WARE, England — An emotional Andy Sullivan ended a near five-year wait for his fourth European Tour title as he recorded a seven-shot victory at the English Championship in Ware on Sunday. Heading into the final round at Hanbury Manor with a five-shot advantage, Sullivan saw his lead cut to just two by Spain’s Adrian Otaegui (66). But while his challenger faltered over the closing stages, Sullivan recorded four birdies on the back nine to shoot a 6-under 65 for a 27-under 257 total. Full-field scores from the English Championship The victory was his first on the European Tour since the 2015 Portugal Masters and his first since the birth of his son and the deaths of both his brother-in-law as well as a close friend. Tears flowed as Sullivan was greeted by his family via a laptop that was set up off the 18th green after he finished the round. ”I think it was just the people that have missed it for me,” he said when asked about his emotional reaction. ”My brother-in-law was only 24 and got taken from us, so it’s quite emotional for him not to witness it. A good friend of mine has passed as well. It means a lot to do that for them. ”It’s just nice for my family, to win for my little boy who’s only 2 years old. It’s just nice for him to see daddy being successful. He hasn’t quite seen that. Sullivan made a fine start with an eagle on the second but a bogey on the fourth coupled with five birdies for Otaegui saw the Spaniard move within three at the turn. Sullivan taps in birdie to win English Championship Second-place Otaegui holed from just off the green on the 12th to cut the lead to two shots but Sullivan responded with a gain at the same hole before he birdied Nos. 14 and 15 to take charge. His challenger faded and dropped a shot on the 17th and Sullivan finished with a flourish to birdie the last. ”I can’t remember too much about my emotions in the first three wins but I was fighting the tears back on those last three holes,” Sullivan said. ”I was really just proud of myself for what I’ve achieved this week.” Third-place Rasmus Hojgaard ended on 19 under after a flawless 64 as the 19-year-old Dane recorded a third successive top six finish on the UK Swing.
Share Add to My List In My List Related Stories Legal Advocate Discusses Medical Abuse At Shut Down Georgia ICE Facility Downtown Roswell is a bustling square packed full of restaurants, shops and galleries. The surrounding city boasts lush parks and a rich urban landscape that positions it close enough to Atlanta to have quick access to city life but far enough out to steer clear of the hustle and bustle.This diversity, combined with a healthy state tax incentive, makes cities like Roswell an ideal location for shooting movies and television shows. It’s also one of location manager Ethan Firestone’s favorites places to send a production crew.Firestone got his start in location scouting by working on the movie “Selma.” Since then, he has worked on a slew of other film and television projects, including “MacGyver,” “The Accountant” and “Keeping Up with the Joneses.” He’s helped to transform the streets of Atlanta into New York City, Los Angeles and Chicago and to turn empty city parking lots into war zones in Afghanistan.It’s Firestone’s job to know Georgia – its landscape and attractions, its highways, its small town squares – so when productions come looking for viable places to shoot, he’s ready with a few suggestions.“My job very largely entails trying to find something that marries a creative vision and is also logistically doable,” Firestone says. “We have to be able to bring in a film crew of anywhere from 150 to 200 people — or, if it’s a bigger Marvel-type movie, 300, 350 people.”The Original Pancake House on Cheshire Bridge Road in Atlanta was featured in the film “Keeping Up with the Joneses,” according to IMDb. (Ian Palmer)He also has to make sure the locations he proposes have adequate parking for the entire crew, a place to put hair and makeup trailers and space for extras to get ready.“If I find the perfect house on top of a mountain that’s exactly what a director envisioned, but it’s gravel roads all the way up, there’s no way you’d be able to get the lights and gear you need up there, the trailers, the box trucks. It doesn’t work.”Before a project makes its way to Firestone though, production teams contact the Georgia film office and send over a screenplay or script to give the office a better idea of what the project needs.“At the very beginning, when a movie or TV show is considering where they’re going to shoot, they’ll contact us to get some location advice,” says Craig Dominey, senior film location specialist and manager of the Camera Ready program for the state of Georgia. “We then match the locations we know of in the state to the needs of the script. We’ll give them an idea of where they might be able to best pull off their project, and then show them around to those places. Hopefully after that, we’ve landed the show.”If Georgia is chosen, the production team will generally hire their own location managers to do the more specific, on-the-ground scouting work. That’s where Firestone comes in.In addition to finding specific parks, restaurants or shops to film in, he also works directly with individual municipalities to iron out the details of shooting in the town or city. Each county in the state has something called a camera-ready liaison to help with permitting, parking and other legal and logistical details.Firestone also works directly with homeowners if the project requires the use of a private residence.