video I agree though and thanks for your insight, 4k digital won't stand the test of time as well as modern film will, yet I expect it's a lot easier to deal with.
"All Canon Cinema EOS lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096 x 2160) production standards."
I am not reading out of this Canon press announcement the same things as you do, I guess, namely that the same lens listed here by them and stated to be able to resolve for 4K = app. 8.85MP video will also be able to resolve for 8K = app. 35.4MP video.
Instead of actually stating the true maximum tested resolving power of these Canon "cinematic" lenses, all they state is that it will work w. 4K video -- big to-do, surely.
How is digital moviemaking a waste of money when Hollywood studios are making hundreds of million of dollars on blockbuster films shot on Arri Alexa and RED cameras? And filmmaking, whether it's film or digital is still a craft with techniques that are more similar than they are different.
All technology progresses. Does that mean we should ignore current tools and stop creating for some future promise of something marginally better? Of course not.
At $4000 to $8000 per 30 minutes of film, digital makes far more sense these days.
No one I know in the cinema industry is sad to see the demise of film considering the cost.
Canon is snatching defeat from the jaws of DSLR video victory with their ridiculous pricing of underspec'd cine bodies and now lenses. It's almost like the 5D Mark II's amazing success in DSLR video was an undesired outcome for them.
Horsehack = you hit in right on the head. There is a perverse need to self-destruct with Canon for the past 3 years or so. Let's look at the value of these latest Canon lenses.
Canon 14mm/T3.1 Cinema Lens = US$5,500
Rokinon 14mm/T3.1 Cinema Lens = US$499
Wow, so the Canon cine-lens costs a whopping US$5,001 MORE than what the Rokinon cine lens can be gotten for. That's quite a price spread for the same basic specification optic, isn't it though? I guess the additional $5,001 goes for the "Canon Name Surcharge" part?
Incidentally, these are both cine-style lenses, with substantial focus ring travel, de-clicked aperture ring, aperture openings measured in T-stops, etc.
With the ionospheric prices that Canon is demanding for their wares, they will have one heck of a time breaking into the cine-lens market ruled, on the high end, by Cooke, Angenieux, Carl Zeiss, and Panavision (rentals only, and on the lower end, by Rokinon & Co.
Are you really comparing a Rokinon 14mm, which is actually a converted still camera lens, to a proper Canon Cine lens that's designed to resolive 4K?
As far a Cooke and Angenieux, you are aware that the cheapest Cooke lens is $8000 and the least expensive Angenieux lens is a whopping $20,000, aren't you? So how do you figure it's a "Canon Name Surcharge" when their Cine lens prices are in line with other lenses like the Zeiss Compact Primes or dramatically less expensive than either Cooke or Angenieux Cine lenses?
Yes, I am comparing lenses to lenses.
In similarly priced cinema category lenses, these new Canon primes and zooms MUST BE COMPARED to such well established brand of high-end cinema glasses as Cooke, Carl Zeiss, Angeniux, Panavision, even Fujinon.
If Iw as tor ent a Canon EOS C300 or C500 camera from a rental house, the only reason I would rent Canon EOS Cinema lenses with it would be if the Canon lenses would be at least 20% cheaper out the door than these other, established makes.
Now, for the general readership of DP review (photographers and budding videographers), the Canon should be compared to the Rokinons and other cheap lenses to show what else one can get for a fraction of the cost than what Canon is selling their fancy new lenses for.
BTW, are you suggesting that a Rokinon lens, or in fact any other modern lens covering full-frame 135 sensor, will NOT resolve for 4K video? How come?
"As far a Cooke and Angenieux, you are aware that the cheapest Cooke lens is $8000 and the least expensive Angenieux lens is a whopping $20,000, aren't you?"
Okay. You can still get a brand spanking new Cooke prime lens from ZGC in New Jersey for under $6,000, last I checked. For primes, word out there is that the Cookes of U.K. are probably the best optics out there, bar none.
As for Angenieux, these days they only make ZOOM LENSES, so it might be better to compare them to the $48,000 Canon EOS Cinema zoom, for example.
The problem for Canon is, they obviously cannot or will not compete on price, so their new EOS Cinema lenses must be indisputably higher quality than any of the other name brand, highly reputable, entrenched lenses are for the cinema and digital cinema cameras. That is one tall order to accomplish, I would think.
What does "T" mean? As in T3.1 and T2.2. Is this Cine-speak for "F"?
More or less. It used to be rather useful back in the day of rather inefficient lens designs, when there was really a perceivable difference in a lens's performance when measured in F versus T. But those days are gone now. The better handheld light meters let you read off aperture in both F and T. Besides, with 12 to 14 F-stops of dynamic range, most DPs really do not fret over setting aperture 1/3rd F-stop above or below.
Wrong again. T-stops are f-stops adjusted for light transmission efficiency. F-stop is mostly a mathematical concept. T-stop is what happens in real life. The latter always was and still is extremely important in cinematography.
The reason is in consistency in output needed since (1)film consists of many "pieces" and (2) the nature of filmmaking where pieces/clips originate from different cameras, locations, light conditions, often shot by people who may not even know each other. Efficiecy of modern lenses not enough to use Fs
Because of this, cine lens designers try to facilitate production and post-production. It relates to both, optical and mechanical aspects. Example:you may have noticed the diameter (and not only) of new lenses is the same and consistent with previously released lenses by Canon. Otherwise, it would be a nightmare to change lenses connected to matte box, follow focus, etc. It is very difficult to design lenses following such strict requirements. Costs go up.
T-stop of F-stop, makes not much difference on an actual shooting set. The T-stop of every F-stop lens can be easily calculated with a simple test.
"Efficiecy of modern lenses not enough to use Fs."
Quick, someone tell this important news to Canon, since the vast majority of their lenses are spec'd in F-stops, not in T-stops, correct? Lazy, lazy Canon-san....
I'm always disappointed when Canon doesn't release products in the category I am interested in but I also understand that Canon has to throw the five companies in the world using Canon Cinema products a bone once in a while.
Hrrgh. Hrrrrghhhhhh. Hnnnnnnnhhhhh. Splat!
very good for movie making, solid, precise focusing and follow focus ready, precise markings on the barrel, don't complain about price guys, this is not for the sunday photographers... it is a high end lens for digital cinematography, and most of the user will rent them, the price is good.
Hocus-pocus for movie making, you mean?
Look at the focus ring, for example,. A total joke with like 50 witness markings, what the heck for? You had to set focus using these witness marks back in the era of FILM cameras, and only because the OVF was so dark, you could not really see whether the subject was in focus by using the viewfinder. So, you had to measure the distance by tape from film plane to subject, and set the distance using the witness marks.
Not so today, when there are no more film cameras being made, and when in the digital world people can set sharp focus in a multitude of ways -- none of which would include relying on nothing but these old-school witness marks.
With a single focal lens mounted on a digital camera.... and provided you know what you are doing.... you do not need any of these fancy white and yellow witness marks with which Canon deemed to populate their "cine" lenses.
AF works well with photo. With video it does not work this way. There are situations when AF is needed, for example in ENG when you deal with events and cinematigraphic qualities of your footage are not a major concern.
Usually, in filmmaking, you never use AF because of the moving nature of everything you deal with. Only humans are capable of deciding what and how should be in focus. Focus pulling is usually performed by an assistant. Scenes are staged so that focus is set exactly how it's needed.
All sorts of aids are used. And yes, tape is still used with digital cameras as well as all sorts of markings including precise and calibrated markings on lenses and often, in addition, manual markings on follow focus rings so that when the actual scene is shot, you already know how to pull the focus. Even marks on the ground. Canon cine lenses are very high quality - watch this http://vimeo.com/56357604 to see how some of them compare with L lens - you may be surprised.
in video, speed of focus is not the same concept as in stills, where the faster the better rules.
You may want to focus at a precise speed, in sync with the actors and the punch lines. AF just doesn't won't for that.
Then, there is the issue of AF hunting. You don't really want to show that in video. well, It happens all the time on youtube, but seriously, you don't want to do that..
That said, with cropping and smooth transitions, you can get away with AF in many situations. Say, you are shooting a wildlife documentary with several cameras on different angle catching a fight of some sort. You might get like an hour of video to choose from for maybe 3 minutes of footage. AF hunting is easily cropped away and not really a problem here.
But trust me, on a movie sets, manual focus is extremely common practice.
@ ikinone: I was talking about MANUAL FOCUSING, since the lenses featured here do not do auto focusing. Most cinema-bred DPs are not friends of AF. Anyhow, for MANUAL FOCUSING you've got histograms and zebra patterns and instant zoom-ins and all sorts of peaking assistance techniques, not to mention just using a larger, high-rez monitor attached via SDI or HDMI and pull focus by looking at the image on that. You can see exactly when something is in focus that way. Day and night from the old film cameras with their rather dark optical VFs.
@ silyn: You are right, however, when you use dry erase markings on a follow focus disc for your in and out focus points, you do not usually correlate these with what is on the lens' focus ring witness marks, at least not during the actual take.
@ julieng: Since I never used AF for film/video in my life, I am not at all a proponent of autofocusing. For news events, the old trick is set distance at app. 2.5 meters, iris at F8, and just shoot.
awesome in vimeo link these cinema lenses have the higher contrast not unlike zeiss but still that creamy look of canon top notch also see this http://vimeo.com/55985070 canon zeiss compare
I can see you have never pulled focus on a film.
Focus pullers are frequently asked to focus for splits to carry focus between two people or things in the same shot. The working T stop might be T2.8 for all interior shots. If you know the near and far depth of field, to get both things in focus you have to set the distance mark somewhere in between the two items.
AF doesn't work because there is nothing to actually put an AF sensor on. You need accurate witness marks on the lens so you know where you are at in relation to the splits.
