The role of an assistant director on a film includes tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking cast and crew, maintaining order on the set. They have to take care of the health and safety of the crew; the role of an assistant to the director is confused with assistant director but the responsibilities are different. The assistant to the director manages all of the directors in development, pre-production, while on set, through post-production and is involved in both personal management as well as creative aspects of the production process. Assistant directing was a stepping stone to directing work; this was when the role was more general and encompassed all aspects of filmmaking such as set design and script editing. This transition into film directing is no longer common in feature films, as the role has focused into a more logistical and managerial position, it is more common now for an assistant director to transition to a theatre production management or producer role than to directing, with contemporary exceptions such as James McTeigue.
The role of assistant director is broken down into the following sub-roles: The first assistant director has overall AD responsibilities and supervises the second AD. The "first" is directly responsible to "runs" the floor or set; the first AD and the unit production manager are two of the highest "below the line" technical roles in filmmaking and so, in this strict sense, the role of first AD is non-creative. Their responsibility is to keep the production on schedule throughout the day, communicate to the entire crew, to maintain the safety and security of the staff and shot itself. An assistant director must be good at estimating how long a scene will take.. The second assistant director creates the daily call sheets from the production schedule, in cooperation with the production coordinator; the "second" serves as the "backstage manager", liaising with actors, putting cast through make-up and wardrobe, which relieves the "first" of these duties. Supervision of the second second assistant director, third assistant director, assistant director trainees, the setting of background are parts of the "second's" duties.
The second second assistant director deals with the increased workload of a large or complicated production. For example, a production with many cast may require the division of the aspects of backstage manager and the call sheet production work to two separate people; the third assistant director works on set with the "First" and may liaise with the "Second" to move actors from base camp, organize crowd scenes, supervise one or more production assistants. There is sometimes no clear distinction between a 2AD and a 3AD. Although some industry bodies such as the Directors Guild of America have defined the roles in an objective way, others believe it to be a subjective distinction; the additional assistant director or fourth assistant director or "key production assistant" may have a number of duties. Most the AAD has two broad job functions. One is the contraction of the duties of an AD where the AD acts as both second AD and third AD simultaneously. For example, a production with many cast may pass the 2AD call sheet production work to that of the AAD when the 2AD is performing the additional work of a third AD.
The other main use of an AAD is as an adjunct to the 3AD and 1AD for logistically large scenes where more ADs are needed to control large numbers of extras. The "Additional" may serve where the complexity of the scene or specialized elements within it require or are best served by a dedicated AD in most respects equal to a first AD - directing and controlling a number of other ADs to direct action to the satisfaction of the 1AD and the director. A production assistant is one of the lowest crew in a film's hierarchy in terms of salary and authority, they perform various duties required of them by ADs. The sub-roles of assistant directors differ among nations. For example, the distinction between second second AD and third AD is more common in North America. British and Australian productions, rather than having a second second AD, will hire a "second" 2AD experienced in the same duties, trained to the same level, to allow a division of the duties. 3ADs in Britain and Australia have different duties from a second second AD, the terms are not synonymous.
One of the first AD's most important responsibilities is to "call the roll" — that is, call out a series of specific cues for each take to ensure that all cast and crew on set are aware of what is going on so they can perform their particular role at the appropriate moment. Over the years, special procedures have been developed for this task to achieve maximum efficiency during shooting, which are some variant of the following: "Waiting on..." Though not technically part of calling the roll, first ADs may keep the set focused by calling out which department is responsible for a delay in rolling a take. If the lights need to be adjusted, the first AD calls out, "waiting on lighting". If the actors are still in their trailer, the first AD calls out etc.. However, such calls can be regarded as applying excessive pressure to the department in questio
Holy Cross Church, Binstead is a parish church in the Church of England located in Binstead, Isle of Wight. The 11th and 13th century church is located between the coast, its location some distance from the modern centre of Binstead indicates a medieval village associated with the quarries in the church's vicinity. Most of the chancel is of herringbone masonry; the original nave was replaced in enlarged in 1875 by the addition of the north aisle. The bellcote dates from 1925 and contains a pre-reformation bell believed to have come from the original, now ruined, Cistercian abbey at Quarr. On 7 June 1969, the church was damaged by fire, it was restored and rededicated in February 1971. Outside a sheela na gig, locally known as the "Saxon Idol", is carved on a stone gateway to the churchyard which contains several old and interesting burials; the best known is that of Thomas Sivell, mistaken for a smuggler by customs officers and shot. His gravestone, with long s replaced with short s where appropriate, reads: To the memory of THOs SIVELL, cruelly shot on board his sloop by some officers of customs of the Port of Portsmouth on the 15th June 1785 at the age of 64 years leaving a disconsolate widow & family.