“The way we approach homeowners is to knock on the door, or sometimes we’ll leave a letter during the day saying, ‘We’re interested in scouting your home. If this is something you’re interested in learning more about, please contact us at this number.’”For the film “Keeping Up with the Joneses,” Firestone found a neighborhood and two homes on a cul-de-sac that he wanted to use for the movie.“We put [the families] up in a hotel and gave them a per diem. We also generally negotiate a filming fee. For something that long, we’d usually just work out one total fee, with a breakdown of the prep, wrap and shoot days. People get paid more for a shoot day because that’s when the whole crew is there.”In the past couple of years alone, Georgia has acted as the backdrop for big-budget projects like “The Avengers: Infinity War,” “Godzilla: King of Monsters,” “Baby Driver” and the Netflix series “Ozark,” helping to position the state as the top film and TV production location in the world.“These days, Georgia is well known as a film and TV production hub,” says Dominey. “We’re [consistently] within the top three markets for filming, along with New York and LA. The word about Georgia is out.”And with sound stages continuing to be built, an endless list of diverse shooting locations and a pool of talent locating here from all over the globe, there seems to be no limit for the continued growth of the Hollywood of the South. ‘It’s Fractured’: Georgia Lt. Gov. Geoff Duncan On Healing Republican Party For Whom The Bell Rings
Volvo Buses has revealed a roof-mounted pantograph charging solution for its rigid and articulated 7900 Electric buses, called panto up.The solution is due to be introduced in autumn 2021, and offers a new alternative for charging electric buses at bus stops or depots.Volvo Buses has already introduced OppCharge, its charging station-mounted pantograph solution, presently deployed at Birmingham Airport. It also offers a cable charging solution for depots known as Combo2/CCS.“With a flexible range of alternatives for charging buses, we meet the varied demands and wishes of our customers and pave the way for quicker and easier transition to electrified bus traffic,” says Ulf Magnusson, SVP Business Unit Europe at Volvo Buses.The latest solution is based on technology from Schunk Group, an international technology supplier. It claims to offer compact installation and low additional on-board weight.
Marc Kudisch(Photo: Emilio Madrid-Kuser for Broadway.com) Lesli Margherita View Comments Casting is here for Hartford Stage’s world premiere musical adaptation of the 1984 motion picture The Flamingo Kid. The previously announced production, to be directed by Tony winner and Hartford Stage Artistic Director Darko Tresnjak, will run from May 9 through June 2.The principal cast will be led by newcomer Jimmy Brewer as Jeffrey Winnick, with three-time Tony nominee Marc Kudisch (Girl From the North Country) as Phil Brody, Olivier winner Lesli Margherita (Dames at Sea) as Phyllis Brody, Tony nominee Liz Larsen (Beautiful: The Carole King Musical) as Ruth, Adam Heller (Popcorn Falls) as Arthur, Samantha Massell (Fiddler on the Roof) as Carla, Lindsey Brett Carothers (Gettin’ the Band Back Together) as Joyce, Ben Fankhauser (Newsies) as Steve and Alex Wyse (Waitress) as Hawk.The ensemble will include Ben Bogen, Michael Hartung, Jean Kauffman, Ken Krugman, Omar Lopez-Cepero, Taylor Lloyd, Anna Noble, Erin Leigh Peck, Gregory Rodriguez, Steve Routman, William Squier, Kathy Voytko, Price Waldman, Jayke Workman, Kelli Youngman and Stuart Zagnit.The Flamingo Kid takes place in the summer of 1963, when Brooklyn teenager Jeffrey Winnick leaves home—against the wishes of his father—to take a job as a cabana boy at the colorful El Flamingo—a posh private club on Long Island. The music, the romance and the beach are magical—until tensions grow between father and son when a slick club member takes Jeffrey under his wing.The Flamingo Kid features a book and lyrics by Tony winner Robert L. Freedman (A Gentleman’s Guide to Love and Murder) and music by Tony nominee Scott Frankel (War Paint).The production will feature choreography by Tony nominee Denis Jones (Tootsie) and music direction by Thomas Murray (Anastasia), with scenic design by Alexander Dodge, costume design by Linda Cho, lighting design by Philip Rosenberg, sound design by Peter Hylenski, projection design by Aaron Rhyne and orchestrations by Bruce Coughlin. Marc Kudisch Star Files