One of my friends once did a 7-minute take on a TV series with the camera on a dolly and the cast and camera in motion for the whole things. He needed 29 focus measurements to make all his splits along the way. He wrote them on tape and used the witness marks on the lens.
At T 4, everything would carry in focus, but neither the DP or director would go there. The look of their show was T2 and that was it.
Great shots and films require discipline.
We were doing a big tracking shot in a nightclub. A crowd is at a bar and the whole back wall is a mirror. The camera starts wide and tracks in, coupled with a zoom in, to end up on a head and shoulders of two people at the bar, as a second person walks into the shot.
The focus gets closer as the camera moves/zooms into the bar, and then reverses into the mirror to focus on the reflection of the other cast member walking in. The shot goes from 90' to 6' and every point in between, several times, timed to the dialogue and the person at the bar spotting the person in the crowd. The camera and cast are in motion. We had tape beside the track for distance to the bar, plus set dressing on the floor at pre-set distances in case the walking cast member changed their speed in relation to the dolly (they did).
You think four witness marks on some rinky dink DSLR lens is going to get you through that one?
@ Steven: Most of the stuff on TV today is not really all that good, so the general viewing public certainly would not give a flying hoot about T2 versus F2 and T4 versus F4.
As a focus puller, you either operate the wireless follow-focus transmitter, or else you are going to be marking up stuff in different color pens on the FF ring.
Checking all the distances using the witness marks on the focus ring made more sense in the old days, when you could really not pull proper focus through an optical VF. These days, with digital cameras and focus peaking methods and amazing external LCD/OLED screens, that is less of an issue.
Regarding the bar shot you are describing, it is sounds so over-complicated that probably even a Cooke prime with tons of metric and Imperial witness marks would not be much help. :-)
A lens is a lens.... now, the manufacturer like Canon may affix to the model name something fancy and smart-sounding, like "Cinema," but still... a lens is a lens. These would be interesting; although certainly not unusual single focal lenses if sold for around $1,000, well $1,500 maximum, but at the crazy prices alluded to in the press release, i.e. OVER FIVE THOUSAND DOLLARS (!!!), you won't see many camera stores stocking up on them, will you now? Well, maybe in Riyadh and Zurich.
I have to disagree. From optical design you may be right and canon is reusing that. However, these lenses require a whole new set of assembly machining, etc. For a large company like canon these costs add up quickly and are passed on into the lens. Since they have limited quantity the portion of that additional cost is high compared to mass market lenses. This is not to say canon is not making a profit on these and they are pricing their lens lines based on the competitors , but this is a simple economics. And you're right your local camera store is not the market for these products and neither are you
I seriously doubt that Cooke of the U.K., Angenieux of France, and Carl Zeiss of Germany would as much as consider Canon a "competitor" when it comes to high-end cinema-class lenses.
Canon used to make some 16mm zooms in the past, but they never made anything for 35mm film cameras and Super 35 sensor digital film cameras AFAIK. AT the moment they are the odd man out, since their prices are neck to neck with those of the previously mentioned 3 mainline cine-lens makers. Breaking into Hollywood is not that easy, people. It took Sony over 20 years.
I disagree, lenses for cinema have different requirements. Just to name one which is completely irrelevant for photography, the angular magnification must be constant across the focusing range. Then, being aimed at a niche market, even if, technically speaking, there was no reason to make them more expensive, the market rules dictates their price.
@ RPJG: What is great about Angenieux is that they make the world's highest quality cine ZOOM lenses today. At least as good as what Zeiss makes by way of zooms. Of course, back in the early 1960s Angenieux already had a constant T2.8 15-150mm zoom lens for film cameras. Thus, they are not the upstart in 33/S35 cinema lenses that Canon is.
With respect to single focals, I doubt you can mention a COOKE prime in the same sentence as a CANON prime, such as these two being introduced. Oh, and RPJG: why can't you just leave your unabashed love of all things Canon at the door?
@ JorgeLima: a lens merely has one function: to collect light and throw a recordable, in-focus image on a frame or film or digital sensor. End of story.
"the angular magnification must be constant across the focusing range."
No clue what you are talking about, JorgeLima. But you know these Canon lenses are simple single focals, right?
@ Chris Age 59: All lenses "breathe." Some more than others, Come on, can't you live with it, really?
The rest of the professional Canon cine-lens defenders -- probably the ones who are not really going to be stocking up really good on these newfangled Canon cine lenses, primes,and zooms, I would venture to guess. Right?
And Canon continous to fullfill little movie-makers dreams .... But does not bring competitive products for the stills photographer since long.
Looking good, hope we see a few more good lenses from Canon, an update to 300 F4, 100-400 and 400 f5.6 would be most welcomed.
I laugh at all the whining about cine lenses and the prices. Since the 5D2 came out everybody thinks they're the next Spielberg. 99% of the people complaining about the price of cine lenses have never even touched one, let alone know anything about film making.
A cine lens is a lens, nonetheless. There are proper cine lenses being made today, that is true -- by the British company COOKE, by the French company ANGENIEUX, and even by the german outfit CARL ZEISS. The way Canon is trying to jump into the cine-glass game, however, is primarily by naming their lenses "Cinema-this" or "Cinema-that." Canon cinema glass is painfully short on pedigree as of now.
Haha... pedigree is irrelevant, what matters is quality, price, being fit-for-purposes etc.
Why on earth would anyone get upset about a competent new competitor in any class of products? Even if they're not the best, the competition can only help.
Please take your pointless whining elsewhere.
@ RPJG: You obviously adore Canon so much, you have no ground left for being even semi-objective.
Okay, so do you know of ANYONE who bought one of these newfangled Canon "Cinema" primes or zooms? If not, I suggest you talk to someone at Abel Cine Tech or some other reputable vendor peddling these Canon glasses, and discreetly inquire as t how they are selling, okay?
Rental houses are already well stocked with Cooke, Zeiss, and Angenieuex optics, not to even mention Panavision, so why do you suppose they would need to buy these Canons as well?
Re. quality, are you seriously saying that one of these Canon primes is going to be delivering HIGHER optical quality than let's say a corresponding Cooke prime lens would. How so?
I agree with the "fit for purpose" part, though -- if the lens has an Arri positive Locking PL-mount, it is fit to be fitted on any PL-mount camera.
Comprehension is clearly not your strong point, Francis. And it's interesting that you take my comments as being pro-Canon (which they aren't), when all I am doing is pointing out your repetitive and boring Canon-bashing - which is even worse when your comments make it clear that you don't even understand some of the reasons cine lenses aren't the same as film lenses.
It's not "the question", it's "a question" and a fairly unimporatnt one at that.
Since my Canon 50mm prime lens died I'm done with Canon. A $380 prime lens should not die before the camera dies. Never again will I buy Canon camera equipment, and I most certainly won't spend $5000 for a prime.
My $400 50mm is 7 years old and counting....
Besides, do you honestly think this $5000 cine prime is even remotely in the same universe for build quality?? Dude, look at the pics of these lenses...they look awesome.
Yeah, nothing that costs over $100 should ever break down. Do you own a car? Just curious.
The ef50/1.4 is notorious for its micromotor af breaking down, and it is a shame. But, optically it is an excellent lens well worth the money, and canon have fixed the af on mine (twice) for just over $100. Considering the use i gave it, not so bad.
Really has no bearing whatsoever on these new lenses, and we may even see a replacement to the venerable old 50 announced any day--i will be curious to see if they introduce something as useful as the new 35/2is in this focal lenght.
I love it how the global optical glass experts here decided early on that these two mis-priced Canon "Cinema" lenses must be really, really something... if for nothing else, then because they look so cool, Dude!
Might as well consider their looks, since none of us know whether they're any good as lenses, or likely ever will. They are untested products that may or may not be worth what Canon is asking. I'm sure Canon has their reasons for moving into this market, not the least of which is the potential profit.
For film and television production the prices of these lenses are a non-issue. My wife does motion graphic design for film and television and these production companies spend money like it falls from the sky...
Retzius, since the majority of television reality shows are shot with 1/3-inch sensor camcorders having a fixed zoom lens on them, I guess your wife must have been working on "The Hobbit" with Mr. Jackson, correct? With Messrs. Spielberg or Cameron, perhaps?
Wow, everyone: let's buy a whole bunch of these designer lenses from Canon because they LOOK SO COOL. Oh yeah, Dudes and Dudettes!
These lenses all have CCCCC. Canon's continuing commitment to cinema culture. Fot the level of consistency and number produced, prices seem reasonable.
These are very well made lenses, but in addition to the actual production costs (materials, labor, quality control), you also pay for the R&D costs, which are spread over the number of units produced.
These lenses are intended for a rather small market, and therefore Canon doesn't produce that many of them; hence the high prices. A lower price wouldn't increase sales significantly, like it would with regular consumer products.
@ Revenant: that is Canon's problem, not ours. For what they are offering, a fair price for one of these -- certainly for the 14mm -- would be around $1,000, well $1,500, tops. But $5,500 and $5,200? Nay....forgetaboutit, Canon. You never gonna make it big in Hollywood this way.
Canon, show some love to those poor photographers please. Lately, all we see are overpriced Canon lenses. I am not talking about these purpose built lenses, dpreview doesn't need to cover these lenses in the first place. I am talking about a $850 35mm IS F2, a $650 28mm IS F2.8 or 24mm IS F2.8. Is $600+ is the new standard of affordable? And $1K+ is the starting point for decent glass?
Be happy you're not shooting Leica...then you would know what expensive is.
As for overpriced....if Canon is selling the lenses for these prices then they are not overpriced...you just can't afford them.
But the question is... *is* Canon actually selling them? Dpreview is a self-selected subset of enthusiasts where the paucity of 24/28 IS photo samples (or interest) is telling. Unless these are being snapped up as kit-lens supplements by the masses...