In more recent times Nicholas Dingley, known as Razzle, the drummer of Hanoi Rocks was buried here. The church has a pipe organ dating from around 1897 by Co.. A specification of the organ can be found on the National Pipe Organ Register
Rodeleros called espadachines and colloquially known as "Sword and Buckler Men", were Spanish troops in the early 16th century, equipped with steel shields or bucklers known as rodela and swords. Conceived as an Italian attempt to revive the legionary swordsman, they were adopted by the Spanish and used with great efficiency in the Italian Wars during the 1510s and 1520s, but discontinued in the 1530s; the majority of Hernán Cortés's troops during his campaigns in the New World were rodeleros: in 1520, over 1000 of his 1300 men were so equipped, in 1521 he had 700 rodeleros, but only 118 arquebusiers and crossbowmen. Bernal Díaz, the author of an account of Cortés' conquest of the Aztecs, served as a rodelero under Cortés; when the Spanish adopted the colunella, they used small groups of sword and buckler men to break the deadlock of the push of pike, as the Swiss and Germans used halberdiers, comparable to the role of the German Doppelsöldner during the same period. At the Battle of Ravenna in 1512, they proved to be effective with this tactic.
They were very vulnerable to attack by cavalry. As battlefield tactics evolved during the early 16th century, the Spanish concluded that the vulnerability of the rodeleros on the battlefield outweighed their strengths, they were dropped as a troop type when the Spanish infantry were reorganized into tercios in the 1530s. Occasional attempts were made to revive them, such as by Maurice of Nassau, who armed his guard troops with a sword and buckler in addition to a pike. During the Thirty Years War, some military theorists proposed deploying swordsmen equipped with large iron shields in front of the pikemen to protect them from being shot by enemy musketeers, but it is doubtful whether this fanciful tactic was either successful or much employed in practice. Landsknechts Pikemen Swashbuckler Swiss mercenaries Charles. A History of the Art of War in the Sixteenth Century. Greenhill Books. ISBN 978-0-947898-69-4
1998 OR2, provisional designation 1998 OR2, is an asteroid on an eccentric orbit, classified as near-Earth object and hazardous asteroid of the Amor group with a diameter of 2–4 kilometers. It was discovered on 24 July 1998, by astronomers of the NEAT program at the Haleakala Observatory, Hawaii. There are precovery images from 1987 and 1996, it is one of the brightest and therefore largest hazardous asteroids known to exist. With an observation arc of 32 years, the asteroid has a well determined orbit and the trajectory is well known through the year 2197. On 29 April 2020 the asteroid will safely pass 0.04204 AU from Earth. With observations as recent as March 2020 and a 32 year observation arc, the 2020 close approach distance is known with an accuracy of ±105 km. 1998 OR2 is a member of the dynamical Amor group, therefore does not cross Earth's orbit. The asteroid's closest approach to the Sun is just outside Earth's furthest distance from the Sun; when the asteroid has a perihelion point less than 1.017 AU, it is classified an Apollo asteroid.
