Healing Our Heroes: Treatment Techniques to Support Family Resiliency – Part 1Date: July 7, 2016Time: 11:00 am-12:30 pm EasternLocation: Healing Our Heroes Part 1: Research of Treatment Techniques to Support Family Resiliency NaturallyFlickr[Fallen Comrade by Aubrey Arcangel, April 26, 2005, CC BY-ND 2.0]This session is being presented by Patricia Gerbarg, M.D. and Richard Brown, M.D. Patricia is an Assistant Professor in Psychiatry at NY Medical College and Richard is an Associate Professor of Clinical Psychiatry at Columbia University. They will be explaining the science and research support for techniques used in working with people who have endured extreme stress and trauma as well as a brief introduction to simple but effective techniques that have been used in working with active duty military, first responders and disaster survivors and their families. Join us on July 7th at 11:00 am Eastern!We offer 1.5 National Association of Social Worker CE credits and CE credits for licensed Marriage and Family Therapists in the state of Georgia for each of our webinars, click here to learn more. For more information on future presentations in the 2016 Family Development webinar series, please visit our professional development website or connect with us via social media for announcements: Facebook & Twitter.
We have recently seen the damage of hurricanes throughout the eastern and southern United States and now are fighting wild fires out west. Soon enough, some states will be facing winter storms. Who can our military families in our communities turn to for help when being affected by weather-related and natural disasters? The Cooperative Extension. The Cooperative Extension is found in every county, in every state. When our community is compromised and we don’t know what to do, Cooperative Extension has your back. Check out Extension Disaster Education Network (EDEN) to see how we they can help in time of a disaster. The National EDEN site is hosted by Louisiana State University https://eden.lsu.edu.Photo by Zachary West, 100th MPAD.
Check out the latest videos on Blackmagic Design’s new Cinema Camera, one of the hottest pro video products of 2012!In this post we’ve rounded up the latest videos shot on and about the new Cinema Camera from Blackmagic. See reviews from the video production industry’s leading experts, view test footage from the new cam and hear interviews from the creators at Blackmagic Design.Want a Blackmagic Cinema Camera of your own? We’re giving one away! Enter to win a Cinema Camera DAILY through 9/28/12.Vist our GIVEAWAY page and enter to win a Cinema Camera!Now…on to the Cinema Camera videos!CINEMA CAMERA REVIEWS/DEMOSVideo review of the Blackmagic Cinema Camera from Philip BloomShooting with the Blackmagic Cinema Camera from Rick YoungAmsterdam Supermeet – Cinema Cam & Resolve Demo from Gert KrachtBLACKMAGIC CINEMA CAMERA TESTSA Week With The BMC (1080P) from Jon CarrCinema Camera Lowlight Shoot-Out from Frank GlencairnBlackmagic Cinema Camera night shot test from Kazuyoshi TezukaBlackmagic Cinema Camera – Color Test #2 from Tuzu MediaBLACKMAGIC CINEMA PUSHED TO THE LIMIT from Angus LyneBMCC by DaVinci Resolve9 from Kazuyoshi TezukaBMD Camera Greenscreen Test from Artan BekaBlackmagic Design InterviewsGrant Petty – The Blackmagic Cinema Camera (P1) from Rick YoungQ & A with Blackmagic on their new Cinema Camera from cinema5D
Creating a picture-in-picture effect in Premiere Pro is simple, but understanding the animation fundamentals to pull it off is imperative. In this post, we dig into animating fixed effects in Adobe Premiere Pro.As we explore the fixed effects in Adobe Premiere Pro we’ll be using a picture-in-picture (PIP) effect for demonstration purposes. First we’ll explore exactly what ‘fixed effects’ are and then we’ll put this dig through the Premiere Effects Control Panel and put this knowledge into action. This is fundamental knowledge for ALL Premiere Pro video editors. Here is the final product of what a PIP effect will look like:Fixed Effects in Premiere ProWhen you select any clip in a Premiere Pro video editing timeline, and go to the ‘Effect Controls’ panel, you have access to what are called the fixed effects for that clip. Unlike more specialized effects, fixed effects are applied to every clip in the timeline. No matter if it’s a video clip or a PSD file (Photoshop), all elements in your timeline will have fixed effects.Note: the only difference between which fixed effects are available is based on whether the clip has audio or not. If it has audio it will also have audio fixed effects, if not it will only have the video fixed effects.Fixed Effects for a Clip in the Timeline with Audio(Motion Tab ‘Twirled’ down)First, notice the yellow numbers next to some of the properties. These are the current assigned values for the property. You can either numerically change these values or hover over the values and scrub. As shown below, by hovering your mouse over the values and holding down the mouse button, you can change the values (more negative or positive) by pulling left or right with your mouse.Icon Showing the Numbers can be ‘Scrubbed’ to Change Their ValuesPRO TIP: You can scrub faster by holding down the Shift key while scrubbing. For a slower, more nuanced srub down down Control (on a PC) or Command (on a Mac) while scrubbing.Additionally, you can adjust some of these values in the Program Monitor as well. Scale, rotate or move your clips. To do this in the program monitor (without having to modify the text) click the word Motion in the Effects Control Panel. After, you will see the following in your program monitor:Handles and Anchor Point Show When the Word ‘Motion’ is SelectedBy selecting any of the handles on the outer edge of the frame (marked above) you can rescale the clip as needed. By clicking on the clip in the Program Monitor you can drag with your mouse anywhere in the frame. Working directly in the Program Monitor may not be as precise as modifying the