Canon is NOT selling their "Cinema" cameras and "Cinema" lenses in spades. I mean, for prices that Canon is demanding, one can actually get a real cinema lens from Cooke, Angenieux, or C. Zeiss. Just ask someone you know personally who works at Abel Cine Tech in Burbank (or New York City).
Carping about the price by comparing them with any other still lenses is pointless. These are purpose-designed and built lenses for cine applications.
The total production run of any of these lenses is exceeded by the daily production of any of Canon's kit lenses.
These are used by people whose business is making motion pictures that even with the most frugal of budgets exceeds 5 figures.
These lenses are to hobbyist lenses what a 64" Epson is to your all-in one desktop.
The Canon "Cinema" lenses are really just hobbyist lenses. Don't let the Canon racketeering pricing scheme fool you. If you want REAL cinema glass -- you need to look over the line-up offered by Cooke, Angenieux and Carl Zeiss (in declining order of overall quality and performance-for-price).
Blah blah blah. May I inquire how you got to this conclusion?
These lenses were announced today and were never tested against any of the competition.
Anyone can speculate with the same certainty that these lenses are much better than Cooke.
"... to meet high optical performance levels, including 4K (4096 x 2160) production standards."
Which Canon camera currently shoots 4K video? I suppose $5k for a 4k lens is not much, if one has $15k to buy a 4k display too. Really, high-spec / low volume articles must be priced rather rich to be worth the trouble to make. There is no advantage in price-cutting if the commercial market is very select and the production budgets are all seven figures and up.
Canon does not have ANYTHING at the moment that would shoot 4K resolution video. They MIGHT have something down the line, however. Red, Panavision, Sony, Vision Research, etc. all have existing cameras that shoot 4K rez video. Regarding a lens being good enough for 4K video... well, if the lens is good enough for shooting 8.8MP still, then the same lens is definitely plenty good enough for 4K video, since 4K video = 8.8MP video.
No "4K cameras" from Canon yet, sorry, sily. But I assume you have both, and are shooting in glorious 4K with both, right?
Also, please do not confuse "4K capable" and "4K ready" cameras with actual "4K resolution" cameras, such as those made by Red, Sony, and Vision Research.
(1) EOS 1D C can even "capture 4K (4096 x 2160), 24p (23.976) content directly to its on-board CF memory cards." Call it any way you want.
(2) Comparing Canon's 4K cameras to what other manufactures offer in this area is a different story. Switching topic? Have nothing more to add?
sooo Francis does that mean a camera that shoots 4K uncompressed RAW and records 4K internally via compression onto CF cards is indeed according to the world of Francis Carver .. not 4K .. but some other form because heaven forbid canon actually has out in production already a while ago .. 4K cameras?
byt, why these Cine primes so expensive?
The focus breathing aspect is a bit of a red herring these days; most recent lenses are internal (rear) focus and change focal length in order to achieve focus. Yes, you can still find unit-focus lenses in the wild, but they're older designs. (When was the last time you needed to recompose after focusing, then focus after recomposing, and so on until you reached a good compromise? That sort of thing was just par for the course when I was a youngster, and with macro-ish shots, it meant some pretty substantial changes.) Cine lenses have actually been behind the curve at this, so to speak—you don't have to go back too far in time to find a world of nothing but unit focus. The real differences are mostly mechanical—tighter helicoids, better-calibrated witness marks, and so forth—that make focus pulling and take-to-take exposure consistency easier. Using a cine lens for stills is just as annoying as using a stills lens for cine.
You have to give a "B" to Canon for trying to break into the cinema business and break down the gates of Hollywood. They will find it a mighty tough going indeed. It took Sony 20+ years and billions in losses to get to where they are now in Hollywood.
Roll in the overpriced brigade in 3, 2, 1....
Hope this Canon addition will bring pressure on Zeiss and others to bring down the unattainable price of these cinema lenses, even if a smidgeon :)
Compared to some of the Cooke and Carl Zeiss lenses, these Canon jobs are a tad overpriced. Particularly considering their total lack of track record in this finicky cinematic area. I mean, Canon even has some "Cinema" zoom lenses now that they are trying to peddle for almost USD $50,000, for cripe's sake! For a CANON lens, come on, people....
You can buy all of these from Abel Cine Tech. I am just not sure if anyone does, actually.
@ MarkinSF: the gizmo industry in counting on folks with just this attitude. Still, that dopes not mean that too many folks and rental houses are actually BUYING these Canon lenses. What for, when they are already well stocked with Cooke, Angenieux, and C. Zeiss glass?
Unfortunately, if you just pick up the phone and call Abel Cine or Band Pro or B&H and ask them outright how many of one of these Canon "Cinema" lenses have they really, truly sold.... they probably would not tell you, what do you think?
I can see some Canon DSLR shooters might want to get them, though.
Amazing how people that don't have much experience can sit and slam something they don't understand. Canon has been involved in the professional television broadcast industry for decades (established 1958). They have been making very expensive glass for TV cameras since then. Most of their lenses start at $10K and go up well past $100K. Their primary competitor has been Fujinon, who took the jump into cine lenses quite some time ago and offers a very similar range and pricing. This is not some jump into an unknown world for Canon. The vast majority of TV programming today is often shot with Canon glass. Oddly enough, only the remote control lenses offer any kind of auto-focus option.
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from Cold
It's been twenty years since Jeff Keller founded the Digital Camera Resource Page, one of the first websites dedicated to digital photography. Jeff, who has been at DPReview for nearly five years, looks back at the rise and fall of consumer digital cameras and his website.
We're counting down our top 10 most popular sample galleries of 2017. At #2 we have another staff favorite – the Sony Alpha a9.
Rotolight has released the Anova Pro 2 circular LED for stills and video, boasting a 70% increase in brightness and what the company describes as "unrivaled battery performance."
Designer Vinicius Araújo has imagined what he believes the perfect Adobe software keyboard might look like. From customizable touch pads, to a scroll wheel, to a little display that shows the tool in use, his design is pretty compelling.
Peak Design has teamed up with Leica to release a limited-edition backpack made special for fans of the Red Dot.
A portrait of an android woman has beaten over 5,700 pictures of humans to take third place in this year's prestigious Taylor Wessing Portrait Prize. The judges were not told the subject was an 'android' until after the winning images were chosen.
Hauling around C-Stands just got a whole lot less annoying thanks to these new Matthews shoulder and roller bags, which can hold two or three C-stand (respectively) plus accessories.
Neal Preston has shot timeless photos of everyone from Led Zeppelin, to Whitney Houston, to Michael Jackson. In this interview, he offers insights into his craft to up-and-comer Elijah Dominique.
Future prosumer Canon DSLRs might feature light-up buttons, if this newly published patent is any indication of the camera company's plans.
Sony's a7R Mark III shoots 42.4MP files at 10fps and incorporates a robust video feature set, large battery, refined ergonomics and more. It certainly looks impressive, but what is it like to use, and how does it stack up against the rest of the market? Find out in our full review.
We're counting down our top 10 most popular sample galleries of 2017 – the Fujifilm X100F takes the bronze and the #3 spot.
There's never been a better time to shop for a new camera, but the number of options available can be overwhelming. In this series of buying guides we've provided customized recommendations for several use cases, from shooting landscapes to buying a first camera for a student photographer.
Shopping for a camera with a set budget? No problem! We've rounded up our favorite cameras, broken them into price brackets and picked the best of the bunch.
Looking for a lightweight compact camera that's easy to bring with you anywhere? Or maybe you're smartphone-shopping and want the one that takes the best picture. And what if you want to shoot from above? In these buyers guides we have recommendations for the best compact cameras, smartphones and drones.
Despite reports to the contrary, analysis of DPReview images by our friend Jim Kasson confirms a disappointing fact: Sony a7R III is still a Star Eater. But there may be some improvements.
As the saying goes: A photo is worth a thousand words. And if you're sending that photo through Facebook Messenger, your thousand words now look twice as nice after today's update to 4K resolution.
Get to know the new Leica CL in short order by giving our 90 second 'First look' video a watch.
Leica has just released the CL, the forth in its series of APS-C L-mount cameras. Despite sharing a name with a camera released in the mid-70s, the new CL is a thoroughly modern ILC, with a 24MP sensor and built-in electronic viewfinder.
The Leica CL is a 24MP rangefinder-style mirrorless camera, which sits alongside the TL2 in the company's APS-C lineup. We've been using one for a few days – check out our gallery of images.
While it shares a name with one of Leica's most popular and affordable cameras of the 1970s, the new CL is separated from its namesake by more than just years. We've been using one for a few days - click through for a detailed first-impressions report.
We're counting down our top 10 most popular sample galleries of 2017, and the #4 ranking goes to the Leica M10.
Sigma is discounting 13 different high-performance 'Art' series lenses from today until November 30th. The company is calling it an 'unprecedented' sale.
See DJI's 'AeroScope' drone-tracking technology in action. This is the system that DJI says can help law enforcement and airport (among others) track and identify rogue drones.
iPhone X owners can already accessorize their new phone with high-quality smartphone photography lenses courtesy of Moment's new lineup.
Considering buying Sigma's exciting new 16mm F1.4 DC DN Contemporary lens for crop-sensor E-Mount and M43? Check out these official full-res samples first!
Vimeo has just added support for 8K HDR 10-bit content, making it possible to show up to 75% of the colors the human eye can perceive vs the usual 35%. Take THAT YouTube.
The holidays are coming, but your gear isn't cutting it? It's time to treat yourself!
We're counting down our top 10 most popular sample galleries of 2017, and sitting pretty at #5 is the Fujifilm X-T20.
See some of the most iconic black-and-white photographs throughout history brought to life by a community of colorization enthusiasts and professional retouchers in the new book Retrographic.
Shopping for a photographer? Whether you are one yourself or not, chances are you could use some ideas. From stocking stuffers on up, we've got some photography gift suggestions for every budget.


