first_imgJoin us at 11 a.m. ET on Thursday, December 12 for a 60-minute webinar on What You Need to Know About Assistive Technology but Didn’t Know Who to Ask, presented by Marcia Scherer, Ph.D.From wheelchairs to hearing aids, memory supports to speech devices, assistive technology (AT) solutions have long been a staple for supporting the functioning of individuals with disabilities, especially wounded service members. However, there can be barriers to successful implementation of an assistive technology solution.There are almost 40,000 different AT products on the market.  In spite of all the advances in AT, the average non-use rate has remained at about 30% for over 20 years. This is costly in terms of wasted products for military families, and the wounded warrior’s functioning and satisfaction. Successful integration is the key phrase. When warriors are provided with the support that best matches their needs, priorities, doesn’t interfere too much with their daily routine, and helps them realize benefit from use, then their functioning, confidence, and sense of control tends to increase.Research has shown that the most important way to reduce this non-use or abandonment rate is to know how to find the available AT resources, involve the service member in selecting the AT, and to use a systematic process for assessing both the warrior’s needs and preferences. The most effective support may be personal assistance, strategies, or technologies—most commonly, a combination of these. This webinar will present ways to be informed of the variety of available AT and the use of a systematic process to match the service member with the most appropriate solution for his or her enhanced functioning and well-being.PresenterDr. Scherer is a rehabilitation psychologist and founding President of the Institute for Matching Person & Technology.  She is also Professor of Physical Medicine and Rehabilitation, University of Rochester Medical Center and Project Director, Burton Blatt Institute, Syracuse University.  She is a past member of the National Advisory Board on Medical Rehabilitation Research, National Institutes of Health, and is Editor of the journal Disability and Rehabilitation: Assistive Technology.Dr. Scherer is Fellow of the American Psychological Association, American Congress of Rehabilitation Medicine, and the Rehabilitation Engineering and Assistive Technology Society of North America (RESNA).  Dr. Scherer authored Assistive Technologies and Other Supports for People With Brain Impairment and Living in the State of Stuck: How Assistive Technology Impacts the Lives of People with Disabilities as well as authoring, editing, co-editing seven other books. She has published over sixty articles on disability and rehabilitation in peer-reviewed scientific journals and over twenty-five book chapters; she has been cited over 2500 times by others.No registration is required to join the web conference, go to What You Need to Know About Assistive Technology but Didn’t Know Who to Ask to find connection information and related resources. If you are not on an installation, you may need to install security certificates or use one of the other connection methods.last_img read more


first_imgRecently the FD Early Intervention team was able to sit down with Carol M. Trivette, PhD., an associate professor at East Tennessee State University in Johnson City, TN.   In this short video she shares her thoughts on how early interventionists can best support military families facing deployment.Carol says, “Deployment can be a time of stress for families and when there is a child with a disability, it can be even more stressful. However you can reduce some of this stress by helping a parent identify successful strategies that were used in the past and new strategies the parent might want to try during the upcoming deployment. Taking the time to really listen to what a parent wants to share about previous deployment experiences including who helped, how daily routines and activities were accomplished as well as what challenges they encountered is an key first step in supporting families through this experience.”Carol M. Trivette, PhD earned her degree from the University of North Carolina at Greensboro in Child Development and Family Relations. She provided direct supports to children with disabilities and their families in home-base programs and in classrooms and was the director of an early intervention program. During most of her career, she has also been involved in applied research. Her research interests focus on identifying evidence-based practices for working with children and families in the areas of responsive parental interactions with their children with disabilities, children’s early language and literacy development, family-centered practices and family support, and the development of tools and scales to support the implementation of evidence-based practices with fidelity. She is currently an Associate Professor at East Tennessee State University, Johnson City, TN, where she works mainly with doctoral students focused on enhancing their research skills.This post was written by Robyn DiPietro-Wells & Amy Santos, PhD, members of the MFLN FD Early Intervention team, which aims to support the development of professionals working with military families. Find out more about the Military Families Learning Network FD concentration on our website, on Facebook, on Twitter, YouTube, and on LinkedIn.last_img read more


