Sister Sara’s continues to produce the goods every weekend, it’s innovative and active management have steadily provided top class entertainment that caters for all ages since taking over the popular venue a few months ago.That has resulted in Sister Sara’s being packed every weekend over the last few months, but management won’t rest on it’s laurels and they’ve produced another great line-up of entertainment.Ray Montana is in the live lounge on Friday night, while resident DJ will have you toe tapping to all your favourites on Saturday night. Between those two gigs, they’ll be live Premiership action on the large screens all weekend.Enjoy the matches and avail of the outstanding drink promotions on offer all weekend.So make sure you start your weekend at Letterkenny super-pub Sister Sara’s.SUPERB LINE-UP OF ENTERTAINMENT AT LETTERKENNY SUPER-PUB SISTER SARA’S was last modified: October 2nd, 2014 by Mark ForkerShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:Entertainmenthome-page featuresnewsSister Sara’s
The close-up shot is a director’s secret weapon, but it requires technical know-how and narrative timing. Here’s what you need to know.Cover image via REDPIXEL.PL.There is a scene in Five Easy Pieces wherein Bobby Dupea (Jack Nicholson) wheels his ailing father (William Challee) outside in the cold to view the sunset, confess, expose, and apologize for his estrangement from the family. It’s a powerful sequence and a raw and emotional disclosure for our main character.The scene requires intimacy, and Bob Rafelson knew that it required a close-up — but one that served the story and the character. These men have had a turbulent, cold, and distant relationship. The sequence begins reflecting the past with a long shot of Nicholson and Challee against a dramatic sunset. They are both small and insignificant against the majestic sky.Image via Columbia Pictures.They stop dead center in the frame, and at this camera distance, Nicholson fixes the blanket on the old man’s lap and utters “You cold” to someone too sick for words. It’s the first step at connection, and on action, as Nicholson bends down to his level, Rafelson cuts to a medium two-shot. He sustains this shot for about 40 seconds, until Nicholson earns his close up — until the character is ready to reveal something. And even then, Rafelson frames the shot below his shoulders to not be too intrusive. He allows his actor to determine the frame.Rafelson doesn’t rein in the performance — if Nicholson needed to drop his head, the camera moved with him. When Nicholson leans and nearly leaves the frame, Rafelson cuts quickly to a reaction shot of Challee then returns to Nicholson swinging back in. It’s at that exact moment when Nicholson loses it emotionally, and he becomes his most vulnerable. All of this is by design, not luck or spontaneity. The people in the editing room chose these moments precisely to reflect the director’s vision for the emotional result of the scene.The PayoffImage via Paramount.Just like the source material, the close-up (by design) is the payoff shot. A line like “Frankly, my dear, I don’t give a damn” in Gone With the Wind only has power because of the nearly four hours we’ve spent watching Rhett Butler pursue, sacrifice for, and ache over Scarlett O’Hara. When he says that line, it’s a release for the character and the end of his story.The same principle applies to shooting. The close-up shot is a window into the character. It can reveal the character’s growth moment (John McClane’s confession to Powell that he never told his wife he’s sorry in Die Hard); it can depict a character discovering something important (Gene Hackman unraveling the truth in The Conversation) or create tension between characters (the standoff in The Good, the Bad and the Ugly). It can be all this and much more. It is a tool the director uses to let the audience know that a particular moment is important.If you overuse it, you run the risk of fatiguing the viewer and undermining the truly important moments. If you avoid it completely, you may be missing opportunities to reveal character and risk emotionally alienating the story.Technical ConsiderationsImage via United Artists.You’ll want to use a longer lens (70mm-100mm) for a close-up. A longer lens makes the depth of field shallower and throws the background out of focus. A wider lens tends to distort faces, making them look abnormal. Longer lenses reduce that effect. If you were to use a 24mm lens, you would have to move the camera very close to your subject to frame the actor for a close-up and contend with a lot more background than you would using a 70 or 85mm lens.In terms of storytelling, overusing the close-up might undermine the artistic vision. If you highlight every