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note the crawler tracks no one was around when i got this picture so i have no information on this plow with the Vplow and two wing plows it look too clear a 20 foot wide path and look to take a 3 man crew to run any body got more info? enjoy

subset: commoncrawl


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Sedro-woolley Private Schools
The 50States Sedro-woolley private school directory. Find Sedro-woolley, Washington private school addresses, phone numbers and other private school info.
Go To: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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|low graphics version | feedback | help
|You are in: UK: Scotland
Wednesday, 31 January, 2001, 07:37 GMT
Budget studied for elderly care cash
Ministers have begun to scrutinise the Scottish Executive's spending plans in an effort to find the cash for care of the elderly and other key initiatives.
The aim is to squeeze every available penny from the budget, but the Scottish National Party has complained the idea has been lifted from them.
Finance minister Angus Mackay chaired the cabinet's new working group on spending.
It is hoped the review will fund the planned new care package for the elderly, but Mr Mackay stressed this initiative goes far beyond that.
SNP leaders claim a similar proposal from them was previously derided by Labour and that it is a symptom of Executive fears over cash promises.
But Angus Mackay said that was nonsense, and that the new working group will become a standing part of the machinery of government in Scotland.
A spokesman for Henry McLeish denied rumours of a rift in the Cabinet over the elderly care issue following reports that health minister Susan Deacon is unhappy at the Executive's concession on Sutherland.
The spokesman repeated Mr McLeish's commitment to finding a way of delivering free personal care for the elderly.
See also:
30 Jan 01 | Scotland
Liddell denies elderly care rift
29 Jan 01 | Scotland
McLeish tackles care questions
25 Jan 01 | Scotland
Labour caves in over OAP care
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Hey he saved a kids life.
Hey he saved a kids life.
oh yeah TOs agent right? i heard of about that
yeah TO and like a hundered other football playersOriginally Posted by JJtheKnick
for anyone who doesnt know, he did CPR on a kid who was drowning... when he was taken to the hospital docotrs said it was thanks to the CPR.. wel done


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Susan Peppers
Susan Peppers, 64, Mt. Pleasant, died Saturday, Nov. 9, 2013, at the Henry County Health Center.
According to her wishes the body has been cremated. Online condolences may be directed to www.olsonpowell.com.
Born April 8, 1949, in Columbus Junction, she was the daughter of Leland and Leona (Stapp) Wheeler. She graduated from Columbus Junction High School in 1967. She married Richard Hahn on Nov. 11, 1968, and the couple later divorced. On Jan. 20, 1978, she married Paul D. Peppers.
She worked at Lomont Molding for over 30 years. She started working on the production line, and later became a supervisor. She had also worked as a teacher at Head Start and as a bartender at Westside Tap.
She enjoyed doing needlepoint, painting ceramics and going to flea markets. She loved tending to flowers and gardening. She especially enjoyed watching the Iowa Hawkeyes.
Survivors include her husband; two sons, Richard Hahn of Weslaco, Texas and Martin Hahn of Mt. Pleasant; a daughter, LaVonda Hahn of Mt. Pleasant; a step-daughter, Patricia Wells of Burlington; a brother, Mike Wheeler, of Washington; three sisters, Nina Calvelage of Lakeville, Minn., Rita Grimm of Washington and Sherry Holmes of Broken Arrow, Okla.; seven grandchildren; and five great-grandchildren.
Preceding her in death are her parents; a step-son, Steven Dale Peppers; and a brother, Jerry Wheeler.


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Current Newswire:
Kismet -- An 802.11 wireless network detector, sniffer, and intrusion detection sSep 07, 2009, 03:02 (0 Talkback[s])
WEBINAR: On-Demand
No-Size-Fits-All! An Application-Down Approach for Your Cloud Transformation REGISTER >
[ Thanks to david for this link. ]
"Can make use of sox and festival to play audio alarms for network events and speak out network summary on discovery. Optionally works with gpsd to map scanning. Kismet identifies networks by passively collecting packets and detecting standard named networks, detecting (and given time, decloaking) hidden networks, and infering the presence of nonbeaconing networks via data traffic."
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Twelve persons associated with the Academy of Richmond County will be inducted in October as the inaugural class of its hall of fame.
The 12, chosen from about 50 nominees, range from a Civil War general to an Olympic track star.
Bennie Ward, a physics professor at Baylor University in Texas, said he was honored to be included in the initial hall of fame class, drawn from a group of alumni that dates back to the late 1700s.
"It shows the tremendous contribution that the academy has made to the community and the world in a more general context," he said.
Ward, originally of Millen, was one of
the first black students allowed to attend the desegregated academy in 1966. He said the prejudice he encountered there steeled him for the resistance he would encounter throughout his career in physics.
Near-perfect grades and a strong letter of recommendation from his advanced chemistry teacher landed him at the Massachusetts Institute of Technology, where he earned two degrees in mathematics and physics. He later earned a doctorate at Princeton and began teaching at the University of Tennessee.
Ward said he met resistance throughout his career because he was often the first black man to hold his positions. But he had already learned at Richmond Academy how to prove his worth through diligence and hard work.
"It was an incredibly lucky event that allowed me to participate (at Richmond Academy)," Ward said.
Three coaches will go into in the hall of fame: former Georgia football player and Auburn coach Pat Dye, who is in the NCAA College Hall of Fame; Frank Inman, a former Marine who held several positions at the University of Georgia; and A.L. Williams, who won seven straight state baseball championships for Richmond Academy.
Also in the athletics division is track legend Forrest "Spec" Towns, who took Olympic gold in Berlin in 1936 for the 110-meter high hurdles, the first Georgian to win a gold medal.
Two war heroes are on the list: Lt. Col. Jimmie Dyess, a Marine who received a posthumous Medal of Honor for his actions in the South Pacific during World War II, and Confederate Gen. James Longstreet, the principal subordinate to Gen. Robert E. Lee.
Also being inducted is Joseph R. Lamar, who wrote more than 200 opinions for the Georgia Supreme Court from 1901-05 and later was an associate justice on the U.S. Supreme Court.
The remaining living honorees are Judy Woodruff, a TV news reporter currently on PBS' NewsHour; former Georgia Gov. Carl Sanders; and 11th Circuit Court of Appeals Judge Frank Hull.
Also being inducted is the late Jacqueline Marshall, a longtime English teacher at the academy whose "knowledge and compassion for her students mixed with the academic rigor made her a great and unforgettable teacher," according to a biography provided by the school.
Portraits of the inductees will be unveiled at a banquet Oct. 4 at Enterprise Mill. They will later hang in the school's media center.