first_imgUse an expression to create random movement with the wiggle expression in After Effects. In this post we’ll show you how to create wiggle easily by modifying numbers…not keyframes.Editors sometime cringe at the word expressions, but have no fear.  When you understand them they really aren’t scary and can end up saying you a lot of time.If you’ve ever seen animations where light is flickering or a camera shakes, it’s likely you’ve seen the wiggle expression in action.  Wiggle is one of the most popular After Effects expressions, as it is easy to use and visually interesting.  Instead of creating a bunch of keyframes to make a layer randomly move, we can do this with a couple of numbers.The Wiggle Expression in After EffectsFor this example I created the word ‘wiggle’ from text.  I want the position of this text to wiggle, so select the text layer and hit P to open the Position Transform properties.Option (Mac) or Alt (PC) click on the stopwatch to create the expression. The text turns Red, telling you there is an expression applied.Type wiggle(2,50). This expression states that twice a second the text should wiggle 50 pixels on the x & y axis – the first number is how many times a second, the 2nd is the amount of pixel movement.If you want to modify the wiggle simply change the numbers.  If we had done this with keyframes, every time the client wanted changes we would have to change the keyframes – not fun!Wiggling One DimensionWhat if you want to wiggle just the x or y position? This expression is a little more complicated, but you don’t have to write it.I went to motion-graphics-exchange.com (an online resource for After Effects expressions), and searched for “wiggle one dimension”.  This is the expression they have for ‘wiggle in one dimension’:wiggle only in x (horizontal):org=value; temp=wiggle (5,50); [temp[0],org[1]];Shorthand:[wiggle(5,50)[0],position[1]]wiggle only in y (vertical):org=value; temp=wiggle (5,50); [org[0],temp[1]];Copy this text into your After Effects project and you’re done!For more After Effects expressions check out motion-graphics-exchange and aenhancers.com.  If you want to learn about creating expressions, check out: JJGifford, MotionScript and Gray Machine.Controlling the Wiggle ExpressionWhat if you don’t want the layer wiggling constantly? A common technique is to add an expressions control to a null layer so we can keyframe the wiggle.  For AE newbies, a null is an object that doesn’t render that we can use to control other layers.We are going to use the null with the original position wiggle we created on the Wiggle text (above).From the Layer Menu select New and then Null Object. Rename the Null “wiggle control” and then apply the effect “Sliders Control” (in the Expressions Controls category). Select the wiggle control layer in the timeline, and type E to reveal the Slider Control effect. Click the twirly for Slider Control to see the stopwatch.Go to the Wiggle text expression and select just the 2. with the 2 selected, click the pickwip (looks like a curly cue), and drag the pick whip to the Slider stopwatch.Pick whip is highlighted in Red:Here is the larger view:We no longer see a wiggle, as the Slider is now controlling how many times a second the text wiggles. Click the stopwatch to create a keyframe at the beginning, then move the playhead further in time and change the amount for the Slider to increase the wiggle.  You can turn on motion blur to enhance the effect.Motion Blur Highlighted in RED (click for larger view):Now you know how to create a wiggle expression in After Effects and how to control it using a null and an expression slider effect – a huge timesaver.What After Effects expressions do you rely on?Share them with us in the comments below!last_img read more


first_imgCheck out these great tips on how to make the most of your Blackmagic Design Cinema Camera’s RAW files inside DaVinci Resolve and FCPX.Creating One-Light Dailies from BMDCC DNG RAW files in ResolveIf you’re trying to get your Blackmagic Design Cinema Camera RAW files into an editable format the free DaVinci Resolve Lite software (as well as the full version of Resolve you received when you bought the camera) will help you quickly make that happen. In this straight forward tutorial, Dan Kanes walks through how to correctly set the color space for your DNG RAW files and transcode them to Pro Res quicktime files in DaVinci Resolve 9.1. Dan also demonstrates how to adjust your white balance and exposure adjustments in your RAW files and make global changes to all your footage to create one light dailies.Blackmagic Film to Video Plugin for FCPXAdam Roberts is a London based DP who has been sharing his progress with the BMDCC and on his blog.  He has some great tutorials and camera tests (previously shared on Premiumbeat here) which are well worth a watch if you’re looking into getting a BMDCC or trying to get started with the one you’ve just bought/hired. In this post Adam has been beta testing a Final Cut Pro X plugin created by Nick Shaw from Antler Post Production which allows you to apply the Film Log to Rec. 709 LUT (similar to what Dan Kanes does above) but without leaving the FCPX timeline.BMD Cinema Camera – Movie Making MachineDirector of Photography Shane Hurlburt has been preparing to shoot the upcoming feature Need for Speed and has posted this lengthy report on how he’s tested the BMDCC’s RAW capabilities to see if it could be the main camera for the shoot. If you’re hungry for technically detailed soaked camera tests then this is for you. Shane covers everything from sensor sizes, bit depth, filters, cages, eye-piece adaptors, lenses and more. Its a great example of what else is required to turn the basic BMDCC body into a feature filmmaking machine.last_img read more


first_imgGetting into drone video production? Here are some tips for getting great footage and some must-know information for new pilots.Love them or hate them, drones are now a big part of video production. Not only do they allow you to quickly capture aerial shots in minutes, they have also become so agile that they can be flown at a low altitude to replicate traditional crane moves.In this post, we will be covering some basics of drone flight: the terms you should be using, no-fly zones, flying for commercial use, and the upcoming FAA drone registration and regulations.Flight TerminologyWhen in flight, you need to know the correct terms to communicate effectively with your crew. This is the same principle as traditional camera movements. You need to know what to do when a shot calls for a pan or tilt.When a drone is in flight, it can move in three dimensions. These axes are lateral, vertical, and longitudinal. Based on the drone’s center of mass, the flight parameters allow the aircraft to move in those three dimensions. In layman’s terms, you can control the drone to move forwards and backwards, up and down, and side to side. 1. YawA yaw changes the direction the drone faces by turning the aircraft to the left and right on the vertical axis.  This is the same as turning your head to the left or right.2. PitchA pitch angles the drone’s nose up or down to move the aircraft forward or backward. This is the equivalent of looking up or down.3. RollA roll angles the drone’s body to the left or fight to move the aircraft side to side. While always looking forward, tilt your head to the left of right. Flying for Commercial Use (in the United States)At the time of writing, it is still illegal to fly a drone for commercial purposes without a license. This includes creating videos for clients. There will be new legislation in the coming months that will allow commercial use after registering your aircraft with the Federal Aviation Administration or FAA. The terms are still not known.Image via Federal Aviation AdministrationHowever, you can still fly your drone and shoot video for hobby purposes, as long as it’s recreational. Your other option is to apply for an FAA Section 333 Exemption which will allow you to fly Unmanned Aircraft Systems, like a drone, for commercial use. These exemptions are issued on a case-by-case basis, so it’s not guaranteed that you will received approval to fly.Every country has their own various flight laws, so be sure you read up before you take flight. No Fly ZonesThe final thing we will cover is the ever-important No-Fly Zone. No-Fly Zones should be taken very seriously, as violating that airspace is a federal matter. There are four main types of No Fly Zones.1. Major AirportsThere is a No-Fly Zone around every major airport and most medium-sized airports. There is a five mile No-Fly Zone radius around an airport.2. U.S. Military BasesThese No-Fly Zones are directly above every military base of any size.3. U.S. National ParksAll National Parks are No-Fly Zones, so don’t even plan on flying over Old Faithful or by Mount Rushmore. Flying in a National Park is a good way to get tazed.4. Temporary Flight Restrictions (TFR)These temporary No-Flight Zones are created for special events, usually with very large crowds. These are issued for sporting events like every NFL and NCAA football game, Major League Baseball games, NASCAR and Indy Car races, as well as any major event that applies for an FAA airspace waiver.Pursuant to 49 USC 40103(b), the Federal Aviation Administration (FAA) classifies the airspace defined in this NOTAM as ‘National Defense Airspace’. Any person who knowingly or willfully violates the rules pertaining to operations in this airspace may be subject to certain criminal penalties under 49 USC 46307. Pilots… may be intercepted, detained and interviewed by law enforcement/security personnel. – Sporting Event Temporary Flight Restriction FDC NOTAM 4/3621If you are planning a flight, I highly recommend Don’t Fly Drones Here. This is a great interactive map that features all No Fly Zones and is constantly updated with Temporary Flight Restrictions, so you will know if there are any places you shouldn’t be.If you are looking to buy your first drone, be sure to check out our definitive drone buying guide.Drone model from TF3DM user ysup12last_img read more