This asteroid's category flips forth over the years due to minor perturbations. It orbits the Sun at a distance of 1.0 -- 3.7 AU once 8 months. Its orbit has an inclination of 6 ° with respect to the ecliptic. With its sufficiently large aphelion, this asteroid is classified as a Mars-crosser, crossing the orbit of the Red Planet at 1.66 AU. The body's observation arc begins with a precovery published by the Digitized Sky Survey taken at the Siding Spring Observatory on June 1986, more than 12 years prior to its official discovery observation at Haleakala. With an absolute magnitude of 15.8, 1998 OR2 is one of the brightest and largest known hazardous asteroids. It has an Earth minimum orbital intersection distance of 0.0154 AU, which translates into 6.0 lunar distances. On 16 April 2079, this asteroid will make a near-Earth encounter at a safe distance of 0.0118 AU, pass the Moon at 0.0092 AU. According to observations by the NASA IRTF telescope during the ExploreNEOs Warm Spitzer program, 1998 OR2 is a rather rare L-type asteroid.
In 2009, rotational lightcurves of 1998 OR2 were obtained from photometric observations by astronomers in Salvador and during the Lowell Observatory Near-Earth Asteroid Photometric Survey. Lightcurve analysis gave a rotation period of 3.198 and 4.112 hours with a brightness amplitude of 0.29 and 0.16 magnitude, respectively. The Collaborative Asteroid Lightcurve Link assumes a standard albedo for stony asteroids of 0.20 and calculates a diameter of 2.15 kilometers based on an absolute magnitude of 15.7. As of 2018, this minor planet has not been named. Asteroid Lightcurve Database, query form Asteroids and comets rotation curves, CdR – Observatoire de Genève, Raoul Behrend Discovery Circumstances: Numbered Minor Planets - – Minor Planet Center 1998 OR2 at the JPL Small-Body Database Close approach · Discovery · Ephemeris · Orbit diagram · Orbital elements · Physical parameters
Peter Wegner is an American artist whose works consist of paintings, collages, artist's books, large-scale installations. Born in Sioux Falls, South Dakota, Peter Wegner earned his BA at Yale University, he works in multiple media, ranging from paintings and photography to large-scale installations and wall works. His pieces are included in major private collections worldwide, he lives and works in Berkeley, California. Critics and scholars have identified at least four major themes in Wegner's work; the first is the idea of their hidden inadequacies. As architectural scholar Noah Chasin wrote in a 2007 essay, "Systems make appearances in Wegner's work to suggest the potential for order, yet the artist continually exposes them as means of introducing disorder… e systematically questions their foundations from within so that the integrity of each system's signifying capacity is compromised…."Wegner himself embraces this idea when it comes to classifying the media in which he operates. His official bio states that "e works between conventional categories, creating sculptural paintings, painterly installations, architectural photographs."
However, Chasin advises viewers to see this aspect of the artist's approach as a constructive rather than a destructive one: “We should not conclude that Wegner’s subversion eliminates meaning but instead that it draws our attention to the way that meaning is created and naturalized.”Another core theme in Wegner's work is color. Professor and critic Eve Meltzer noted in a 2002 review that “color may be the… center” of his entire practice. Poet and essayist John Koethe described Wegner as "obsessed with color." The artist first began deconstructing the subject in the late 1990s with his "Remarks on Color" series, which used commercial paint chip samples as their starting point. Yet analysts have pointed out that, for the artist, color is a path to other topics, his color-based "D65" series, begun in 2014, takes its title from "the standard scientific shorthand for the color of daylight 6500 degrees Kelvin" and is "inspired by sunlight in California," according to Wegner. More than a decade earlier, Meltzer linked his use of color with market mechanisms.
She wrote of the paint chip works that "there is always the problem of capital and its ideological effects. After all the paint chip is an advertising tool—a ploy to make a buck on a dream. Wegner's work makes these systems palpable, not through barefaced institutional critique, but by elbowing some room into their rigid structures or—as he says in his book The Other Today Is the One You Want —by ‘open up the space between the lines’ and ‘push back the horizon.’"A third theme identified in Wegner's work is language. Meltzer writes that Wegner's paint chip pieces beg the question: “How can so many shades of red claim the same name when language’s system of difference can’t fracture fast enough or splinter small enough to cover the range?” In a 2007 essay, curator Henriette Huldisch observed that Wegner “repeatedly invokes language to create associations, to link his works back to the world of ideas and things from which they originated: systems of classification, names of places, the incidental items of our daily lives.”