scene as special, then nothing is particularly special. In addition, overusing the close-up can disorient the viewer. If there are no establishing shots or master or medium shots that show the viewer where they are in the context of the events in the film, you can create a frustrating experience that won’t serve the story.Continuity is also an important consideration. You may be so focused on the depth of field that subtle aspects of continuity could get lost. For example, if you were shooting outside, was there a breeze in the establishing or wide shot that later, when you are shooting the close-up, is missing? Has the natural light dramatically changed, and will you need to artificially match it to the master? The temperature? If so, pay attention so the actor doesn’t appear cold in the master but comfortable in the close-up.Up Close and PersonalImage via Artisan Entertainment.The close-up is a powerful design tool for the director. It should spring from the screenplay, giving the viewer clues and insight into story and character.Try to imagine Ellen Burstyn’s powerful story about wearing the red dress in Requiem for a Dream from across the room. And see what the director (Aronofsky) conveys by getting out of the close-up as soon as Jared Leto’s character begins to lie. He stands, moves away, and ends up framed at the very edge. He is so far removed from the previous intimacy that he is practically out of frame. That is filmmaking that serves the story and resonates with the audience.Looking for more cinematography breakdowns? 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Sixteen months after the brutal rape-murder of a minor girl in Ahmednagar’s remote Kopardi village sent shockwaves across the State, a special court on Wednesday pronounced a death sentence for the three accused in the crime.The proceedings began at around 11.25 a.m. as the district and State awaited the quantum of sentence with bated breath. A massive crowd of onlookers gathered outside the court, keenly anticipating the final judgement amid a massive security shield.The tension was palpable in the courtroom as the three accused — Jitendra Shinde (25), Santosh Bhaval (36) and Nitin Bhailume (26) — were produced. All three stood with impassive faces as Judge Kevale awarded the death sentence to each of them.Following the pronouncement of the Additional Special Judge Suvarna Kevale, a roar of acclamation was heard outside the courtroom.“I had full confidence in the court and knew that justice would be served…we have waited every single day for nearly one-and-a-half years for this judgement,” said the victim’s father . Speaking after the judgement, Special Public Prosecutor Ujjwal Nikam said that all three accused were sentenced to death for the rape and murder of the minor, and hatching a conspiracy for the crime.All three convicts can appeal the judgement before the Bombay High Court.Earlier, a high security alert was pronounced by district administration before the commencement of the proceedings, with flying squads of police personnel stationed at every possible pocket in Kopardi as well as in various parts of the Ahmednagar district. Nearly 1,000 policemen were deployed with entry restricted to the courtroom. During the concluding arguments on the verdict on Wednesday last week, Advocate Nikam, representing the State, had urged the Special Court to award maximum punishment to the three offenders, given the particularly brutal nature of the crime, which occurred on July 13 last year.Advocate Nikam, who had earlier dubbed the murder as “extremely cold-blooded”, touched upon 13 points in the crime to argue that the accused deserved capital punishment. He had further argued that the convicted trio “remained unrepentant of their crime” before and after the tragedy, showing no contrition, while stating that a criminal conspiracy was hatched by the trio to rape and murder the victim between July 11 and 13. Advocate Nikam had further urged for the capital penalty, remarking that “society would get a wrong message if the death sentence was not awarded in so gory a case”.The defence counsels for the accused trio, while pleading for mitigation of their sentences, had said that a death sentence judgement could intensify social tensions between communities.The victim as well as the three accused hail from the same area.The case, which has been closely tracked by political parties and social outfits, had acquired a peculiar urgency owing to the potentially explosive nature of the crime in creating acute social divisions.The incident has been likened to the 2012 Nirbhaya rape case in the extent of its brutality, with medical reports suggesting that violence of a particularly feral nature was wreaked on the minor victim.