first_imgWorking with a new director or DP can be a tricky process that takes some time to develop. Here are some filmmaking tips to help streamline that process, and to make sure your production is getting the most out of that relationship.Top image: Quentin Tarantino and Robert Richardson on the set of Kill Bill via The Red ListWith advancements in technology and professional production equipment constantly becoming more affordable, it seems that timelines (and usually budgets) for projects become smaller and smaller every year. This means that you have to work more efficiently — and as a solid team — to finish with a project that everyone can be proud of.One of the best ways to do this is to make sure that the director and the director of photography have a clear and singular vision for the execution of the project. Here are some suggestions for ways to make sure the two are in sync.Start With a LookbookAn example of a strong look – Blade Runner via Warner Bros.An image can be a hard thing to explain with words. One easy way to make sure that the visual style of a project is decided on and agreed upon is to begin the process with a lookbook. A lookbook is a collection of images that define the look and tone of the image that you’re going for.It can be any number of things… paintings, photographs, stills from another film, anything that is a representation of what you want to do visually. It helps to take notes on each image, so that you can reference what it is about that image specifically that will support your story/look.I prefer to use a cloud-based file storage service for creating lookbooks (Dropbox, Google Drive, etc). This way, while on set or scouting a location, you can always pull up the lookbook and effectively communicate a visual idea on the spot. Evan E. Richards runs a blog with a comprehensive selection of screengrabs of various films that’s a great resource for building a lookbook.Learn Their Process Early OnChristopher Nolan via Warner Bros.Everyone does things differently. Some directors will want to have a lot of involvement in how the image is created, down to the placement of the camera and focal length of the lens. Other directors aren’t interested in those details, and will fully look to the DP to deliver the look that they’re going for, with little to no direction otherwise.This needs to be discussed ahead of time. That bit of information will completely define the nature of the DP’s job on that project, and it can be different every time. It’s important for everyone to know their role on set, and for all expectations to be made perfectly clear before the production begins. Some of these topics are touched on in this Hollywood Reporter roundtable of Oscar-nominated directors discussing their craft. Get Everyone InvolvedRobert Elswit location scouting for Nightcrawler via ScreenDailyIt’s not acceptable to bring the DP in right before the shoot. The DP should be able to walk the locations well ahead of time, taking photos, looking for power (if needed), and getting an overall game plan on load-in and the plan of attack. This will make it easier for them to create lighting diagrams for each of the setups as well, which is a huge timesaver (and will also allow them to put together the gear list for the shoot). A great app for creating lighting diagrams is Shot Designer.It’s important to work together in creation of a shot list (check out the awesome Shot Lister app) and game plan for each shoot day based on the location scout. This should be done before anyone starts to put together a schedule, and (in most cases) before booking the talent.It is the director of photography’s job to know what time will work best for each location (sun through windows, sun positions for best backlight, etc). If they never get to see the locations, there’s no way that they can do their job. This is one of the most overlooked issues in low-budget productions.Keep an Open Line of CommunicationJeff Cronenweth discusses a Gone Girl scene with director David Fincher via 20th Century FoxThere’s always time to talk. No matter how short on time you are, it will almost always save you time if you stop to pull your DP or director aside and have a quick chat about what’s going on and (hopefully) figure out what isn’t working. Sometimes you just have to get away from the rest of the crew and actors to really get some real thinking done.When things are moving and decisions are constantly being made, it’s really easy to get in the swing of things and lose track of what’s actually going on. Always be asking yourself: Are we executing the plan? Am I supporting my colleagues process? Are we achieving the look that we laid out in the lookbook? And most importantly: Are we making something we’re all going to be proud of?If there is ever any doubt, pull your director or DP aside and figure out how you can fix it — and do it sooner than later.Know Your Role in the RelationshipDenis Villeneuve and Roger Deakins working together via Warner Bros.In the end a film can look lousy but work because of a great performance but not the other way round. That’s something always worth remembering. – Roger DeakinsOne thing a DP should always remember is the pecking order on set. The director is always in control. While filmmaking is a very collaborative process, it’s important that the DP keep the ultimate vision of the director and execution of the project at the front of their mind at all times. If you don’t watch out for it, ego can set in and arguments can begin because the DP wants or takes too much control.However, that works both ways. If the director isn’t assuming the lead role in the execution of the project in a way that cannot be questioned, someone else is going to have to step up to make sure the project is completed. There is an art to doing this in a way that gets the best work out of people, while also getting the best out of the project.When working quickly, and under stressful guidelines, these things can be a weak point in the hyper-sensitive ecosystem that film sets usually become. It’s important to be aware of everything, and everyone’s feelings, especially when it comes to the way that the director and the DP work together.Have any filmmaking tips for the community? Share them in the comments below!last_img read more