Huldisch goes on to describe how “Wegner work as a bibliophile collagist, appropriating snippets of marketing jargon cutting and pasting the functional epithets into semi-accidental verse he terms ‘poetry written by commerce.’"A fourth theme identified by experts is Wegner's engagement with architecture. For example, in his photography series "Buildings Made of Sky," Wegner reverses urban streetscapes to reveal how skyscrapers shape the open-air spaces between one another into skyscraper-like forms of their own. Chasin described a 2004 piece from the series in these terms: “A magical reversal thereby takes place: the physical buildings read visually as a darkened background offset by architectural contours from startling blue-hued visions of skyscrapers carved from atmosphere. Sky becomes building. Huldisch noted that “is stacks and lattice structures reveal both an interest in the forms of Minimalism and a rejection of the stringent doctrine that predicated them."Yet Wegner does all of the above with a sense of light-heartedness.
As he states in a 2007 interview, "I’d like the humor of the work to make itself available to you so that maybe a couple hours after you’ve been exposed to it, it's still sinking in. You’re not laughing until the second or third day, by that time, you can't quite remember what was funny." Wegner's early work focuses on everyday artifacts embedded in popular culture, including typography specimens, commercial paint chips, security envelopes. When asked in an interview about his interest in such mundane subjects, he answered, "The world is ravishing; when you’re focused on nothing, it's too much." From the mid-1990s to early 2000s, he gave form to these ideas in discrete objects such as paintings, works on paper, artist's books. However, beginning in the mid-2000s, Wegner's practice expanded to include large-scale site-specific installations; the first of these was "COMPLETE & FINAL COLOR THEORY SUPERSEDING ALL PREVIOUS THEORIES & PRE-EMPTING ALL FUTUR
Marian Iwańciów was a Polish painter. He was the son of Stanisława Maria Sieprawska, he graduated from the faculty of Fine Arts at Stefan Batory University in Vilnius and received the artist degree in 1934. After the second world war, he studied at the Nicolaus Copernicus University in Toruń for a year, his works of art were shown at the annual exhibitions of the Fine Arts faculty at Stefan Batory University in the years of 1933, 1934/1935. In 1939, his engravings were displayed at the Polish military graphics exhibition which took place in Poznań, his graphics and paintings were shown in Vilnius a year during the individual exhibition. Some of his individual exhibitions took place in Wrocław, Lublin and Zamość, his travels provided inspiration for the set of water-colours, drawings in pastel and oil paintings which he created in the 1960s. At that time, they were presented at the individual exhibition known as Notatki z podróży, he was called up before the outbreak of the second world war. In 1939, he was imprisoned on the Solovetsky Islands.
He spent two months in the Soviet Gulag of Solovki. He returned to Vilnius; the prison buildings were transformed into a naval base. He worked as a secondary-school teacher in Vilnius until 21 June 1941. In 1944 he moved to Trakai; the political situation in the Lithuanian SSR forced him to arrive in Poland. He lived in the Lower Silesia region of Poland and in Zamość from 1953. Apart from painting, he was engaged in teaching, he worked as a teacher in Państwowe Liceum Sztuk Plastycznych. He was the manager of this school from 1965 to 1969, he was one of the founders of the local art group. Marian Iwańciów was an outstanding artist of the Zamość region in 1960s, he did not belong to any political party. He was awarded The Golden Cross of Merit for his creative work. Kazimierz Brakoniecki, Jan Kotłowski, Lech Lechowicz Wileńskie środowisko artystyczne 1919-1945, Olsztyn 1989 Józef Poklewski Polskie życie artystyczne w międzywojennym Wilnie, Toruń 1994 Jerzy Malinowski, Michał Woźniak, Ruta Janoniene Fine arts education in Vilnius and its tradition, Toruń-Wilno 1996 The Missionaries' Monastery in Vilnius - Kujawsko-Pomorska Digital Library Trakai Island Castle I - Kujawsko-Pomorska Digital Library Marian Iwańciów - Zamosciopedia