numerical values, but it is a quick way to eyeball adjustments.Additionally, you can also rotate clips in the Program Monitor. The same as above, you’ll first need to select Motion in the Effects Control Panel. Then, hover slightly above and outside of any of the corner handles until you see the following icon. Click and drag to rotate the clip as you require.Rotate Icon on a Clip in the Program MonitorIn the Effects Control Tab you’ll also see a Anti-Flicker filter. This is useful when you are working with interlaced footage and you are getting a moire effect in your shot (common when talent is wearing a striped or tightly patterened shirt). Dial in the flicker filter to blur the video fields to reduce the strobing effect. Add too much of this effect and you’ll over soften your image – so use with care!Anchor Points in Premiere ProOne effects parameter that can often cause some confusion is the ‘Anchor Point’ of your footage. This confusion often stems from the fact that it starts at the same number as position. In fact, anchor point and position are two very different parameters!The anchor point is the place where all the other fixed effects will work from. In other words, if I rotate my clip it will rotate around the anchor point.So, if the anchor point is in the middle of the clip (as it is by default) then it will rotate around the middle of my clip. However, if I were to move my anchor point to the top left of my clip then the clip would rotate around the top left of my clip (as shown below).Rotation Around the Default Central Placement of the Anchor Point(Scale set at 38% for demonstration) Rotation Around a Moved Anchor Point to the Top Left of my Clip(Scale set at 38% for demonstration)It is worth noting that the top left of the clip is actually the 0, 0, point on the X and Y axis. So when you set the anchor point position to something like 720, 540 it tells you that the anchor point of the clip is 720 pixel across from the top left corner of the clip and 540 pixels down from the top left of the clip.If you look at the second screenshot above, you will see that the anchor point is still in the middle of the screen but is also at the top left of the clip! This means that the position of the clip is 720 pixels across and 540 pixels down from the top left of the program monitor while the anchor point is at 0, 0 ( it is locked to the top left hand corner of the clip). If I now moved the clip’s position to 0, 0, with the anchor point also set to 0,0 it would be locked to the top left hand corner of the program monitor as shown below.Clip Anchor Point at 0, 0 and Clip Position Moved to 0, 0(Scale set at 38% for demonstration)But, if I reset my Anchor Point to its default settings of 720, 540 but keep position at 0, 0 I would get the following effect.Default Anchor Point (720, 540) With Position at 0, 0(Scale set at 38% for demonstration)As you can see, where your anchor point is set will make a big difference as to how your clip will behave. It’s best to experiment with anchor point position to get a handle on the concept, and see how it differs from the position of the clip in the frame.The only other thing to mention at this point is that sometimes you may want to scale an item in a non-uniform way. To turn off Uniform Scale in Premiere just un-check the box in the Effects Controls Panel. Now, you will be able to scale X (across) and Y (up and down) separately. Use intentionally, as it can cause some quite odd aspect ratios!Uniform Scale Checkbox Are you a Premiere Pro power user?Share your tips and advice in the comments below!
Check out the visual effects work behind the magic in these recent compositing breakdown videos. Using industry leading compositing applications entire scenes are transformed and created.The following compositing breakdown videos show how visual effects were created using the latest production and post-production techniques. Go behind-the-scenes of popular films and television shows, like Boardwalk Empire, A Good Day to Die Hard and Big Miracle.Whether you’re in the video and film production business or are just curious about visual effects, these compositing breakdown videos are sure to impress. Visual effects and compositing applications such as Autodesk’s Smoke and Flame, Nuke, After Effects and Cinema4D were used to implement the advanced matting, tracking and chroma key techniques shown below.Big Miracle Compositing BreakdownGood Day to Die Hard Compositing Breakdown Boardwalk Empire Compositing BreakdownEriccson TV Commercial Compositing BreakdownLotto Bilbanemannen Compositing BreakdownBBC’s Ripper Street Compositing Breakdown
Learn how to use trackers in Lesson 9 of our After Effects Fundamentals course.We’ve arrived at lesson 9 of our 10 part Adobe After Effects Fundamentals course…One of the coolest features in After Effects is the ability to track footage. Tracking opens up a world of possibilities for both the visual effects artist and director of photography. Instead of shooting VFX on a locked-off tripod, filmmakers have more leeway when shooting (even with camera shake). VFX can then be applied to a scene courtesy of motion tracking.Tracking in After Effects comes in 5 varieties: Track Camera, Warp Stabilizer, Track Motion, Stabilize Motion, and the Mask tracker. Each tracker is designed to tackle a unique situation. In the following video tutorial we will cover all 5 and show you in detail how to use them. The video covers:All 5 tracking tools in After EffectsThe Shy ToolFinding track pointsWorking with 3D camerasIf you want to make objects blend exceptionally well try using motion blur. It will take your object’s hard edges and make them more realistic.Stay tuned for the final video in our After Effects Fundamental series. Also, explore more After Effects tutorials here on the Premiumbeat blog, read the latest filmmaking news and pick up some post-production tricks!Having trouble tracking in After Effects? Have any questions? Let us know in the comments below.