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Seal of the Sephiroth Necklace
From the ancient, Judaic mystical Kabbala, are recited the names of the five elemental rulers (Ariel, Kerub, Seraph, Tharsis and Avir), of the Sephiroth, the attributes from which Yahweh created all things. (With double thong fitting fastener). By Gothic Alchemy.
Seal of the Sephiroth Necklace
- Red Enamel
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text: Well anyway, as you can see, I'm back. Mainly because I have questions > that I need answers for... glad you're back. =) This mailing list is the only place I know of that is > inhabited by people who actually think Haskell is something worth > persuing. don't forget about the IRC channel! -Brent -------------- next part -------------- An HTML attachment was scrubbed... URL: http://www.haskell.org/pipermail/haskell-cafe/attachments/20071017/092383a0/attachment.htm


text: An interesting Jewish perspective on the Farm Bill is through the lens of another agricultural cycle, Shmita. Shmita and other mitzvot teach us about Jewish values and connect to various aspects of the Farm Bill. The below Torah portions are two examples of how to make these ties and what questions arise when doing so.


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$10,650 CARFAX Value
No Accident or
Damage Reported
No accident or damage reported to CARFAX
CARFAX 1-Owner
Purchased on 08/16/03 and owned in MN until 09/15/17.
Personal Use
Driven an estimated 5,725 miles/year.
Service History
Last serviced in Prior Lake, MN on 10/05/17 • Maintenance inspection completed • Engine/powertrain computer/module checked, Wiper(s) replaced, Serpentine belt replaced, Drive belt(s) replaced, Oil and filter changed, Lights checked, Radiator hose clamp replaced, A/C refrigerant recharged, A/C system flushed, License plate light bulb(s) replaced, Fluids checked


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Build Log
** The Blu-Hurri ** - 1/10 Park Scale Hawker Hurricane
"What General Weygand called the Battle of France is over. I expect that the Battle of Britain is about to begin. Upon this battle depends the survival of Christian civilization. upon it depends our own British life and the long continuity of our institutions and our Empire. The whole fury and might of the enemy must very soon be turned on us now. Hitler knows that he will have to break us in this island or lose the war. If we can stand up to him, all Europe may be free and the life of the world may move forward into broad, sunlit uplands. But if we fail, then the whole world, including the United States, including all that we have known and cared for, will sink into the abyss of a new Dark Age, made more sinister, and perhaps more protracted, by the lights of perverted science. Let us therefore brace ourselves to our duties, and so bear ourselves that, if the British Empire and its Commonwealth last for a thousand years, men will say, "This was their finest hour." Winston Churchill
"Never in the field of human conflict
was so much owed by so many to so few."
In 1940, the fate of the whole free world was being decided over the skies of Great Britain. The awesome power of the German Luftwaffe was being directed against the airfields and cities of England in an attempt to force Britain to its knees as a final prelude to invasion. If Britain fell, the fate of the free world was in grave peril.
Against the Me-109s, Me-110s and the Stuka, Heinkel and Dornier bombers stood a small group of determined heroes, the pilots of the Royal Air Force. Made up of mostly Brits, they were joined by volunteers from Canada and the United States to defend the shores of Britain from Adolph Hitlers war machine.
They flew a variety of aircraft from the horribly outdated Gloster Gladiator to the super sexy Supermarine Spitfire, one of the finest fighters ever made. But the lions share of the work fell to a fighter that was far more evolutionary than revolutionary, the Hawker Hurricane.
The Hurricane was the last development in a series of British fighters, a design based on experience, not breakthroughs in aerodynamic engineering. She was powered by the superb Rolls-Royce Merlin engine and was the first RAF fighter to break 300 mph (328mph). The Hurricanes armament consisted of eight Browning .303 caliber machine guns. 1,715 Hurricanes flew during the Battle of Britain and Hurricane Squadrons and accounted for 80% of the enemy aircraft downed. Hurricanes normally attacked the bomber fleets while the faster Spitfires flew shotgun against the ever-present Me-109 fighters.
One of the many squadrons involved in the Battle of Britain was 242 Squadron. Led by the incredible fighter ace, Douglas Bader (one of my personal heroes) 242 was manned by Canadian volunteers. Beaten up and demoralized from the Dunkirk melee, Bader procured aircraft, parts and supplies for 242 and led the squadron into history as one of the highest scoring units in the Battle of Britain.
To quote for canadianflight.org, 242 Squadron, comprised primarily of Canadians, was Douglas Bader's first command. Having suffered heavy losses in the disastrous Battle of France, the tough Canadians re-equipped with new Hawker Hurricanes, re-organized under their energetic new leader and became well known for their fierce efficiency.
On August 30, 1940, following hard fighting, S/L Bader tucked in alongside his wingman, "Willie" McKnight as they returned to base. The exuberant Bader held up two fingers indicating his two victories. The Canadian flashed back three indicating a "Hat Trick". Bader was elated. The squadron that day claimed a total of 12 enemy A/C destroyed without loss to themselves. The tide of the battle was turning.
To be promoted to Squadron Leader and be assigned to your very first squadron is a major event in an officer's career. When Douglas Bader received his order to assume command of the only "All Canadian" squadron in the R.A.F., he couldn't wait to get to their base at Coltishall! Winston Churchill's prediction "The Battle for Britain is about to begin" was coming true and 242 Squadron needed spares, equipment and more training if it was to become "operational" again. He led by example and they responded with enthusiasm. The quiet, keen-eyed Willie McKnight from Calgary became a leading ace with over 16 victories and the D.F.C. and Bar before his death on a raid over France shortly after the "Battle".
Bader himself was shot down over France during a raid in 1941 leading the Tangmere Wing with 22 enemy aircraft to his official credit. He survived 4 years as a P.O.W., was awarded a knighthood and inspired scores of amputees with his attitude, (he had lost both legs in a pre-war flying accident) successful post war career, and his driving spirit. He died in 1982.
It is to the memory of Douglas Bader and the men of 242 Squadron that this aircraft is dedicated.
The Blu-Hurri is a 1/10 scale foamie park flyer with a wingspan of 48. It is designed to fly on the commonly available BP21 motor and will accommodate larger motors at the builders discretion. It uses the tough but light monobloc construction pioneered in the Blu-Baby aircraft and used very successfully in many other designs. It utilizes the excellent KFm3 airfoil for great flying qualities and ease of construction. It is a four channel aircraft. Included in this post are the correct squadron markings for Douglas Baders aircraft including the famous Kicking Hitlers Butt nose art.
The Blu-Hurri is aircraft #2 of the WWII series. More will follow. I would like to thank Bob (Foamenator) for the excellent work he did on the development of this models prototype and test flight. Thanks again Bob!
The Blu-Hurri is a simple, attractive model with great flight characteristics and an easy build. I hope you enjoy it.
Last edited by Tony65x55; Jan 28, 2008 at 06:21 AM.
Here She is... The Blu-Hurri
Tony... Thanks for the great introduction to a great plane. Here is an artist's rendition of the Douglas Bader Hurricane. I think you captured the spirit of this fine aircraft perfectly. I enjoyed building it and flying it. There couldn't be a sweeter plane to model... Thanks again for you work in creating this design for us. So for now... "Pilots man your planes". Bob
EDIT: Not going too crazy with this one since I'm running out of storage space and I know there are bigger planes in the series on the way. 110% minus the stupid print drivers reduction will give me just a 52" WS. That seems about right to shoot for an AUW around 30oz.
Last edited by tuppertn; Jan 27, 2008 at 09:16 PM.
The Blu- Hurri Maiden Flight
Well once again... my great plans for video have fallen through so I still owe you videos so I give Kendall advance approval to build this plane tonight and get us one of his fantastic videos.
I don't plan to do a step by step build log on this plane as it goes together just like the Mo-109, with a few changes which I will highlight. If you have any questions about the build please don't hesitate to ask and I will provide you with the info.
The Beta Blu-Hurri took to the air following my usual practice. First there was harrowing taxi tests up and down the street in front of my house. I call the tests harrowing because, I always go too fast and end up dodging parked cars, jumping curbs, and generally freaking myself out.
Results of taxi test... The Blu-Hurri is fast out of the blocks, and very controllable on the ground.
Tony and I had discussed a minor problem I was having getting the CG correct on the Hurri. In order to get where I needed to be, I had modified the monobloc to get the battery as far forward as possible. Tony made some modifications and the changes are reflected on the plans.
Here is the flight report I sent Tony at the conclusion of the maiden on Sunday January 20th. "Hi Tony.... Took the Blu-Hurri out for a short hop around the patch this morning. It was too windy and too cold to get much done, but the cg is good, maybe a tad nose heavy which I wanted. I figure using lighter batteries will make her more responsive which is a good thing to be used to change flight characteristics. I don't think my steerable tail wheel added much extra weight but I'm sure it contributed some to the tail heaviness. After my brief hop I think my initial impression is the Blu-Hurri is more solid and faster than the Mo109. I guess this isn't too surprising, after all it does weigh almost three oz. more and have a more powerful motor and battery." The first flight was totally boring other than seeing this magnificent aircraft fly.
The second flight was a little more adventurous as the weather was worse than the first flight. Due to conditions, I had to hand launch and as usual, I pranged the first toss. Other than that the flight was uneventful. Rolls, loops and low altitude passes are truly glorious. Big and smooth, just like I like them. This plane is truly stable. As was the first flight, this one was relatively short cumulating in a cute belly flop just short of a local mud hole.
As it flys now, the plane weighs (with landing gear) 23.8 oz. with a 1500 mah lipo, the motor is a Tower Pro 2409-12 with an EP9070 3 bladed prop. Paint was brushed on (too cold to airbrush) custom mixed latex from Lowes.
I'll post some other points of interest later. Please let me know if you have any specific questions.
Last edited by Foamenator; Jan 27, 2008 at 09:39 PM.
Another great airplane!!!
A wonderful introduction for one of the great airplanes of aviation history. A real tribute to those young men who saved us all from a real nightmare. These guys and their planes should never be forgotten. It would be a different world today without their sacrifices. Tony, you've done it again. I can't wait for the video.
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MATLAB and Simulink Based Books
Written for engineers, students, and researchers in applied sciences, Finite Element Method offers an in-depth presentation of the finite element method. The various stages necessary for the implementation of the method are clearly identified, with a chapter given to each one: approximation, construction of the integral forms, matrix organization, solution of the algebraic systems, and architecture of programs.
The final chapter lays the foundation for a general program written in MATLAB that can be used to solve problems that are linear or otherwise, stationary or transient, and related to applications stemming from structural mechanics, fluid mechanics, and heat transfer domains.
Gouri Dhatt, University of Technology of Compiègne
Emmanuel Lefrançois, University of Technology of Compiègne
Gilbert Touzot, Université Numérique Ingénierie et Technologie
John Wiley & Sons, Inc., 2012
Language: English


