Also laughable is the fact that his wife (Eeshaa Koppikar) meanwhile is having an affair with a guy with an over-size chest. But for these casting mistakes, the director gets most things right. Like, giving Irrfan a solid role opposite Deol and saving up Konkana for the later part of the film so that there's something to look forward to.
Neerraj Pathak may not be a veteran director. But despite being just one film old he manages to get one thing right (pun intended). The script does not meander in twenty different directions but stays sharply focused.
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And then there's Irrfan Khan. What is about him that he can have the audience eating out-of-his hand with a twitch of the eyebrow or the most mundane gesture? Konkona Sen Sharma doesn't really have much of a role but this film went on the floors more than three years ago. Today Konkana Sen Sharma would probably refuse this role as she's a star in her own right.
So suppose I know $P(A), P(B), P(C|A), P(C|B)$, and I know that $A, B$ are independent. I'm trying to find $P(A \cap B | C)$. I first thought that, since $A$ and $B$ are independent, the $A$ and $B \cap C$ must be independent. However, I was wrong about this, and I can't seem to find a solution. What I've tried is:
Results: (1) At the level of the light microscope, comparing with the model control group (0.66 +/- 0.18), of the neuronal necrosis there were no significant differences in the rate of neuronal necrosis in the non-acupuncture group (0.67 +/- 0.34) and non-acupoint acupuncture group (0.59 +/- 0.11) (both P > 0.05), while it was significantly decreased in the Shuigou-acupuncture group (0.200 +/- 12) (P < 0.05). It indicates that no intervention and wrong (non-acupoint) intervention could light the damage of the neurons, however, only right intervention (Shuigou, GV 26) can obviously decrease the rate of the neuronal necrosis, showing with the specificity of acupoint. (2) At the level of the electron microscope, the ultrastructure of the involved neurons in the non-acupuncture group and non-acupoint acupuncture group is similar to that of the model control group, showing with the serious edema and structure damage. In contrast, the ultrastructure of the involved neurons in the Shuigou-acupuncture group is similar to that of the normal group and false-operation group, showing with light neuronal damage.
My name is Llyr. I've already done my whole spiel, but cell phones on silent, please. Restrooms are right downstairs or in the Art Department, but each floor has some.
Thank you so much for joining us for Career Conversations today. Today we have editors. We have Mark. I'm going to let him introduce himself and tell everyone what he's been doing and how he got there.
BARBARA DUFFY: That just makes me like I'm sure right. No, I mean, there are people that like to do that in production because it's exciting. You know it's any way, I'm sure it's the same in any office, you know.
BARBARA DUFFY: Oh, definitely, yeah. I started in Premiere my very first job. That was switched over to Final Cut. But now Final Cut is no longer being supported. It's now Final Cut X or whatever. There was a professional version of Final Cut, which when I was looking to restart my career, it's expensive to train yourself. So there are resources, at least for Final Cut, there are resources, classes that are subsidized that you can go and get certified through Apple for. As I said though, Final Cut is now obsolete so don't bother learning it. You would be learning Premiere. I mean the version of Final Cut that you have is the consumer version that comes with your Mac, right?
BARBARA DUFFY: And there's lots of tutorials online that if you get to know one oops, sorry. There's lots of tutorials online. If you get to know one of them, they'll be like the Premiere to Avid translation kind of thing. I did that for Final Cut. Like how to if you're a Final Cut editor, here are the specific things that you need to know. One of the most important qualities that you need to have as an editor is quick, you know, fast quickness. You need to be able to make decisions quickly. So if you're fumbling with buttons, it's right. I mean you have to make a lot of decisions very quickly especially if someone is sitting behind you. So all the hot keys and that sort of thing, it's kind of important to know. If you're great in one program, you need to know how that translates into the other program. Yeah, does that answer your question?
LLYR HELLER: And as an aside, one of our Career Conversation speakers for theater, he's a playwright but he also writes screen plays for TV shows so you may want to come back and ask.
BARBARA DUFFY: Yes, I will say that 100 percent. And actually I have a really good example of that. When I'm not animating I don't do this anymore, but I used to be a Mexican wrestler. I know that sounds totally left field. I was a Mexican wrestler for ten years. Seriously. People have hired me because of that. That has nothing to do with animation or my skills at sitting at a desk. It is something interesting that they can talk to me about. So I would also say have a life outside of what you do. Your personality is very important. And what you've accomplished outside of animation I see this a lot also in the acting world, which is entertainment. It's related. A casting director wants is to know who you are as a person. They don't want to know about your last acting job because you're here for a new acting job; right. This is very prevalent so I mention it in the world of acting. Less so in editing because you need to have very specific technical skill, but it's just so crucial to be a well rounded human being, you know. And so, if you can have something, like I have Mexican wrestling in my past, if I can talk about that, suddenly we have an animated discussion. I'm smiling. They're smiling. You know, it's a good vibe in the room that type of thing. So I would say 100 percent, yes. So even, if you don't have the technical skills yet, don't lose hope. You know, because you're a good person, you're an interesting person. And you have and, you know, you're a fun person, all that sort of stuff, and that's worth a lot I think.
BARBARA DUFFY: Do you have this town, I would say the industry here is entertainment; right. Like everybody works in entertainment here. You would be hard pressed not to be able to find a mentor. I think a lot of people are very willing to share their time because nobody got to where they were without being helped. So go on LinkedIn. Any find someone who works in the industry you want and just introduce yourself. Offer something to them. Don't ask them for feedback immediately. Say I've take the time to research them. See what they've done. Do you like it? Do you truly like it? Do you want to work with that person? Send them an e mail. Try to make a connection. Say like how can I support you, you know? Even though you're starting out, what can I do for you. And then build a relationship, ask for feedback for your stuff. You know, I never could believe being an introvert, I can never believe and being so shy that anyone would want to help me, but I was going about it the wrong way. I was like what can they give me you know. But I also didn't value myself enough to think I could offer help to somebody else. But you can. You can there's you can do anything to help somebody. People are so busy and you know yeah. So just know that you have value as a person. And, you know, you could be who knows where your career's going. You know people want to be nice to the people below them as well, because that's just the way this industry is. You know you start off on the bottom and you can in a year be really far up. So make personal connections. And we're just surrounded by entertainment. Even if it's not an editor, if it's a screen writer everyone thinks and to a certain extent does have some understanding of how film works. So even if it's not an editor, they probably have some good feedback for you.
MARK PANIK: I've been watching New Girl. You know it's a couple years out now, but the comedy timing in it is super funny. It's like spot on. It's well written. It's well acted. And like well cut. Like all the comedic timings are like right where they want to be. be457b7860
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