Step 3: Modify Transition Length if NeededBy default, your transitions will be one second each. If you want to modify that duration, you’ll need to go in and change them by hand. Changing the Default TransitionBy default, the default video transition will be cross dissolve and the default audio transition will be constant power with a default duration of one second. If you want to change the default time, simply navigate to ‘Edit > Preferences > General’ for Windows or ‘Premiere Pro > Preferences > General’ for Mac OS. From there you can change your default settings to your liking. Want to save even more time in Premiere Pro? Check out a few of the following resources:Exporting Multiple Timelines in PremiereCopying Multiple Effects in PremiereCustom Workspaces in PremiereIf you want to learn even more, check out the Premiere Pro section of the PremiumBeat blog. We have hundreds of articles and tutorials dedicated to helping you become a better video editor.How do you use the default transition feature in Premiere Pro? Let us know in the comments below. Save yourself some time when applying transitions in Premiere Pro with this handy quick tip.If you have to apply the same video or audio transition to a series of clips in your timeline, it can get pretty annoying to constantly go in and drag them from the effects panel to the individual clips. However, there’s a better way to handle transitions in Premiere Pro.Using the ‘Apply Default Transitions to Selected Layers’ button, you can easily apply a default transition of your choosing to both your videos and audio layers. The technique is incredibly easy and it can save you a lot of time. Here’s how it’s done:Step 1: Select your clipsIn the timeline, select the clips to which you want to apply the default transition. These clips can be side by side or on completely different sides of the timeline – it doesn’t matter. Just remember to hold down the ‘shift’ key if you are trying to select multiple clips.Step 2: Apply the TransitionThere are three different default transitions styles you can add using this method: Default video transition, default audio transition, and both.To select your desired default transition, simply navigate to ‘Sequence > Apply Default _____ Transition’ depending on your needs. You can also use keyboard shortcuts to apply the transitions. The keyboard shortcuts are as follows:Apply Default Video Transition: ⌘DApply Default Audio Transition: ⇧⌘DApply Default Audio and Video Transition: ⇧D
With the GH5s on its way, the GH4 is more affordable than ever. With a good lens and a Speed Booster, you can go 4K cinema for less than you might think.Cover image via Metabones.For the past few years, the GH4, the GH5, and now the GH5s have garnered a dedicated following of both amateurs and professionals. As great as these cameras are, they become even more special when you couple them with a Speed Booster, and now is the best time to do so with a GH4.Lens adapters are certainly not a new concept — they’ve been around for decades. However, the Speed Booster is a relatively new tool on the market. First released by Metabones in 2013, the device changed the landscape for mirrorless cameras by enabling users to mount lenses for full-frame sensors on cameras with an M4/3 or APS-C system. I’ve never had a formal allegiance to a single (stills) camera brand, so I’ve hopped from one to another, trying to find the one that works best for me. I’ve jumped from Nikon to Canon, and I finally settled with Panasonic back in 2015. And across every camera model that I’ve owned, no accessory has been as beneficial as the Speed Booster.What Is a Speed Booster?A teleconverter is an adapter that places a negative between the lens and the sensor to increase a lens’s apparent focal length, often at the cost of sharpness and lens speed. Since the iris is further away from the sensor, less light passes through, which reduces the factory lens speed. Why am I writing about teleconverters? Well, a Speed Booster does the opposite, on almost all fronts, and as such, we can look at a Speed Booster as a wide converter (as opposed to a teleconverter). The Speed Booster places a positive in front of the sensor, which increases the amount of light traveling to the sensor, which, in turn, increases the apparent lens speed. This is just one aspect of a Speed Booster, and it’s how the device gets its name. Another feature, which goes hand-in-hand with the increased speed, is a reduction in the focal length of a lens. The exact reduction will depend on which model you purchase.Channel 8 explains exactly how this works. Looking for more info on lenses? Check out these articles.Should You Use Vintage Lenses on Your Next Project?Gear Review: the Leica Summicron-C Series of LensesGear Tip: How to Clean your Lenses Like a ProfessionalUnderstanding Zoom Lenses and How to Use Them Properly4 Awesome Innovations in Lens Technology Every Filmmaker Needs How Does This Benefit GH4/5 Users?I’m only directly referencing the GH4 and GH5 because they are cameras that I’ve paired with a Speed Booster. However, Metabones also produces Speed Boosters for a number of other camera systems. These cameras usually have a Micro Four Thirds or an APS-C sensor, so as a result, you’ll see a crop factor.Using a 35mm on a GH4, which has a 2x crop factor in photo mode, would give you the equivalent field of view of a 70mm lens on a full-frame camera — or an 80(.5)mm if you’re in video mode with a 2.3x crop. However, using the Nikon G to Micro Four Thirds Speed Booster, you get a 0.71x reduction, creating the equivalent field of view of a 50mm focal length, which is an