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You are welcome Sue, I like the lines too.
Another nice one, Advia. thanks. 3:20
Advia, the colors are vibrant and beautiful!
Thank you all for your comments, first it seemed the light gaps make the colors looking pale but I'm glad you liked it.
WOW, advia! I LOVE this one up close and personal. The pieces are delicious.
Great fun. I especially like that the color changes are not consistent. Thanks a lot for a interesting puzzle.
Wonderful--all the colors of the rainbow marching together!


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Introduction to MSSQL Server 2000 Analysis Services: Another Approach to Local Cube Design and Creation - Page 3
June 21, 2004
Starting with the Relational Data Source
Let's get started with defining the rowset upon which the cube will be based. We will keep the structure fairly simple to allow us to focus on design and creation concepts as we proceed.
1. Open a new Microsoft Excel ("Excel") worksheet.
2. Select Data from the top menu.
3. Select Import External Data from the dropdown menu.
4. Click New Database Query from the cascading menu, as shown in Illustration 1.
Click for larger image
MS Query is initialized, and the Choose Data Source dialog appears.
5. On the Database tab of the dialog (the default when the dialog appears), choose Microsoft Access Database.
We leave the Query Wizard enabled, via the default setting on the dialog - the checkbox - to assist in guiding us through the design process.
The Choose Data Source dialog appears, with our selection, as depicted in Illustration 2.
6. Click OK.
The Select Database dialog appears, along with a Connecting to Data Source progress dialog, as shown in Illustration 3.
7. Find and select the FoodMart 2000 Access database (FoodMart 2000.mdb), which is typically installed in the Samples folder of the Microsoft Analysis Services directory under Program Files on the drive upon which the Typical installation took place (in my case, for example, the .mdb is located at D:\Program Files\Microsoft Analysis Services\Samples).
The Select Database dialog, with our selection, appears as that depicted in Illustration 4:
8. Click OK.
The Query Wizard - Choose Columns dialog appears.