first_imgYou can now upgrade your royalty free music licenses directly from our site! It’s a quick and easy way to start growing your project’s audience today.Often you don’t know the full scope of a project until it’s released into the wild. For instance, a client may love that web commercial you made so much that they want to use it for broadcast television. Or perhaps you’ve created a film for festival distribution that gets picked up for a major theatrical release.Previously, we worked with PremiumBeat customers through email support to upgrade music licenses when their needs expanded. Although the process was typically quick, we knew there was a better way to approach the upgrade process.We’re excited to share with you the latest feature addition to PremiumBeat: the ability to upgrade to our Premium license directly through the website. You can now choose any track in your account history and instantaneously upgrade it to one of our extended licenses… so you’ll only pay for the licensing you need.TRY IT NOWIt’s quick and easy to upgrade your PremiumBeat license. Here’s how it’s done.1. LoginLog into your PremiumBeat account. Go to your user menu and select Orders and Downloads.2. UpgradeFind the song you’d like to upgrade. Click Order Details. Then click Upgrade License. Simply select the Premium License by clicking Enhance Now. Your new license is now in your cart!3. CheckoutTo complete your purchase, simply go through the normal checkout process. Then, download your new license from the confirmation page. That’s it!We’re constantly adding new features to the site, implementing feedback, and improving the overall customer experience. Are there new features you’d like to see on PremiumBeat? We’d love to know. Don’t hesitate to contact our team via support!last_img read more


first_imgOne of the key ingredients of a good video is great sound. Here’s how you can get pristine audio on a variety of budgets.Cover image via guruXOX.There’s an old adage in the film industry that goes like this: Great sound quality can save bad footage, but great footage will never save bad sound. There’s just something that ruins your immersion when you notice terrible audio. Take The Blair Witch Project for example (the original, of course). The filmmakers used a cheap handheld camera, but you still became immersed into the film because of quality sound. I’ve seen countless films that were cinematically excellent, but bad sound completely kicked me out.You may think that you don’t have enough money in your budget for quality sound-recording devices, but I promise you, you do. A good audio kit includes a shotgun mic, a lavalier mic, and a portable audio recorder. In this article, we’ll explore three options for three different budgets.The Beginner Budget: Under $100If you are just starting out in the film and video world, and you want to make a short film, or you just plain don’t have the money (it’s okay, we’re called starving artists for a reason), then this is the option for you.Audio-Technica ATR-6550 Condenser Shotgun Microphone — $60 Image via Audio-Technica.This shotgun mic is the cheapest you can get, but you will still get consistent quality out of it, compared to in-camera audio. (Pro-tip: if you don’t have a boom attachment, you can attach the mic to a painter’s pole that you can buy for less than $20.)Audio-Technica ATR3350iS Omnidirectional Condenser Lavalier Microphone — $30If you’re doing interview-style work, it’s important to have a lavalier mic to get consistent audio of your subject. This lav is wired, and it can connect directly to a smart phone for recording.Yes, a smart phone. You can use your own as a personal audio recorder. This lav can plug directly into the phone, and you can use your phone’s native sound-recording program. If you don’t have a native recording app, try using Audio Recorder from the Play Store. (Note that you most likely won’t be able to monitor audio while recording.)You can connect either of these to the camera as well, so you can record audio using these external devices instead of your camera’s sub-par onboard mic.The Intermediate Budget: $350For those getting a little more serious about their filmmaking careers, take a look at these options.Zoom H4nSP 4-Channel Handy Recorder — $159Having this “Handy” recorder is, in fact, pretty handy. You can hook up both conventional audio jacks and XLRs. Recording on a personal audio recorder is essential when running audio, since it has dials you can use to adjust levels on the fly — along with a headphone jack so you can listen to your audio in real time.Rode VideoMic Shotgun Condenser Microphone w/ Boom Pole, 10′ Extension Cable, and Adaptor — $159Image via RØDE.RØDE is a pretty big player in the industry, and every filmmaker usually gets one as their first pro mic. You can find sets online that include the microphone, boom, cable, and adapter set for around $150USD.Fifine 20-Channel UHF Wireless Lavalier Lapel Microphone — $35Image via Fifine.This wireless lav kit will complement your audio recorder well, and it will also give your subject the freedom to walk around.The Professional Build — $1,000When you want to get serious about contracting your services as an audio recorder, you’ll need the equipment to do the job.Zoom H6 Handy Recorder — $400 Image via Zoom.This has been my go-to recorder for a while. It has a very simple user interface, four channels, and an easy layout. Simply press the channel button to record on each one. I usually attach it to my belt so I can monitor audio while running boom at the same time.Sennheiser MKE-600 Shotgun Mic — $670center_img Image via Sennheiser.Sennheiser is probably the best you’re going to get with audio devices, and their reputation definitely precedes them. This shotgun mic will last you ages — and deliver consistent, quality sound.Sennheiser ew 112-p G3 Camera-Mount Wireless Microphone System — $629Sennheiser also makes some of the best lav mics in the business. These guys have great transmitters that will capture true sound on any set. They come with a hefty price tag, but that’s what you pay for perfection.Looking for some more gear recommendations? Check out these write-ups.The Comprehensive Guide To Building Your Own Video Editing PCHands-On Review: The Hasselblad X1D Digital Medium FormatVideo Gear: Quick and Easy 3-Point Lighting BundlesDIY Filmmaking: How to Build Your Own Dolly for $50Sony Announces the a7 III 4K Camera for Under $2000last_img read more