incredible reduction, and it brings the lens closer to its natural field of view. Furthermore, by using the Speed Booster XL, released in 2015, you can reduce the crop factor from 2.3x to 1.5x. As Metabones states in its press release, it essentially turns the GH4 into a cinema camera:The new Speed Booster XL 0.64x reduces the full-frame crop factor of the Panasonic GH4 from 2.0x to 1.28x, thus effectively transforming these cameras into APS-H format. When the GH4 is used in Cinema 4k video mode the horizontal full frame crop factor is reduced from 2.34x to 1.50x, thus effectively transforming the GH4 into a super-35 format 4k cine camera. In addition, the speed of any attached lens is increased by 11 /3 stops, with a maximum output aperture of f/0.80 when an f/1.2 lens is used. For example, a 50mm f/1.2 becomes a 32mm f/0.80, which is the fastest aperture available for full-size Micro Four Thirds format.Now Is The Time to Pick up a GH4The Gh5s will hit the market in the next few months, and you can bet we’re going to see many GH5s hit the aftermarket at a discounted price. Since the GH5 will no longer be the newest model in the line, the GH4 will drop even further in price. It’s already hovering around the $500-$700 range, depending on where you look.Pre-owned Speed Boosters also sell for a reasonable price. So, if you add in the cost of a lens, you can essentially pick up a super-35 format 4k cinema camera for under $1,500.
3. Store and Label Equipment Like a Grip Truck, Even If You Drive a Small HatchbackAs a solo shooter, you’re probably not hauling around an entire truck worth of equipment. But, just having a good selection of lenses, perhaps a gimbal, tripod, and stand bags, along with general tools and accessories, your gear may amount to a number of bags and cases. You might think it’s overkill to label the bags and cases, as you packed them and know exactly what’s inside. But just look at the photo below. This was the gear I packed for a passion project that I solo-shot with one actor.When it’s all lumped together in a small car, you can quickly lose track of what’s what. And before you know it, you’re agitated because you can’t find the correct bag. Therefore, I suggest labeling your cases with colorful gaffer tape, so you know exactly what to look for, and more importantly, so that you can locate the right gear when you open the trunk. You know that the rucksack with blue tape is your camera accessories, whereas the rucksack with white tape houses your lenses. The bag with the yellow tape is the lightweight stand for the small light fixture, the bag with the green tape is the heavy-duty stands.Likewise, you don’t want to just lump all your equipment into the car by how easily it stacks. While you’re not going to have the luxury of drawers and shelves (like a grip van), you can store your equipment in order of importance, or what you’ll be using first.4. Quash What Ifs with BackupsImage via guruXOXWhen I was 20, I was halfway through filming my first attempt at a web-series, and on day one of shooting, the worst thing happened. I pulled the lead actor aside, and from the look on my face, he knew something was up. “You’ve forgotten your storyboards haven’t you?” I wish. I’d actually forgotten the camera. How? I’m still not sure — I was only 20. But ever since then, whenever I’m driving to a job, a wave of anxiety washes over me: “What if I didn’t bring the memory cards?” “What if I didn’t bring enough batteries?” “Did I charge the batteries?” I rigorously double check my equipment before leaving, and the likelihood is that I have indeed brought everything with me.“What if the memory card fries from continuous 4K recording?”Of course, the what if’s tend to shift no matter how you reassure yourself. If you tend to get yourself worked up over the thought of being left cold with a faulty or forgotten component, quash this anxiety by having a set of spares in your vehicle. And don’t even consider these spares part of your main setup – they should be looked at as the spare tire in your kit.Perhaps the causes of your stress are a little different than what is listed above. Regardless, you can minimize the general stress of shooting solo by focusing on setting up gear and the organizing your equipment. A rowdy wedding guest purposely getting in the way of the camera, or a spot of rain, I can deal with. Trying to pull two C-stands from the bottom of my car’s trunk, then getting it caught on a heavy bag, quickly raises my temperature.Cover photo via Song_about_summerFor more videography and industry advice, check out some of these articles below.Will Gear Companion Apps Change the Game for Lone Wolf Filmmakers?The 6 Best Filmmaking Cameras Under $1,0007 Run-and-Gun Production Tips for Documentary FilmmakersIndustry Roundup: Top Destination Jobs for Videographers7 Things You Need to Start Your Own Video Production Company Here are some common sense tips to consider on how to relieve stress and save time on your next adventure as a filmmaker.Stress is the ultimate enemy for a solo filmmaker. Whether it’s a wedding, a music video, or even a passion project you’re making by yourself, nothing can cripple your workflow more than an onslaught of stress. Of course, this is not to say that if you were working with a large team you’d be stress-free – you wouldn’t. But with a group, there are people you can lean on for support, and there’s always an extra set of hands when you need it.Many of the stressors during a project start as small things that can be easily managed. It’s not as if a solo shooter will be rigging up a Condor. More than likely, it’s something