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Day 12 of One Month to Better Investigations and Reporting-The Witness Interview
One Month to Better Investigations and Reporting-Day 10-Best Practices in a Cross-Border Investigation
A. Notes prepared for a witness to rely upon to refresh his/her memory prior to a Questioning may not be privileged and, if they are, relying on those notes to testify waives any privilege over the...more
OIG Advisory Opinions -
Manufacturer's Free Replacement of Spoiled Pharmaceutical Products Authorized -
On Aug. 25, 2017, the U.S. Department of Health and Human Services' (HHS) Office of Inspector General (OIG)...more
Seyfarth Synopsis: Seyfarth Shaw submitted comments to the Federal Advisory Committee on Civil Rules regarding needed reform to Rule 30(b)(6), the rule that governs depositions of organizations in federal litigation. ...more
In a cautionary tale for the defense bar, the Third Circuit recently upheld a consumer's TCPA claims and reversed summary judgment on the FDCPA claims in Daubert v. NRA, Nos. 16-3613 and 16-3629 (3d Cir. July 3, 2017)....more
What are the characteristics of a good interview in the context of an internal investigation? Is there one technique you can use which will provide you the results you want to achieve? How should you think through your...more
Description: Mara Senn and a colleague, Michelle Albert, published in the FCPA Report, Volume 3, Number 1, entitled "Internal Investigations, How to Conduct an Anti-Corruption Investigation: Developing and Implementing the...more
Editor's Note: Ok, we know, this is waaaay to long for a blog post. But this is just too good not to share! In our continuing effort to avoid re-inventing the wheel, getting the easy stuff down to checklists, and helping...more
The recent case of Flanders Community Centre Limited v Newham London Borough Council has provided us all with a dramatic reminder of how important the role of the expert witness is at trial. Whilst most lease renewal cases...more
In Deutsche Bank Nat'l Trust Co. v. Estrella Perez, et al., No. 3D15-58, 2015 WL 8347002 (Fla. 3d DCA Dec. 9, 2015), Florida's Third District Court of Appeal held that the trial court erred in dismissing a foreclosure case on...more
Under Fed. R. Civ. P. 30(b)(6), an entity must prepare a designated witness to testify about specified topics. This type of deposition implicates several competing principles, because (1) such witnesses must provide...more
Clients often ask whether retaining an expert witness is necessary in their case. And they are wise to ask, because experts are a critical part of many cases, but not all. As attorneys, we often retain an expert "because we...more
Failing to adequately prepare a corporate witness for his or her 30(b)(6) deposition can have serious consequences. In fact, courts treat an unprepared 30(b)(6) witness as a witness who simply never bothered to show up for...more
Because few cases proceed to trial, discovery and, more specifically, depositions are the focal point in most civil litigation. The permissible scope of discovery is usually very broad – permitting a party to discover...more
When we prepare 30(b)(6) corporate representatives and executives for their depositions, they are often fearful that the questioning attorney will try to trick them into admitting something that is not entirely accurate. They...more
As you know, Rule 30(b)(6) of the Federal Rules of Civil Procedure and state counterparts allow a party to depose organizations, including corporations. The party requesting this type of deposition must describe with...more
When a company is noticed for a deposition, it has a duty to prepare its witnesses to fully and unevasively answer questions about the designated subject matters. Companies may not realize, though, that the preparation must...more
Construction Lawyering in the U.K. and U.S.: Contrasts and Similarities -
Introduction -
There are important differences between the American and British styles of lawyering, but there is also much common...more
Recently, in Sciarretta v. Lincoln Nat'l Life Ins. Co., the Eleventh Circuit Court of Appeals affirmed monetary sanctions against a non-party corporation for the bad faith preparation of its designated corporate witness....more
In an order issued after a post-conference call order, the U.S. Patent and Trademark Office's (USPTO) Patent Trial and Appeal Board (PTAB or Board) denied patent owner's request to file a motion seeking sanctions, suggesting...more
The Rules of Professional Responsibility speak to the ethical boundaries for a lawyer's conduct in connection with witness preparation only indirectly. Rules 1.1 and 1.3 describe competence, diligence, and zeal; and Rule 3.3...more
It is 8 o'clock A.M., Alicia Florrick, star attorney on the "Good Wife," a weekly television legal drama, meets a potential corporate client who within minutes retains her firm's services. By 12 o'clock P.M. Noon, Alicia and...more
Investigators can be nerds. Some enjoy reading documents; others enjoy conducting witness interviews. Both are challenging tasks. Each requires a separate set of skills. Some investigators are able to master a document...more
This continues our series of blog posts on effective partnering between inside and outside counsel to defend against class action lawsuits. Here, we begin a discussion of the use of expert testimony.
In this series of articles, Mr. Small sets forth 10 time-tested rules to assist in the critical task of preparing witnesses.
The first rule for any witness, the rule from which all else flows, is to take your time....more
Originally published in The Dispute Resolver, September 2012
Not so long ago, persuading construction industry executives and managers that they needed extensive preparation before testifying in a legal proceeding was...more
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Property interview advice: likely questions and how to prepare
Property graduate interview questions: researching | motivation questions | commercial awareness questions | competency questions | hypothetical situations | asking questions | don't panic
Whether it's over the phone or at an assessment centre, an interview is an opportunity to show off your passion for property and find out what employers can offer you. Go beyond the basics by arranging transport in advance, bringing a charged phone, your CV and any supporting material, and reading these tips on how you can prepare for your property graduate interview.
What you should research before your graduate property interview
- Typical career progression in the industry and with the employer
- How the firm supports graduates through the APC
- The employer's values
- The employer's recent or major projects and clients
- Recent news stories from industry publications and elsewhere, and how it may affect the employer.
Before your interview you should know your CV and application back to front and be prepared to expand on them.
Property graduate interview: motivation questions
Examples of motivation questions:
- Why would you like to work for [this employer]? (previously asked by Cushman & Wakefield among others)
- Where does your interest in property stem from? (previously asked by Bilfinger GVA and others)
- Why us over our competitors? (asked by Bilfinger GVA and others)
- Can you tell me your core values and demonstrate how they reflect those of our business? (previously asked by NPS Group and others)
- Where do you see yourself in five years' time? (said to be asked by employers including JLL)
- Why have you chosen [your specialism]? (previously asked by Countryside among others)
Motivation questions are asked to find out your reasons for applying and to assess how you would fit in with the employer. Employers want to hire someone who will be enthusiastic and happy in the role, rather than someone who may leave for another firm after a few months.
What appeals to you about the employer compared to its competitors? Are there any recent projects that have particularly interested you? Be genuine and relate your answers to what the employer is offering. For example, you may wish to discuss how the firm's APC training programme suits how you study.
Your answers need to be supported by evidence. Relate an employer's corporate values to your own. A graduate at JLL advises that they are 'big on things like sustainability'. To stand out from the crowd your answer in this situation could cite a specific action or statistic from JLL's most recent global sustainability report.
Questions about career progression at the firm are asked to assess your knowledge of the industry, as well as how seriously you are considering the position. Find out how to answer 'where do you see yourself in five years' time?' Keep in mind that property degree graduates will likely have completed the APC and become chartered within five years.
You should also be prepared to speak about your why you want to work in a certain market. Find out more about choosing between the residential, commercial and rural property markets.
Property graduate interview: commercial awareness questions
Examples of commercial awareness questions include:
- Name a recent business story that interests you. How would that story affect the property owner? (said to be asked by Cushman & Wakefield among others)
- How do you keep up to date with current affairs? (previously asked by Cushman & Wakefield and others)
- What is today's share price? (said to be asked by JLL among others)
- If we were meeting with a client tomorrow, would you know what was going on in their industry? (said to be asked by CBRE and others)
Interviewers are interested to see whether you can identify how current events affect the property market. To use an example from January 2017, UK car manufacturers could face significant tariffs when exporting cars to be sold on the European mainland after exiting the EU. Currently 57% of UK car exports are to the EU, according to the Society of Motor Manufacturers and Trading. How will this affect what property car manufacturers are looking to buy? Would they need fewer manufacturing plants? How will this affect the advice that firms give to car manufacturers?
Interviewers want to see that you are up to date with news in the property industry. Charlotte di Talamo of Cushman & Wakefield recommends Property Week, Estates Gazette or The Times as news sources. Make sure you can expand on what you have read in the news. Other ways of demonstrating an interest in property include keeping a relevant blog and becoming a member of a local RICS Matrics group.
Property graduate interview: competency questions
Some examples of competency questions are:
- Describe a time when you demonstrated [a skill].
- What do you believe are the most important behaviours or attributes for a graduate to have? (previously asked by Bilfinger GVA among others)
- What three skills would you bring to [this employer]? (said to be asked Montagu Evans LLP and others)
Interviewers ask these questions to see whether you have the competencies and qualities needed to carry out the job. Use the job description as a starting point to see what skills are needed for the job in question.
The best way of ensuring there is evidence to support your skills is by having your answers follow the STAR model. Explaining clearly the Situation, Task, your Actions and the Result will help ensure your experiences are communicated clearly to an interviewer.
Property graduate interview: hypothetical scenarios
Example hypothetical scenarios include:
- How would you deal with a client that is unhappy with your advice?
- How would you respond if work deadlines coincided with your APC interview?
- How would you deal with an unethical situation? (previously asked by JLL among others)
These questions are used to see how you would approach a particular problem, so do not be afraid to ask questions to clarify aspects of the scenario before answering. Consider the employer's values and try and think about the practicalities of a business. For instance, if JLL ask about an unethical situation, your response can emphasise how you would focus on getting the best result for clients while upholding ethical standards. Ethical behaviour is assessed on the APC and showing an awareness of this can be to your benefit.
If you have completed an RICS-accredited undergraduate degree you could be asked about specific technical knowledge. If you need to, you could say you would ask a colleague or refer to an RICS code if you are unsure of the answer.
Property graduate interview: asking questions
Asking questions of your own is the perfect opportunity to find out anything you want to know and to show interviewers you are seriously considering the position. Saying 'you've answered all my questions' would be a serious missed opportunity. Make sure you avoid any questions that have already been answered elsewhere in the interview or on the company website. If you're asking for the interviewers to expand on a subject, be prepared to talk about these topics briefly.
Questions you could ask:
- How have previous graduates found combining studying for the APC with day-to-day work?
- I read on your website/in the news that [a topic] – could you expand on this?
- What's the best thing about working here?
- What have you found to be the biggest challenge when working here?
Don't panic at your property graduate interview
If you can't immediately answer a question, take a sip of water or simply ask for some time to think. No question will be impossible to answer. Interviewers will want to see whether you would be a good addition to the firm and whether you would fit in. Find out how you can leave a good impression by building a rapport with your interviewer.