first_img 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 When I was a teenager, the last thing in the world I could ever imagine myself doing was wearing a suit and tie. I thought suits and ties were for what I termed “execudrioids.”I wore blue jeans that were tattered from being worn daily and washed infrequently. I wore muscle shirts under a black cotton button down shirts. I wore big Nike hightop tennis shoes. My hair was long, sometimes permed, sometimes highlighted. Both of my ears were pierced, one twice, one four times. Mostly I wore big hoop earrings.Looking like I did won me the attention of people who wanted to fight me for not conforming to their standards. This animosity started my Freshman year at the Catholic high school when a teacher who was also the wrestling coach told me to cut my shoulder length hair or lose it to his clippers. Left with no real choice, I cut it like Billy Idol’s and pierced both my ears. There were no rules about pierced ears yet, so the establishment wasn’t sure what to do with me.I started a rock-n-roll band my senior year of high school. I borrowed clothes, hairspray, and makeup from my Mom and my two sisters. At night, nothing was off-limits.After high school, I had to make a living. So I did something I never thought I’d do: I put on a suit and tie.I expected suits to be constraining. I equated a neck tie with a noose. But it wasn’t like that. Suits had clean lines and looked nice. Starched shirts felt crisp. The right tie gave a suit some pop.When I started selling, even though I was very young, my clients treated me with respect, like I deserved to be sitting in front of them. This even though I had my long hair tied in a ponytail that reached the middle of my back.It’s popular now for business people to dress like teenagers. But you will never look better or feel more confident than when you are wearing a killer suit, a crisp shirt, a sharp tie, and a nice pair of shoes.Treat yourself and buy a nice suit. Dress up. You’ll look good and you’ll feel better.last_img read more


first_imgPodcast: Play in new window | Download (13.3MB)Subscribe: Apple Podcasts | Android | Email | Google Podcasts | RSSOn Tuesday, November 6th, I am releasing my third book in three years. If you read this newsletter each week (or even most weeks), you know the book is titled “Eat Their Lunch: Winning Customers Away from Your Competition.” It’s a book about competitive displacement, or put more directly, “stealing your dream clients from your competition.”Eat Their Lunch is a book about living, thriving, and surviving in the red ocean, where there is fierce competition, where clients want to commoditize what you sell, and where you are necessarily a large part of the value proposition (and in many cases, the largest).When someone writes a book, they have something they absolutely must share, some question they must answer, some problem they need to solve, or some complicated knot they are attempting to unravel.When you think about sales, there aren’t too many things more difficult than taking your dream client away from a competitor they believe is satisfying their needs. It’s not that they don’t have a compelling reason to change, but rather they don’t think they have a compelling reason to change. Unless and until you help them believe they need to do something different, you are not going to have an opportunity to win your dream client away.You also can’t wait to win your dream clients. In the past, it was customary to wait patiently for your dream client to become dissatisfied enough to let an RFP or rummage through a box business cards to invite different companies in to present to them. This behavior, waiting passively and being reactive, is how you become a commodity. Here’s the terrible truth about commoditization: If you act like a commodity, your dream client will treat you accordingly.The right approach for both of these problems is to get on your front foot, to be proactive, to dictate the tempo, to control the narrative.Is Eat Their Lunch for You?When you write a book proposal, you are supposed to include a section to describe the audience for your book to the publisher. The wrong answer is “everyone.” The right answer is a small niche that is large enough to publish a book profitably.It’s Not For You If . . .If you want to know how to speak poorly about your competitor, this book is not for you. I offer the opposite advice. The best way to “eat their lunch” is to say nice things about your competitor and then differentiate yourself and your approach.If you want tricks and shortcuts that will provide you with a result without any effort on your part, I am afraid I am going to disappoint you. Eat Their Lunch is practical and tactical, and the frameworks require disciplined effort on your part.It’s For You, For SureHowever, if you are the kind of person who wants to know how to create so much greater value than their competitors that their dream clients will switch providers, Eat Their Lunch will show you how to do so.If you want to make ideas like Challenger and selling with insights actionable, the chapter on capturing mind share will provide you with a framework and exercises that will allow you to do so.Prospecting isn’t an event. Prospecting is now a campaign, where you professional persist and pursue your dream client over time. If you want to know how to professionally persist effectively and use your greater value creation to capture mind share and gain appointments with your dream clients, you’ll find the strategy in Eat Their Lunch.For me, discovery is now about helping the client discover something about themselves. If you want the newest and sharpest lens for understanding your client’s real challenges, Eat Their Lunch will stretch you, and in doing so, give you a much clearer view, one that opens up opportunities and creates an advantage. It will help you see what is invisible to your competitor.You know how there seem to be more people involved in every deal and how it is getting more difficult to manage this process? If you want a framework for understanding who these people are, what they want, and how to create a strategy to get the ones you need to “yes” at the same time, you’ll find it in chapters 7 and 8.We use words like “peer,” “consultative,” and “trusted advisor,” when we talk about how we want to be perceived by our clients. In a section on Intangibles, you will find the recipe from becoming these things for your clients. However, while you are doing so, you also need to retain your clients, protecting yourself from being displaced. You will find the answer to the problem of retaining your clients while you do the work of taking theirs from them.You can get the book now on Amazon.com, Barnes & Noble, or in bulk from the best book people on Earth, 800CEOREAD.com. But first, go to eattheirlunchbook.com to look at the bonuses available when you buy the book, things like workbooks and videos and keynotes. 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 Nowlast_img read more