along the lines of not being able to find the key or tool needed to remove the camera rig so it can fit on a gimbal.There are several steps I now follow when I’m filming by myself. Sure, they might be common sense tips, but it’s the type of advice you don’t really think about until you find yourself in a particularly stressful situation.1. Set Up as Much as Possible Before You Arrive on LocationIf you’re filming an event, especially one like a wedding or christening, there are going to be special moments that can’t really be recaptured if you miss them. Even if they can be reenacted for video, the initial spontaneity will be missing. I’ve found arriving on location already 90 percent ready leads to more favorable captures and no missed moments. And, of course, there’s less stress in trying to assemble your equipment without guests frolicking past you.Of course it’s not practical, or even safe, to drive to an event with with gear that’s completely set up. You may not have the room to even do this. But, if you’re operating a mirrorless or DSLR camera, due to the small size, you can actually choose from a number of cases on the market that allow you to set up the camera ready to film. If you have a larger camera, say the URSA Mini, you can also find a bag that allows you to transport a fully assembled camera. The Porta Brace URSA Mini bag is an example. You can equip the lens onto the camera, and have it rest securely on the lens cushion. The bag is spacious enough to equip a battery, the shoulder rig, and the top handle, and there’s even a protective space for the EVF. The only component that needs to be detached is the Rosette extension handle.Earlier this year, I had to film early morning in a blanket of fog. After walking from the car to the shorefront, I simply had to remove the URSA Mini 4.6K and attach the side handle, and I was ready to shoot. However, it was so cold I had a tough time attaching the handle. I can’t imagine what it would have been like to assemble the URSA Mini 4.6K from scratch on location. Not to mention carrying one bag vs. several cases is always a blessing for a solo filmmaker.2. Minimize the Amount of “Winging It”Something that always used to fluster me was arriving on a location that had already been scouted, but not correctly planned for lighting. I’d arrive with an arsenal of gear and an idea of how the location was going to be lit, but I had not worked on a lighting diagram. So I would wing it and end up spending way too much time pushing the light stand into different places, trying to figure out what level of diffusion I wanted.On a feature set, you’ll have gaffers working to see what intensity of light works best. But, they’ll be doing this as a team, while the rest of the production moves forward. On a solo shoot, when you’re spending one too many minutes trying to figure out what gel you want on to the light, everything else has stopped. In my case, my actors — who could’ve otherwise been working — were sitting on the couch waiting for me to start.If you’re shooting an event, you’re not necessarily in a position to light the entire location and will likely be shooting with available light. If it’s a passion project, you can do either of two things: light the location the night before and adjust for the actors the following day, or if that isn’t an option, you must create a lighting diagram to give yourself a head start the next morning. Alternatively, you can try CineTracer, the new pre-vis game by Cinematography Database‘s Matt Workman. The team over at Shutterstock tutorials have a great video tutorial that explores the game, but to quickly summarize the entire concept — build a set, light it, and create a digital moving storyboard.
Essential Reading! Get my 3rd book: Eat Their Lunch “The first ever playbook for B2B salespeople on how to win clients and customers who are already being serviced by your competition.” Buy Now Michelangelo carved the statue David out of a piece of marble that had been rejected by other sculptors. They believed the marble was ruined, unworthy of an attempt. But Michelangelo looked inside the marble and saw David. Michelangelo said that all that he had to do was chip away all of the parts that weren’t David to reveal him. The statue is Michelangelo’s masterpiece.You are very much like that piece of marble. You might even have some doubts about what’s really inside. But your greatest masterpiece lives inside you. All that you have to do is chip away all of the parts that don’t make up the biggest and best version of you to reveal what’s been hidden inside you the whole time.You’ll have to chip away your negative, disempowering beliefs to reveal the positive, empowering ones buried underneath.You’ll have to carve off the poor personal psychology, the scarcity mindset, and the victim mentality. You’ll also have to carve out the inner critic. What you’ll find underneath is a positive personal psychology, an abundance mindset, personal empowerment, and your inner coach.You’ll have to chip away the “too small vision” of yourself to reveal the very best, difference-making you lurking just underneath the surface.And you’ll have to remove too small goals, procrastination, should have’s, and excuses.Once you’ve done all of this chipping away you’ll be left with your masterpiece. What will stand on that pile of rubble will be the biggest, best version of yourself the world has ever known.You are the sculptor. It’s in your power to make these changes. It’s worth every bit of effort, even it is laborious and takes a long time. What you’ve now got in your mind after reading this is a hammer and a chisel.