A Dutch court has upheld a rule that required virologist Ron Fouchier, PhD, to secure an export permit from the Dutch government last year before he could publish his controversial findings on a lab-modified H5N1 influenza virus with increased transmissibility, according to a ScienceInsider report yesterday.The ruling means that future similar H5N1 studies in the Netherlands would also need an export permit for publication, according to the story.Fouchier, of Erasmus Medical Center in Rotterdam, told CIDRAP News today that he would like to appeal the ruling, but he needs to wait for Erasmus’s lawyers to consider the options.The court decision relates to Fouchier’s report published in Science in June 2012, showing that as few as five mutations could enable an H5N1 virus to achieve airborne transmissibility in ferrets. Fouchier and his colleagues generated the virus through a combination of genetic engineering and serial infection of ferrets.Long before publication, Fouchier’s study, along with a similar one led by Yoshihiro Kawaoka, PhD, sparked concern about the potential for causing the intentional or unintentional release of a pandemic virus. The US National Science Advisory Board for Biosecurity (NSABB) recommended in December 2011 that the studies not be published unless they were stripped of crucial details.But the board reversed the recommendation in March 2012, after reviewing the findings in more detail and after the authors provided additional information and clarifications. Kawaoka’s study was published in May 2012.But Fouchier had to obtain an export license before his report could see print. The Dutch government said the permit was required under European Union regulations issued in 2009 that are designed to prevent the spread of nuclear, chemical, and biological weapons, according to ScienceInsider. The rules include dangerous flu viruses and related technical data.Fouchier applied for an export permit under protest and received it on Apr 27, 2012. When the government turned down a petition against the government’s action, Erasmus filed a lawsuit, the story said.It said Erasmus officials argued that the EU rules don’t apply to Fouchier’s data because the rules make exceptions for basic scientific research and for information already in the public domain. Fouchier contended that his study qualified as basic research because he sought to understand mammalian transmissibility of H5N1 and that the methods he used to generate mutant H5N1 strains were well-known.The court, however, ruled that making H5N1 airborne was “a practical goal” and therefore went beyond basic research, ScienceInsider reported. The court also said that, to preserve the regulations, any exceptions to them should be interpreted strictly and that scientists don’t have the right to decide whether their own work is basic research.The story said Fouchier and Erasmus have 6 weeks to decide whether to appeal their case to the Court of Appeal in Amsterdam.”The initial response as scientists is indeed to appeal,” Fouchier told CIDRAP News by e-mail today. “Given that this issue is way beyond scientific argument and sensible reasoning, but entered the arena of legal language and lawyers, I need to wait until our lawyers are back in town next week, before we can make a formal decision.”Fouchier said he does not expect that the ruling will affect his plans for research on the H7N9 avian flu virus, which emerged in China earlier this year, causing 135 human cases and 43 deaths. He is one of a group of scientists who in August detailed plans for various H7N9 studies, some of which could involve generating mutations that make the virus more transmissible (“gain of function” studies).”H7N9 is not on the list of EU directive 428/2009, so this ruling does not apply,” Fouchier said. He sent a long list of pathogens specifically cited in the EU regulation, which includes “highly pathogenic avian influenza virus” but does not mention H7N9.”This list is clearly a ridicule[ous] sum up of pathogens, without sensible reasoning in light of biological weapon threats,” Fouchier commented.He also said the court ruling could affect research in other EU countries, since the regulation in question is an EU one. “It thus applies to all EU member states. 100s of scientific publications annually on all of the pathogens below would require an export permit from national export authorities,” he said.One US virologist, Andrew Pekosz, PhD, of the Johns Hopkins Center for Global Health, voiced concern about the ruling today. His research focuses on the interaction of flu and other respiratory viruses with the respiratory epithelium.In response to a query, Pekosz commented by e-mail, “To my knowledge, export licenses have been applied to specific items—certain cells, pathogens, plants, animals—or particular items/products from certain geographical regions. Putting a scientific manuscript into this kind of category seems to be a big departure from what these licenses were meant to do—which is to regulate items that appear very clearly on a list and are tangible things.”It seems to me to be very odd to apply these export principles to the experiments included in a scientific manuscript.”See also: Sep 25 ScienceInsider storyJun 21, 2012, CIDRAP News story on Fouchier’s H5N1 findingsApr 27, 2012, CIDRAP News story on granting of export license for Fouchier’s dataAug 7 CIDRAP News story on plans for H7N9 research
Would you like to read more?Register for free to finish this article.Sign up now for the following benefits:Four FREE articles of your choice per monthBreaking news, comment and analysis from industry experts as it happensChoose from our portfolio of email newsletters To access this article REGISTER NOWWould you like print copies, app and digital replica access too? SUBSCRIBE for as little as £5 per week.