first_imgMumbai: A group of activists under the banner of recently formed Indians for Actualization of Democracy (IAD) on Wednesday released a fact-finding report on the March 25 communal violence at Vadavali in Patan district of north Gujarat, following a visit to the area.Vinod Chand, the president of IAD, called the incident as a “dacoity” rather than “riots,” and said the incident sparked off after a tiff between two schoolboys, one Hindu and the other Muslim, when the latter reprimanded the former for throwing stones at a beehive.last_img read more


first_imgThree persons were on Saturday injured when Army personnel allegedly opened fire at a group of stone-pelting youths in Bandipora district of Kashmir, police said.A group of youths pelted stones on Army vehicles which were passing through S.K. Bala locality in Symbol area of Bandipora this morning, a police official said.He said the Army personnel allegedly opened fire to disperse the mob, resulting in injuries to three persons. The injured have been referred to a hospital here for treatment, he added.A similar incident took place at Harnag in Anantnag district but there were no casualties in the alleged Army firing there, the official said.last_img read more


first_imgPANAJI: The by-election in the Panaji and Valpoi Assembly constituencies in Goa on Wednesday recorded nearly 75% voting. The ruling BJP and the Congress both expressed confidence that they would win the seats.In Panaji, the voter turnout was 70%, much lower than the 77.06% turnout recorded in the February 4 Assembly election. Chief Minister Manohar Parrikar, who had said all along that he was looking to win the election with a big margin, admitted that a lower turnout would reduce his winning margin. At a press conference at the BJP headquarters on Wednesday, Mr. Parrikar complained about the behaviour of Mahila Congress president Pratima Coutinho and others during the election process, and said the turnout had been poor in the rival party’s areas. He expressed confidence, however, of winning the bypoll with a good margin. “Voting percentage was low because the other side had no traction,” Mr. Parrikar said. He claimed that around 98% of the BJP’s voters had cast their votes in both constituencies.In Panaji, Mr. Parrikar was facing the Congress’s Girish Chodankar and Goa Suraksha Manch’s Anand Shirodkar. Election Commission officials attributed the comparatively low turnout in Panaji to the Ganesh festival, which will begin on Friday.Polling ended at 7 p.m., and according to the Chief Electoral Officer, the voting percentage in Valpoi was 79.80, as against the 86.29% turnout recorded in February. Health Minister Vishwajit Rane is contesting against the Congress’s Roy Naik in the constituency.Polling was by and large peaceful, barring two minor altercations in each constituency. Mr. Parrikar said he was satisfied with the conduct of the poll authorities, even as the Congress alleged that election officials were biased in favour of the BJP.Mr. Chodankar told reporters on Wednesday, “In Panaji, I was fighting alone, while Mr. Parrikar was backed by his ministers and the poll officials. It was not a fair contest.”He said that in Panaji, the altercation between former BJP MLA Sidharth Kuncolienkar and Ms. Coutinho was not handled well by poll officials. “They shoved around our women workers and the poll officials failed to act swiftly and justly,” he said. Mr. Chodankar also claimed that voters in Panaji and Valpoi had voted for change, and in anger. “People want change. They will throw out the Chief Minister and the Health Minister. We are confident of winning both seats,” the All India Congress Committee secretary said.Former Rashtriya Swayamsevak Sangh (RSS) chief Subhash Velingkar said the RSS cadre had not worked for Mr. Parrikar.“RSS workers will not vote for him, and our Anand Shirodkar will win this election, with a small margin,” Mr. Velingkar said. Mr. Velingkar had rebelled against the RSS ahead of the February Assembly election over the medium of instruction in primary schools. He later returned to the RSS fold, and continues to mentor the regional outfit of the Goa Suraksha Manch (GSM). However, the GSM is opposing the BJP-led government over its continuation of grants to English media primary schools and other issues, like government patronage to casinos in the Mandovi river.Counting of votes in both constituencies will be held on Monday.last_img read more