The dealership’s website told me to request more information about the automobile I was viewing by providing my name, email address, and phone number. It had two buttons I could choose from to indicate whether I preferred to be contacted by telephone or email. In a move that is probably uncommon, I chose telephone; I wanted to speak to someone about buying the car. I wanted to speak to them soon. That was two days ago.The last time I bought a car, I had this same experience with this dealership. I never received a call back. I had to call the dealership and ask them to please sell me the car I wanted.Your question is a good one, “Why don’t you go to another dealership, one that actually wants to help you?” And your point is a good one: Leads don’t get warmer.What Your Lack Of Follow Up MeansThe lead that comes in today is the warmest it will ever be. There is a person somewhere who wants to speak with you about the possibility of buying whatever it is you sell. You know that they have some need right now, or that they are evaluating their options.When you don’t respond to that lead you send a strong message. That message is: “I don’t care about your business. It isn’t important to me.” Your prospective buyer feels that message whether you intend to send it or not, and they act accordingly and move on to your competitors.As time passes, your lead grows colder. Your prospective client finds another salesperson to help them buy what they might have bought from you. They find answers to their own questions. Or they just cool off, deciding to wait until some other time to explore buying whatever it is they needed at that moment.Immediately, If Not SoonerThe right time to respond to an inquiry is immediately, if not sooner. If your prospective client took the time to fill out the contact form and provide their details at some point in time, that is the very best time to engage with them.There is nothing good that comes from waiting. Your lead isn’t going to get warmer, your chances of helping your prospective client decrease, and your chance of actually doing business with them is diminished with every passing tick of the clock.My old man sold for Devry. As a regional manager he told his people: “What are you waiting for, the lead to hatch?” Leads don’t hatch themselves.
Excellence isn’t found at the bottom. There is nothing in the lowest price category that it the highest quality, best experience, or most meaningful. Nothing.Excellence can’t be found by cutting your prices, cutting your spending, or creating less value. In any category, someone is always willing to begin the race to the bottom. They aren’t great at creating value or capturing their portion of the value they create, so they lower their standards. They decide to remove price as a consideration to capture what they cannot capture in some other way ( a bit of profit). And down they go.Excellence is most often found by raising your prices, increasing your spending, and creating more value. There are only a few competitors with the audacity to race to the top in a category (and you know their names). Companies that race to the top are good at creating value and capturing their fair share. They also remove price as a consideration by making the offer right for their dream clients and wrong for anybody who doesn’t perceive the value they create.No one is going to remember the person or company who created the cheapest, lowest quality work. They don’t create anything worth remembering, at least not anything positive. The cheapest product doesn’t leave a mark. Neither does a transactional experience.Excellence requires a greater investment of your time, your energy, and your emotions. Excellence requires that you do meaningful work, that what you do makes a difference.If you are going to run the race, don’t race to the bottom. Race to excellence. Essential Reading! Get my 2nd book: The Lost Art of Closing “In The Lost Art of Closing, Anthony proves that the final commitment can actually be one of the easiest parts of the sales process—if you’ve set it up properly with other commitments that have to happen long before the close. The key is to lead customers through a series of necessary steps designed to prevent a purchase stall.” Buy Now
Essential Reading! Get my first book: The Only Sale Guide You’ll Ever Need “The USA Today bestseller by the star sales speaker and author of The Sales Blog that reveals how all salespeople can attain huge sales success through strategies backed by extensive research and experience.” Buy Now My younger brother, Jake Iannarino, is a professional comedian. He also practices Brazilian Ju Jujitsu. He is still a relative beginner in this martial art, but he is getting very comfortable on the mat, and he is starting to give much bigger, much stronger practitioners trouble. He is 5’8, and he tapped out an opponent that is 6’4 and 220 pounds.How is this possible? He has practiced long enough to gain competence and confidence, even when he is on his back, and it looks like he in trouble. How has he gained both the confidence and competence? He has stayed on the mat long enough to start to see results, and he only practices with people who rank much higher than him.You might believe that your larger competitor has an advantage of you because of their size and scale. This is not true. Your largest competitor has a top 20 percent of their sales force who sells the overwhelming majority of their product, and they have the 80 percent that make up the rest of their sales force. Some of these salespeople will know how to use their greater size to win deals, especially when their prospect equates size to mean they are a safe choice. But these larger companies worry about boutique firms with salespeople who know how to sell effectively, competitively displacing them with a high trust, high caring, high value approach.You might believe that the additional resources your bigger competitor has will easily tilt the playing field in their direction. Most of the time, those greater resources don’t make a difference in regionally located opportunities, making them no advantage at all. A salesperson from a smaller company with the chops to sell more effectively can easily win over a larger, better resourced competitor. In fact, it happens all the time.The confidence and competence to sell well is very much like a martial art. It’s the technique that allows a smaller, seemingly weaker competitor to beat what looks like an enormous, powerful opponent. But the larger competitor isn’t a threat when the salesperson lacks the confidence and competence that comes with having an excellent command of your art.You, the salesperson, are the difference that makes the difference.
