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Afternoon Map
BY Michele Debczak
April 6, 2018

Millennials are increasingly opting to pay rent over mortgages as housing prices creep up across the country. But the American dream of owning a home is more realistic in some places than it is in others. According to this data visualization from the cost information site How Much , where you choose to live can save you tens of thousands of dollars on housing payments a year.

How Much calculated the salary you need to afford the average home in each state by running data from Zillow into a mortgage calculator. They assumed that homeowners would pay interest of 4 to 5 percent depending on the state, make a down payment of 10 percent, and spend 30 percent of their annual income on their mortgage. Based on these numbers, they found West Virginia to be the most affordable state to live in: There you only need to make $38,320 to own the average $149,500 home. Behind it is Ohio with a salary requirement of $38,400 and Michigan with a salary of $40,800. All the states where the minimum salary to own a home falls below $50,000 are located in the South, North-Atlantic, and Midwestern U.S.

At the opposite end of the spectrum, Hawaii occupies the top slot. To afford an average house there, which goes for $610,000, you need to bring home an annual income of at least $153,520. Washington D.C., where you need to make $138,440 or more, is the second most expensive location for homeowners, followed by California with a minimum salary of $120,120.

If the map above doesn't make you feel any more optimistic about owning a home, check out this map from 2017 of the earnings needed to rent a two-bedroom apartment in each state.

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Afternoon Map
Where in the U.S. People Aren't Getting Enough Exercise, Mapped
BY Shaunacy Ferro
July 9, 2018

The U.S. is a notoriously sedentary country. A huge portion of the population doesn't meet the government's recommendations for physical activity, and that can have some serious ramifications for public health. But not everyone is equally sedentary. Physical activity rates can vary significantly from state to state, as a CDC report spotted by Thrillist illustrates.

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When editing a 360 video, it’s important to know off the bat, that it requires a few extra steps compared to linear video.

Ideally, editors should watch every clip in a 360 player (either in the editing software or in a 360 player like the GoPro VR player) to gain a better sense of distance and pacing.

The first 5 seconds of a video are the most important part of the whole video, as it’s the best chance to catch the audience’s attention. If the first shot doesn’t grab the user’s curiosity, they will just continue to scroll down their feed without paying attention to your post. That being said, the first shot, which should be visually rich and interesting, should be immediately followed, or accompanied, by a clear and short message that reveals the topic of the story.

Here are the steps we take to create a 360 social video for Contrast VR.

Create a project file : Keeping your project organized is the key to editing efficiently and quickly. Create bins for the different types of files you are bringing into your project like the example below:

Depending on the size of your project, it can be quite useful to save different versions as Premiere Pro tends to crash, especially if you are dealing with heavy footage and a lot of animations/graphics. You should always create at least two or three versions of your project file along the post production process.

Create a new sequence : The sequence will depend on the resolution of the footage you are editing. When it comes to social videos, the resolution is usually 4096x2048 or 3840x1920. Choose Ambisonic option if you are recorded spatial audio.

Shot selects : Bring all the footage you have into the timeline and create a sequence for the shot selects. This will help you understand the variety of shots you have, as well as give you the chance to pre-select and begin shaping your sequence. Remember to always create new sequences for different edits; this way you can always go back to a previous version without having any headaches.

Storyboard : Usually the producer of the social video reviews all of the footage and puts together a rough storyboard to guide the editor, who will make the decision on which shots will best tell the story.

For our storyboards, we find it useful to create a table divided in three columns: Vision (what you want to see in the shot), audio (voice over, narration, sound effects) and graphics (text on screen/title cards, lower thirds, animations etc). For a video that is 1:30 min to 2 minutes, we usually choose about 8 to 12 shots in total. The voice over selection is also very important, since only the most valuable pieces of information should be extracted and added to the story. Creating a storyboard also helps you visualizing the story arch (beginning, middle and end) and prevents you from adding irrelevant information into your piece.

Title cards : Text in 360 videos should be as concise as possible. We find two lines per title card is the maximum amount of text that can be on screen while allowing people to also enjoy the visuals of the story. They should be positioned in parts of the shot where people might be looking, while making sure to not completely cover the subject.

Timing is very important. Title cards should be long enough for people to be able to read them, but it shouldn’t be as long as the shot is because the viewer might not have time to read and look around the scene at the same time. It is important to give some space between the end of a title card and the transition to a new shot.

Subtitles : Most people watching videos on Facebook do not turn on the volume, so it is very important to burn in subtitles in order for the viewers to understand the story.

Animations/Graphics : Animations and graphics are a useful and creative way to complement information that might be needed to understand the story or make it more interesting. This should be taken more as an element to support data/information — it shouldn’t be over used especially when it comes to journalistic pieces and documentaries.

Offsetting shots : Once your edit is done, it’s time to watch the full video and determine if the orientation of the shots and graphics is correct. It’s helpful to watch the piece flat at first and then preview it in 360 just so you are sure that viewers will find all elements needed to comprehend the story smoothly.

Adding Music: We usually use as our music source — which changes if we are dealing with a longer documentary piece. Editors usually receive a song suggestion from the producer (which is described on top of the storyboard) and/or the editor chooses a background song that goes with the tone of the story and helps it flow better.