Six GoPro cameras mounted together records video of Vanderbilt QB Johnny McCrary (2) during practice on Monday August 10, 2015. The cameras are capturing video 360°. Vandy’s Assistant Director of Video Productions Josh Pohl demonstrates the use of virtual reality gear in the Vanderbilt team meeting room in the McGugin Center on the Vanderbilt University campus in Nashville, August 28, 2015. Six GoPro cameras mounted together record video of Vanderbilt quarterback Johnny McCrary (2) during practice. Vandy’s Assistant Director of Video Productions Josh Pohl demonstrates the use of virtual reality gear in the Vanderbilt team meeting room in the McGugin Center on the Vanderbilt University campus in Nashville, August 28, 2015. Play VideoPlayMuteCurrent Time 0:00/Duration Time 0:00Loaded: 0%0:00Progress: 0%0:00 Progress: 0%Stream TypeLIVERemaining Time -0:00 Playback Rate1ChaptersChaptersdescriptions off, selectedDescriptionssubtitles off, selectedSubtitlescaptions settings, opens captions settings dialogcaptions off, selectedCaptionsAudio TrackFullscreenThis is a modal window. The Video Cloud video was not found. Error Code: VIDEO_CLOUD_ERR_VIDEO_NOT_FOUND A 360 Gopro camera cluster rest on the practice field on the Vanderbilt University campus in Nashville, August 28, 2015.About two years ago, a tech-savvy graduate assistant coach made an eye-popping pitch to Derek Mason in the Stanford coaching offices.The idea was a virtual reality football training system that put players directly into a play that they already had run in practice.It wasn’t a video game. It wasn’t traditional game film. And it wasn’t yet invented – at least not to this imagined extent.“Back then, it was just a thought,” Mason said. “Now it’s reality.”Mason, a former Stanford defensive coordinator and now Vanderbilt head coach, reunited with that graduate assistant, Derek Belch, over the offseason. Belch, the co-founder of STRIVR, which stands for Sports Training in Virtual Reality, took on Vanderbilt as one of his start-up company’s earliest clients for virtual reality training.“It’s a very revolutionary concept, but it works for teams now. About nine out of 10 coaches get it right away,” Belch said. “Schools like Vanderbilt are on the ground floor, and I think anyone who doesn’t have this in two years will be left behind.”STRIVR was first used in a test run at Stanford last season. Now six NFL teams and seven college teams use it — Arkansas, Auburn, Vanderbilt, Clemson, Rice, Stanford and Dartmouth.Vanderbilt safety Oren Burks first saw STRIVR at a Stanford football practice over spring break while visiting his sister, a softball player for the Cardinal.“I thought we’d get it here at Vanderbilt at some point because Coach Mason loves to use new technology to stay ahead,” Burks said. “The game is changing with new technology and new tools coming along, and he recognizes that.”But virtual reality training doesn’t come cheap. Belch won’t disclose how much Vanderbilt pays for the technology, but he said “for the most part, it’s a six-figure investment … and right now, teams are getting it as a service for two or three years.”Vanderbilt did not divulge its annual or overall cost paid to STRIVR, but Mason believes it’s worth the investment.How does it work?There are three major steps in STRIVR’s virtual reality process for Vanderbilt.First, video is filmed from a 360-degree cluster of cameras mounted on a light-weight tripod that’s moved throughout different drills on the practice field. The tripod is placed directly next to the player to get an accurate viewpoint. For example, the camera is placed about a yard to the right of quarterbacks in shotgun formation, so the video shows their perspective throughout the play.Second, that film is uploaded to STRIVR Labs in Menlo Park, Calif.And last, the video is placed onto Vanderbilt’s virtual reality database for players and coaches to view and experience it through a headset or a projector screen.Belch said the usual initial reaction is “Wow!” or a few choice expletives. Quarterbacks have used it the most at Vanderbilt, but they have not been available for interviews during a preseason competition for the starting job.Wide receiver Trent Sherfield said the experience is “pretty cool and kind of freaky. I put those goggles on, and I can see myself standing right there and then I can look around and see the whole field, too. You can hear the play call, turn around and look at your coaches, and even see everything going on around you.”Unlike helmet cameras that only show the player’s tunnel-vision perspective within a play, 360-degree cameras show every angle of the action — what the player sees during the play and what he doesn’t see.Once a player views the play through the virtual reality headset, he can pause it and rotate 360 degrees. A quarterback can watch wide receiver routes and defensive pass coverages develop in front of him. He also can rotate the view 180 degrees to watch his footwork in a five-step drop or look behind at the pass rush surrounding him in the pocket. And finally, he even can turn the view away from the side of the field where he passed the ball and instead find the neglected open receiver on the opposite side of the play.