Ten days after Maharashtra farmers called for strike, the Bharatiya Janata Party (BJP)-led State government gave in to their demands on Sunday, approving the total farm-loan waiver demand in-principle.The decision was taken in a meeting of steering committee and high-powered ministerial group led by Revenue Minister Chandrakant Patil.”The government has in-principle accepted the farm loan waiver demand raised through this agitation. There will be certain eligibility criterion which we will decide in a joint committee meeting of farmer representatives and government officials,” said Mr. Patil, in a press conference held after the meeting. Loans of Farmers with small land holdings were waived off from Sunday itself. Dr. Ajit Nawale of Akhil Bhartiya Kisan Sabha (AIKS), who was the convener of the steering committee thanked the honest protests from farmers for the success and clarified that the agitation has not been called off but postponed till July 26. “We will keep tab on the government to ensure our demands are accepted. If the government fails to accept our demands by July 26, a more intense agitation will be launched,” said Swabhimani Shetkari Sanghatana (SSS) MP Raju Shetty.
Senior journalist K.J. Singh and his 92-year-old mother were found dead at their residence in Mohali, the police said on September 23.Mr. Singh’s throat had been slit while his mother Gurcharan Kaur was suspected to have been strangled at their Phase 3B-2 home, said an official spokesman of the Chief Minister’s Office.Mohali DSP Alam Vijay Singh, too, said there were injury marks on their necks.The Punjab Police has set up a Special Investigation Team (SIT) under the Inspector General (Crime) to probe the suspected murders, the spokesman said.Mr. Singh, who was in his sixties, was a former News Editor of the Indian Express, The Tribune and The Times of India in Chandigarh.Chief Minister Amarinder Singh had directed State DGP Suresh Arora to set up the SIT.The media fraternity in Punjab, Haryana and the Union Territory of Chandigarh strongly condemned the alleged killings and sought speedy arrests.
The Meerut Chief Judicial Magistrate court on Wednesday denied bail to former Bahujan Samaj Party MLA Yogesh Verma, who was arrested on charges of inciting violence during the Bharat Bandh on April 2.Harassment allegationMr. Verma and his wife Sunita Verma, who is also the Mayor of Meerut, alleged that they were being harassed for being BJP’s political opponent and were being illegally framed by the police. Mr. Verma’s lawyer, Ravikant Bhardwaj, said that he had filed a bail petition before the District Judge which is likely to be heard on April 23. Chargesheet submittedThe police had submitted a chargesheet against Mr. Verma and 87 others in five cases in the district court on Monday. Superintendent of Police (City) Maan Singh Chauhan, who heads the SIT constituted to probe the violence, said Mr. Verma was booked in 11 cases and the police would soon file a chargesheet in six other cases. Meerut Senior Superintendent of Police Manzil Saini told the media on Wednesday that Mr. Verma may be booked under the National Security Act.“We will soon submit the police report to the District Magistrate with a request to slap NSA on Verma,” Mr. Chauhan said.‘Wrongly charged’However, Ms. Verma claimed that her husband was trying to persuade the crowd not to take law into their hands. “There are videos to prove that my husband was doing just the opposite of what he was charged with,” she alleged.