A lot of people are still not familiar with the 360 format, so you need to make it clear that they should look around by moving their mobile phones or swiping with their fingers. If you keep all the most important objects of your scenes in the center of the panoramic view, users will not make an effort to look around the scene and the utility of 360 video becomes pointless.

While people do have freedom to choose where they look in a 360º scene, it is preferable to re-orient shots in a way that there’s continuity between scenes, as well as helps guide the viewer. For example, let’s imagine Shot A, which is followed by Shot B. In Shot A, if your character is walking from one point to end up at another point in Shot B, we need to make sure there is continuity. Wherever the character is at the end of Shot A, we should make sure the character is at the beginning of Shot B. We can do this by re-orienting Shot B. It can be disorienting to see the same character in very different spots of the 360 video.

Contrast VR quality- checks every single social video that is edited by our team to assure that footage, subtitles, title cards, shots and graphics are well put together. It is extremely important to be detail oriented and very attentive to small mistakes. When you watch 360 degrees clips in a flat format — as we editors usually do along the editing process, it is quite easy to miss a person who doing something inappropriate in the background, for example. It is essential to watch the video in the 360 format several times to make sure you are not missing anything that might have gone wrong. We also need to remember our responsibility in making sure our documentaries are in line with our ethics code .

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A punk rocker-turned-Zen priest helps desperate people re-discover the will to live through counseling, and must practice what he preaches.

Emmy Award-winning filmmaker Lana Wilson is a New York-based writer, director, and producer. Her first film, , went inside the lives of the four most-targeted abortion providers in the country, and was critically acclaimed for providing a moving and complex look at one of the most incendiary issues of our time. premiered at the Show more Sundance Film Festival in 2013, and went on to be theatrically released by Oscilloscope Laboratories in 50 North American cities. It won the 2015 Emmy Award for Best Documentary after a national broadcast on the PBS documentary series . was also nominated for the Independent Spirit Award for Best Documentary, four Cinema Eye Honors, a Satellite Award, and the Ridenhour Prize. It was named one of the five best documentaries of the year by the National Board of Review, and featured in "Best of 2013" lists in the , and more. Wilson’s film tells the story of a remarkable Zen priest doing suicide prevention in Japan. She also recently wrote an episode of the National Geographic Channel miniseries , executive produced by Doug Liman and Matt Wolf. Wilson was previously the Film and Dance Curator at Performa, the New York biennial of new visual art performance. Her work has been supported by the Sundance Documentary Fund, the Tribeca Film Institute, the Bertha Foundation, the Educational Foundation of America, Chicken Egg Pictures, the International Documentary Association, Candescent Films, Women in Film, and the New York State Council on the Arts, among other institutions. She holds a BA in Film Studies and Dance from Wesleyan University, where she graduated with honors. Show less

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Ittetsu Nemoto is not your typical Buddhist priest. A former punk rocker who loves riding his motorcycle and dancing all night in clubs, he became famous in Japan for his extraordinary success in inspiring suicidal men and women to keep on living. His unorthodox approach to suicide prevention includes one-on-one counseling sessions as well as meditation, camping trips, and wild collaborative art projects. But Nemoto also struggles with demons of his own. He does not sleep, his phone is rarely silent, and his temple is never empty. His days and nights consist of endless counseling sessions and retreats. He has hundreds of “patients” but is only a one-man practice. According to his doctor, if Nemoto doesn’t make significant lifestyle changes soon, he'll have very little time left to live.

The priest finds himself at a crossroads, because he wants to be there for his own family — including his baby son — but also feels like he can’t say no to the desperate people who come to him for help. is a lyrical, complex, and moving portrait of an imperfect individual dealing with a profound contemporary issue that ultimately affects us all.

2017 Tribeca Film Festival

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Regional-scale tree die-off events driven by drought and warming and associated pests and pathogens have occurred recently on all forested continents and are projected to increase in frequency and extent with future warming. Within areas where tree mortality has occurred, ecological, hydrological and meteorological consequences are increasingly being documented. However, the potential for tree die-off to impact vegetation processes and related carbon dynamics in areas remote to where die-off occurs has rarely been systematically evaluated, particularly for multiple distinct regions within a given continent. Such remote impacts can occur when climate effects of local vegetation change are propagated by atmospheric circulation—the phenomena of ‘ecoclimate teleconnections’. We simulated tree die-off events in the 13 most densely forested US regions (selected from the 20 US National Ecological Observatory Network [NEON] domains) and found that tree die-off even for smaller regions has potential to affect climate and hence Gross Primary Productivity (GPP) in disparate regions (NEON domains), either positively or negatively. Some regions exhibited strong teleconnections to several others, and some regions were relatively sensitive to tree loss regardless of what other region the tree loss occurred in. For the US as a whole, loss of trees in the Pacific Southwest—an area undergoing rapid tree die-off—had the largest negative impact on remote US GPP whereas loss of trees in the Mid-Atlantic had the largest positive impact. This research lays a foundation for hypotheses that identify how the effects of tree die-off (or other types of tree loss such as deforestation) can ricochet across regions by revealing hot-spots of forcing and response. Such modes of connectivity have direct applicability for improving models of climate change impacts and for developing more informed and coordinated carbon accounting across regions.

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