first_imgThe film community expressed outrage after producers Viacom 18 Movie Productions deferred the release of Sanjay Leela Bhansalli’s historical film Padmavati amid spreading protests.National Award winning actor Shabana Azmi said, “Are we fools to not see thru the design of fomenting unrest and polarising votes? I am very angry. The film industry needs to take a strong unified action and refuse to be sitting ducks anymore.”Ms. Azmi, reacting to threats being issued to the film, lead actor Deepika Padukone and director Sanjay Leela Bhansali, said, “If such threats had been made against any member of the political class, would the reaction have been the same? Are the people in the film industry not equal citizens of this country?”Reacting to the producers’ decision, filmmaker Anurag Kashyap said, “It’s infuriating. It’s a shame and it’s harrowing. I don’t have words to articulate my anger.”‘Not unexpected’Director Hansal Mehta lamented that “bullies had prevailed again” and said people had resigned themselves to government inaction on such issues. Mr Mehta expressed concern over filmmakers being targeted and said the stand taken by the government in the Padmavati and IFFI row [dropping of films selected by the jury] was “disappointing but not unexpected”.“After all what is a film compared to elections? S Durga, Nude and Padmavati’to begin with. Many more to come…”“I was told by many industry leaders that it was a wise strategy to delay Padmavati. Truth is that people have resigned themselves to government inaction in the face of such blatant terror. The only advice given is to shut up, retreat and accept these attacks,” Mr Mehta said.“So SLB (Bhansali) should show the film to those who threaten to have him beheaded? And get their approval?” he wrote.Sad day: IFTDAThe Indian Film and Television Directors’ Association (IFTDA) member Ashoke Pandit described it as a sad day for Indian cinema and freedom of expression.“This is just the beginning and it has set a bad precedent to films of the future,” he said.IFTDA along with other industry bodies such as Cine And TV Artists Association (CINTAA) and Screenwriters Association had last week protested the harassment meted to filmmakers through the extra-constitutional censoring by fringe groups.Mr. Pandit also disagreed with CBFC Chairman Prasoon Joshi’s criticism of the film being screened for select journalists ahead of certification, saying a filmmaker has the right to screen it whomsoever he pleases. “Private screenings are an industry practice and do not hinder the certification process. I do not think the film makers did anything wrong by screening it to certain media outlets,” he said.Directors Anurag Basu and Nikkhil Advani also took to social media to support Mr. Bhansali.“It’s bizarre! The whole Padmavati row is based on just presumptions. Protestors have not seen a single frame of the film yet, but they know that history has been tampered! How?”last_img read more


first_imgGadchiroli encounter toll rises to 39 Gadchiroli encounter: Security forces had ‘precise’ info about Maoist location  A former senior Maoist from the Danda Karanya Special Zonal Committee, which is in-charge of Bastar and Gadchiroli, said, “The information could have come from the Maoists who recently surrendered and their contacts. I have never seen something like this in my 22 years as a Maoist. The cadres will not retaliate immediately,and will investigate and assess their strength before reacting.” A theory has surfaced, of the rebels being drugged through their meal.However, the Boriya villagers who helped the police in recovering the bodies from the river, ruled out this possibility. They said a Maoist camp was set up near the river and there was a long gun battle on April 22.In the second encounter in Jimalgatta on April 23, six Maoists were killed. Local sources said a senior member, Nandu, who was shown to have been killed in an encounter in Rajaram Khandla area on April 23, was seen with leaders Shrinu and Sainath on April 21. A question being raised is that Nandu and five other Maoists may have been caught during the Kasansur encounter and then taken to Rajaram Khandla forest and killed.Gatepalli villagers told Gadchiroli police that eight residents are missing after the encounter. “Eight families from Gatepalli informed that these eight people, including five women, had gone to attend the wedding in Kasansur. But another Gatepalli villager, who attended the wedding, informed us that they did not go there. We have identified 19 bodies and handed over 14 to relatives,” Gadchiroli Superintendent of Police, Abhinav Deshmukh said.  At 6 a.m. on April 22, when the Maoists were unguarded, bullets started raining from all sides and grenades were hurled. Some 64 C-60 commandos had sneaked in hours ago from the Chattisgarh side. Only some Maoists could retaliate, weakly. The police picked them out one by one and shot them dead. A police source said, Sainath used the weapons of other Maoists when he ran out of bullets, three times. But he could not withstand the heavy firing and grenades.Villagers in Boriya could hear the gunshots until 3 p.m. When the guns fell silent, the police saw that it was their biggest success in the five-decade-long history of Left Wing Extremism. A total 34 bodies of Maoists were recovered from the area. Along with a second encounter on April 23 in the same district, the loss to the extremists stands at 40 dead. No chance to surrender?The police claim they gave a chance to the Maoists to surrender and opened fire only in self-defence. This version appears to be at odds with the accounts of villagers. No one was spared, including women Maoists, who were bathing in the river or the injured who wanted to surrender. Those who survived the gun battle and grenade blasts were left with no option but to jump into the Indravati. Their bodies floated for two days before a local reporter spotted them and alerted the police. There were seventeen bodies floating and photos showed burn and bullet marks.Apparently, there was a tip-off from someone inside the dalam. The wedding at the centre of the operation did go ahead on April 22. Also Read It was a perfect ambush. So perfect that even the Maharashtra police special anti-Naxal Unit, the C-60, was surprised. Thirty-four Maoists were confirmed killed. And not a single policeman. Based on many accounts, here is how it apparently happened. On April 22, a wedding was scheduled in Kasansur village in Tadgoan under Bhamragad division of Maharashtra’s Gadchiroli district. The groom was from Kasansur and the bride from Gatepalli, the native village of Maoist leader Sainath who was in-charge of Perimili Dalam and the Divisional Committee member of the CPI (Maoist). The Maoists were coming to attend the wedding. For two weeks ahead, police had information that the dalams (a dalam has 10 to 15 Maoists) headed by Shrinu alias Srikant and Sainath were moving north from Kalled in Sironcha division of Gadchiroli. A week before the wedding, they were in Perimili area conducting a series of public meetings over the crisis arising from collapse of tendu leaf sale this year.On April 21 evening, the Maoists set up camp three kilometres from Boria village. They chose a difficult terrain near the Indravati river with a steep forested slope between Maharashtra and Chhattisgarh as a defence.Also Readlast_img read more