Officials in southern Assam’s Barak Valley have asked their counterparts in Meghalaya to stop vigilantes from harassing passengers for ferreting out “illegal migrants” dropped from the updated National Register of Citizens (NRC).The Brahmaputra and Barak valleys are connected by rail and road through central Assam’s Dima Hasao district. But the condition of the road through this district is so bad that passengers between Guwahati and Barak Valley towns such as Silchar prefer to use the highway through adjoining Meghalaya.Soon after Assam published the NRC draft on July 30, vigilantes in Meghalaya led by Khasi Students’ Union (KSU) and other groups set up check posts on the highway and other border routes to keep “illegal migrants” out of “our homeland”.They forced people out of private and commercial vehicles, demanded proof of inclusion in Assam’s NRC. Some passengers were allegedly manhandled too.The KSU claimed to have caught more than 1,000 illegal migrants on Tuesday, many of them in Ratacherra area adjoining Cachar district of Barak Valley and in Ri-Bhoi (Meghalaya) district closer to Guwahati.On Wednesday, Assam MP Maulana Badruddin Ajmal called up Chief Minister Sarbananda Sonowal to ensure people are not unnecessarily harassed in the name of NRC. Mr Ajmal, who represents the Dhubri Lok Sabha seat, urged Mr Sonowal to take up the matter with his Meghalaya counterpart Conrad K. Sangma.“We have intimated Chief Secretary T.Y. Das and have also spoken with officials in Meghalaya to ensure passengers of Assam travelling through Meghalaya are not subjected to harassment,” Cachar Deputy Commissioner L. Lakshmanan said.Apart from passengers, goods trucks were also stopped by vigilantes in Meghalaya. There are also reports of Naga Students’ Federation and other organisations in Nagaland carrying out a drive to check documents of non-locals in Dimapur and other areas bordering Assam to check possible influx of “NRC-excluded people”.
A plea has been filed in the Supreme Court seeking a direction to the Uttar Pradesh government to amend the law to bring the office of Chief Minister under the purview of state ombudsman, Lokayukta. The plea said that the existing status of the ‘Uttar Pradesh Lokayukta and Up-Lokayukta Act, 1975’ does not make the ombudsman “powerful enough to serve the purpose and object for which it was enacted”. The PIL, filed by advocate Shiv Kumar Tripathi, has sought a direction for amending the 43-year-old state law to bring the Chief Minister under purview of the ombudsman to ensure effective control over corrupt activities.“The Lokayukta of the state of Uttar Pradesh is not competent to proceed against the Chief Minister for any corrupt action in which he has been found guilty of favouritism, nepotism or lack of integrity therefore there is need to bring the Chief Minister under the purview of Lokayukta for proceeding against him for his corruption,” it said. The plea has also sought direction to bring under the ambit of Lokayukta law the institutions like state and deemed universities and private institutes, committees, boards, commission, established under the state laws. Besides seeking power to “search and seizure” for the Lokayukta, the plea said that the ombudsman be also provided the administrative control over state police for carrying out the probe.“The Lokayukta/Up-Lokayukta should be given independent police force which shall directly be under his administrative control,” the plea said. UP Lokayukta is not “effective enough” in probing corrupt public servants and has to depend on police authorities, which are under the control of the state government, it said. It also sought directions to empower Lokayukta for proceeding on its own on information regarding any corruption by a public servant as defined in the Lokayukta Act and to fix a time limit for presentation of the report/recommendation of the Lokayukta before both the houses of the state legislature. The plea also said that necessary amendments should be made so that every public servant submits annual return of all the assets and liabilities before the Lokayukta.
One of the oldest allies of the BJP in the NDA, the Shiromani Akali Dal (SAD) has demanded that President Ram Nath Kovind take action against Meghalaya Governor Tathagata Roy for his tweets calling for a boycott of Kashmiris and Kashmiri businesses across the country.Party MP and senior leader Naresh Gujral told The Hindu that it was imperative that mistakes that were made in the 1980s leading to the ostracisation of the Sikh community following militancy in Punjab, should not be repeated today. “There may be some members of the Kashmiri community who are involved in terrorism, and the government should go after them. This does not mean that the whole community should be ostracised,” he said.“It is unfortunate that people like Tathagata Roy have been appointed Governors. President Kovind should intervene in this matter. That people like him [Tathagata Roy] hold constitutional positions is a disgrace to our secular democratic ethos,” said Mr. Gujral.He elaborated on what he termed a dangerous trend of singling out ordinary Kashmiris after the Pulwama attack. “The proxy war waged by Pakistan on India started with Punjab. It went on for a decade and a half, and over 40,000 innocent lives were lost, but the greater tragedy was that after 1984, the entire Sikh community came under suspicion, a community that has sacrificed the most for India’s freedom and the country’s democratic rights during Emergency. During the Asian Games, even Sikh Lieutenant-Generals were stopped at the Delhi border for checks and frisking and it served to alienate the entire community,” he said.
Four people have been arrested for assaulting Shaukat Ali, an alleged beef seller, in northeastern Assam’s Biswanath Chariali on Sunday. The arrests were made based on a viral video, in which the man was force-fed what is said to be pork. “I have told the SP not to relent until all the troublemakers are caught. We will not tolerate people taking law into their hands,” said DGP Kuladhar Saikia.District officials said a hunt was on to nab all the others involved in the incident that happened after a group of people “took action” against Mr Ali for selling meat at his eatery in a bi-weekly market on the outskirts of the town.