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A quick look at the 2011-12 Duke Blue Devils:
Reason to believe: There's talent in Durham, even if nobody's quite sure how it eventually will shake out. "You have to start some place, and we start with our big guys," coach Mike Krzyzewski told Sporting News. Those foundational big guys include brothers Miles and Mason Plumlee and Ryan Kelly. Of that trio, Mason is by far the most explosive; if he's learned how to finish with a softer touch around the rim, he could be one of the season's biggest breakout stars. His older brother, Miles, is more of a grinder in the Brian Zoubek mold, doing the little things that help lead to championships. Physically, Kelly has reached the point where he can be effective, and at 6-11 his offensive versatility — he hit 22 3-pointers last season — will cause matchup problems.
Reason to worry: There are many questions — and multiple potential answers for each — about the Duke backcourt. But if any coach has earned the benefit of the doubt when it comes to adjusting his style to fit his players' abilities, it's Krzyzewski. Can Seth Curry, a lifelong shooting guard, handle the point? How do the Blue Devils factor in freshman Austin Rivers' ability to penetrate and find open shots for Andre Dawkins? When will freshman Quinn Cook be ready to make an impact? Those are things Krzyzewski will figure out as the season progresses, but for now, the Blue Devils start with what's more certain, the frontcourt.
Impact newcomer: If any scouting service didn't list Kentucky big man Anthony Davis as the country's top prospect, it went with Rivers. He excels at creating his own shot, and his ability to drive or pull up for a quick-release jumper keeps opponents from making him one-dimensional. He might not be the team's leading scorer through the first couple of months, but he could make this team Final Four-special come March.
The big games: Don't overlook Duke's season-opener, at home against a good and veteran Belmont squad that will look to exploit their decided experience advantage against the Blue Devils. And assuming Duke takes care of business vs. Belmont and Presbyterian, the Nov. 15 game vs. Michigan State at Madison Square Garden could well be the night Krzyzewski passes Bob Knight to become the winningest Division I coach. As usual, the young Blue Devils get their fill of tough non-conference opponents — after Michigan State, they also have Ohio State, Washington and Temple plus a trip to the Maui Invitational against a field that includes Tennessee, Memphis, Michigan, UCLA, Georgetown and Kansas.
More: Duke preview | Complete Top 50
(all times ET)
Nov. 11 — Belmont, 9 p.m.
Nov. 12 — Presbyterian, 4:30 p.m.
Nov. 15 — vs. Michigan State (Champions Classic), Madison Square Garden, New York, 7 p.m.
Nov. 18 — Davidson, 6 p.m.
Nov. 21 — vs. Tennessee (Maui Invitational), Lahaina, Hawaii, 5:30 p.m.
Nov. 22 — vs. Memphis or Michigan (Maui Invitational), Lahaina, Hawaii, 7 p.m.
Nov. 23 — vs. opponent TBD (Maui Invitational), Lahaina, Hawaii, 10 p.m.
Nov. 29 — at Ohio State (Big Ten/ACC Challenge), 9:30 p.m.
Dec. 7 — Colorado State, 7 p.m.
Dec. 10 — vs. Washington, Madison Square Garden, New York
Dec. 19 — North Carolina-Greensboro, 7 p.m.
Dec. 30 — Western Michigan, 7 p.m.
Jan. 1 — Penn, 5 p.m.
Jan. 4 — at Temple, 7 p.m.
Jan. 7 — at Georgia Tech, noon
Jan. 12 — Virginia, 9 p.m.
Jan. 15 — at Clemson, 6 p.m.
Jan. 19 — Wake Forest, 7 p.m.
Jan. 21 — Florida State, 4 p.m.
Jan. 25 — at Maryland, 9 p.m.
Jan. 28 — St. John's, noon
Feb. 2 — at Virginia Tech, 7 p.m.
Feb. 5 — Miami, 3 p.m.
Feb. 8 — at North Carolina, 9 p.m.
Feb. 11 — Maryland, 4 p.m.
Feb. 16 — N.C. State, 9 p.m.
Feb. 19 — at Boston College, 6 p.m.
Feb. 23 — at Florida State, 7 p.m.
Feb. 25 — Virginia Tech, noon
Feb. 28 — at Wake Forest, 9 p.m.
March 3 — North Carolina, 7 p.m.
March 8-11 — ACC Tournament, Philips Arena, Atlanta


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Ufke Dewerff
Found 10 Records, 3 Photos and 1,875 Family Trees
Born in Hesel, Hanover, Germany on 1834 to Thomas Hinrichs Dewerff and Wupke Focken. Ufke married Mina Heneke and had a child.
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Surname meaning for "Dewerff"
Frisian: topographic name from either Middle Low German de werve, wereft 'the area of unultivated land' or Middle Low German de werf 'the wharf'.


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|Content of Specific Issue field
|Health Care Reform, HR3200, HR3590, HR3962 & S1796: Specific issues were proposals or provisions that related to beneficiary co-payment, gross receipts tax, technical component grandfather exemption, physician fee schedule, wellness and prevention, and date of service provision. No existing bills: Specific issues were patient access to laboratory results; self-referral abuses relating to anatomic pathology services; statutory authority over laboratory services; and Department of Labors interpretation of the Genetic Non-Discrimination Act of 2008 contained in DOL regulations, RIN 1210-AB27, regarding impact on wellness programs and effective date.
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Warranty Info
Zip It Gear is glad to guarantee your gear from manufacturer defects for one year from the date of purchase. Manufacturer defects are construction related defects and wear and tear from normal or heavy use will not be covered.
If you're not satisfied with your purchase in any way, please contact us and we will refund your money upon return of your unused, unworn and undamaged product. You may be subject to a return and restocking fee of up to 20% of your original invoice if the product or packaging is damaged.


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Season 2, Episode 206: Aired on Feb. 14, 2009
The centerpiece of every shop is a workbench. The editors of Woodsmithshow step-by-step how to build our most popular weekend workbench using common building materials. Then how to add a vises and bench dogs to make is even more useful.
View more for this episode:
Downloadable Plans | Video Extras


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THE mindless slaughter of nearly 30 people at a Connecticut primary school, the majority small children, will send shockwaves far beyond the shores of the US.
How such atrocity can occur in this age in such a prosperous country will be beyond comprehension for most. But the horror must certainly reignite debate around the country about gun control.
As the world weeps for the families of those killed, it must surely be time for America to accept what has become blatantly obvious to most other civilised countries - that firearms should have no place in the general community.
While it must be remembered that the US does not have the highest per capita rate of homicide by firearms (that dubious distinction belongs to Honduras, El Salvador and Jamaica, according to the United Nations Office on Drugs and Crime), the figures make for sober reading.
Excluding suicides, more than 10,000 people on an average are deliberately shot dead in that country every year. Two-thirds of all homicides are by firearms, and the US has the highest gun ownership rate in the world - nearly nine guns for every 10 people.
The American people's long, deep-seated distrust of government control has led the country to an untenable position where its treasured right to bear arms, enshrined in the Second Amendment to the US constitution, has put the ability to inflict mass murder on the community within easy reach of unhinged and dangerous individuals.
Columbine, the Colorado movie theatre killings and this primary school tragedy must surely be enough for the majority of Americans to realise that enough is enough. If they do not want to see their children and families slaughtered on a semi-regular basis, they must move away from the mutually assured destruction mentality where many feel they have to carry a weapon to protect themselves.
It is difficult to underestimate just how powerful the gun lobby is in America. Guns are also deeply ingrained in the psyche of the general population, and convincing the broader community to give up weapons and allow changes to the constitution has been attempted and failed.
Societal change on this scale requires great leadership, but it is not impossible. President Barack Obama's response to the news of the tragedy was both moving and genuine. It is now time for him to use his re-election mandate to prove he is a great leader and drive this change.
The first responsibility of political leaders is to protect their citizens from harm. Should he succeed, it would be the finest legacy any president could deliver.


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Interfaith Disaster Preparedness Groups
Does your community have one? It's a good idea. Local networks with common interests can accomplish a lot. For instance, here's what they're doing in San Francisco:
Leaders from more than a hundred San Francisco-based churches, synagogues and other places of worship are expected to gather today at St. Mary's Cathedral in San Francisco to learn how to make their spiritual sanctuaries into places of physical refuge. Alameda and Santa Clara counties have made similar efforts.One thing not to repeat: The tendency to wait until after a disaster:
In sessions organized by the San Francisco Interfaith Council, the church leaders will be taught how to create disaster plans for themselves, help congregants prepare their own households and be safety hubs for their neighborhoods in the midst of disaster.
"This is not to say we expect congregations ... to conduct a full-scale disaster response," said Alessa Adamo, program director for SFCARD, a nonprofit that trains faith groups and nonprofits on disaster preparedness. "What we're hoping for is that they're able to take care of their existing client base, help their immediate neighbors and provide a way for volunteers to help."
One of the main goals of today's gathering is to create neighborhood-based clusters of sanctuaries so different congregations can learn how to work as teams.
The San Francisco Interfaith Council was created after the 1989 Loma Prieta earthquake after leaders realized they needed to figure out collaborative ways to bring calm after a crisis. The Marin Interfaith Council was created in response to the devastating floods in 1982.Business groups and non-profits can also work together, along with public officials. The more planning and preparation that's done ahead of time, the better.


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Sue's baby lives. When she is entreating Sue to leave her crumbling home, Carrie recognizes Sue is pregnant, carrying Tommy's child. "It's a girl," she tells Sue before flinging her to safety. Sue is also pregnant in the novel, but after Carrie's death, she discovers blood on herself, and knows she has miscarried.
Carrie doesn't know why Tommy asked her to prom. One day Carrie White is having crass graffiti sprayed on her locker and being taunted by a locker room full of her peers. The next, the most popular boy in school is asking her to prom. In the movie, Carrie confides to the compassionate Ms. Desjardin that she doesn't know why Tommy would ask her out. In response, she gets a pep talk about how pretty she is along with some make-up tips. From here, Carrie actually allows herself to believe Tommy might like her, like that way.
In King's book, that weird feeling Tommy experiences after asking Carrie out also seems to be a side effect of Carrie reading his mind. It's clear in the novel that Carrie knows Tommy wanted to take Sue, but Sue was essentially giving him as a prom date to Carrie as a gift, and penance. Carrie accepts this offer less because she has hopes for romance, and more because she so badly wants just to feel like a normal teen girl.
Which do you prefer?
Carrie is now in theaters.
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