first_imgExhorting the government to involve slum dwellers in the development of the city, Campaign for Housing and Tenurial Rights Convenor Varghese Theckanath on Monday said those living on bunds were worried in the wake of canal beautification projects and demanded that they not be relocated. “About 26% of the city population lives in slums, one-third of which are located on canal bunds. The government’s plan to transform canals should not disturb dwellers who have been living on the same lands for decades,” he said at a press conference here. Stating that most slum dwellers were employed in blue collar jobs, he added, “Driving them away from the city would burden their lives and cost them jobs. They are an integral part of the city and the government should ensure they remain so” Vijayawada Slum People’s Federation Convenor Chinni concurred with him and said they were not against the beautification of the city but demanded involvement in it. Calling for relocating slums to neighbouring areas, Housing Rights Network city Coordinator Sanjeev and Monfort Social Institute city Coordinator P. Ravindra Babu said RTI applications had been filed to find out available land for the same. Under threatTo gauge the impact of projects, a survey by the NGOs revealed that more than 36,000 persons of 8,000 families resided in the 31 slums on the bunds of Bandar, Ryves and Eluru canals and Budameru rivulet in the city.last_img read more


first_imgThe National Human Rights Commission (NHRC) has asked the West Bengal government to pay ₹25,000 in compensation to the father of a girl of North 24 Paraganas district for police inaction after she was allegedly abducted and trafficked by a Bangladeshi national. “Hence, issue a notice under Section 18(a)(i) of the Protection of Human Rights Act, 1993, to the Government of West Bengal, through its Chief Secretary, requiring it to show cause, within six weeks, as to why the Commission should not recommend payment of ₹25000/- as compensation to the father of the victim girl,” the order said. Kirity Roy, secretary of a human rights organisation, told The Hindu that the show-cause notice means the State has to pay the compensation.” The incident took place on April 6, 2014, when the girl, aged about 14, left home at Taranipur, informing her parents that she was going to the market. But she did not return. “On June 7, 2014 at 11.30 a.m., the father of the victim girl went to the Swarupnagar police station with a written complaint that a Bangladeshi man, named Harun, has abducted and trafficked his daughter to Mumbai, but his complaint was not registered,” the NHRC order said.last_img read more


first_imgThe administration in southern Assam’s Cachar district has ordered a magisterial probe into the leakage of data related to the National Register of Citizens (NRC).Files with names of people within the Silchar Sadar circle had been leaked out before the complete draft was published on July 30. “Two executive magistrates and a State civil service officer have been tasked with investigating the leakage and submit a report within 48 hours,” Cachar Deputy Commissioner S. Lakshmanan told newspersons on Wednesday.He said the investigators would soon zero in on one of the NRC Nagarik Seva Kendras in the circle where the mischief might have been done.Information pertaining specifically to the Madhurband area of Silchar had been leaked out 24 hours before the complete draft was published. An FIR was lodged in the local police station and a computer shop raided.A grouping of 11 Left and democratic political parties and a forum against Citizenship (Amendment) Bill, 2016 on Wednesday said some forces within and beyond Assam were trying to derail the NRC exercise by giving it a communal slant.last_img read more


first_imgChhattisgarh Governor Balramji Dass Tandon, who was one of the founder members of the BJP’s parent organisation Jan Sangh, died after suffering a heart attack at a government hospital here on Tuesday, an official said. He was 90.Mr. Tandon breathed his last at the state-run Dr. B.R. Ambedkar Memorial Hospital where admitted this morning after he complained of uneasiness, Governor’s secretary, Surendra Kumar Jasiwal, told PTI. Mr. Tandon was kept in the hospital’s critical care unit in view of his serious condition, he added.The Governor suffered a heart attack, the hospital’s medical superintendent, Dr. Vivek Choudhary, said.Chief Minister Raman Singh, who visited the hospital earlier on getting the news of Mr. Tandon’s illness, announced a seven-day state mourning in view of the Governor’s demise.Independence Day will be observed in a traditional manner on Wednesday and there will be no award and cultural ceremonies, the CMO said in an official release.Mr. Tandon’s body will be taken to Raj Bhawan, where it will be kept for people to pay their respects at 5 pm. The body will be taken later to Mr. Tandon’s native place in Punjab.In his condolence message, the chief minister said that as Governor, Mr. Tandon offered his valuable services to Chhattisgarh for around four years. “He was like a father figure to me,” Mr. Singh said.Mr. Tandon had assumed the office of Governor in Chhattisgarh on July 2014.During his long political career, he served on various posts, including as deputy chief minister of Punjab.The six-time MLA was also jailed from 1975 to 1977 during Emergency.last_img read more


first_imgThe Goa government on Thursday decided to donate ₹5 crore to the Kerala Chief Minister’s relief fund, according to a statement issued by the Chief Minister’s Office. This apart, all employees of the state government, as well as autonomous bodies funded by the state exchequer, are expected to voluntarily contribute a day’s salary towards flood relief efforts, the CMO statement said. “Chief Minister Manohar Parrikar has sanctioned Rs.5 crore as Goa government’s contribution towards Kerala CM’s relief fund for Kerala flood relief operations,” the official statement released here said. “In addition to the above, all employees of Goa government and autonomous bodies are expected to voluntarily contribute their one day salary towards flood relief work in Kerala. Goa stands in solidarity with the people of Kerala,” the statement further added. The announcement comes a day after the return of Chief Minister Manohar Parrikar, who was in the U.S. for more than a week for treatment.last_img read more