“It’s an unbelievable teaching tool,” offensive coordinator Andy Ludwig said. “We can look at the same play four or five times in a row from the quarterback’s perspective, talk through the different reads and help us make the appropriate decisions. What we are working toward is building a large library of all those plays and reads.”Not just for QBsBelch came up with the idea more than a decade ago, and virtual reality training was his master’s thesis at Stanford.It was initially thought of as a tool for quarterbacks, and that’s still its primary use. Vanderbilt quarterbacks Johnny McCrary and Wade Freebeck used it throughout the summer in their free time, as it provides extra training aside from NCAA-sanctioned film study with coaches present.But other positions have begun to find it useful, both in college and the NFL.During preseason camp, Vanderbilt placed the 360-degree camera tripod in place of a defensive back facing a wide receiver in press coverage. At the snap of the ball, the defensive back’s view shows the hand motions and footwork the receiver uses to break free from the line of scrimmage.When placed next to a running back in pass protection, the cluster of cameras show the player’s first-hand view of the pass rush from 360 degrees within the play and what he missed in the opposite direction.“It’s one thing to see it on film from a bird’s eye view. But to watch it live inside the play, they can see what their techniques were and if their alignments were correct and see the pace of the play,” Mason said. “I just think it’s the next step of teaching.”Josh Pohl, Vanderbilt’s assistant director of video productions, said Commodores kickers have found a visualization tool in the virtual reality goggles. Rather than taking mental reps in their mind of making the perfect kick, they can instead actually see themselves take a flawless approach and nail a 50-yarder over and over through the headset.Practice makes perfectBelch knows there is skepticism surrounding virtual reality as a legitimate coaching tool, but he said the technology is intended to be a supplement, not a replacement for practice.“We are realistic about (the uses of virtual reality). It’s not going to succeed everywhere,” Belch said. “Movies are in VR, video games are in VR, travel is in VR. All that may be cool for a little bit, but I don’t think it’s going to fit most people.“VR athletic training is a legit experience, and it works now and it works well. And I just think it’s only going to get better.”STRIVR has competitors. EON Sports VR, for example, counts Kansas, Ole Miss, Syracuse and UCLA as its FBS college clients, and the Tampa Bay Buccaneers signed on this preseason.The difference between the two is that EON uses video game graphics rather than footage of actual players from practice.“We train athletes through VR, but not by using cheap video games to do it,” Belch said. “They are trying to take what they use for gamers and use it for athletes, and it doesn’t work. It doesn’t work mentally, emotionally or cognitively.”Mason said he likes STRIVR’s approach of combining the use of actual practice film with the virtual reality experience.“You are seeing it happen from what the player actually saw or what he could’ve seen around him,” Mason said. “When they get themselves in those virtual reality goggles, it looks real because it is real.”Reach Adam Sparks at 615-259-8010 and on Twitter @AdamSparks.ABOUT STRIVR 1. STRIVR is Sports Training in Virtual Reality. Founded by former Stanford graduate assistant coach/player Derek Belch and professor Jeremy Bailenson, director of Stanford’s virtual human interaction lab.2. STRIVR has six NFL teams and seven college teams as clients — Arkansas, Auburn, Vanderbilt, Clemson, Rice, Stanford and Dartmouth.3. Video is shot on a 360-degree camera cluster atop a light-weight tripod, which is placed alongside selected players in practice.4. Video is uploaded to virtual reality database, where it can be viewed through an Oculus Rift headset.5. STRIVR differs from other virtual reality training systems because it uses actual practice footage rather than video game graphics.NEXT GAMEWESTERN KENTUCKY at VANDERBILTWhen: 7 p.m. ThursdayTV/radio: SEC Network/560-AM, 95.9-FM Session ID: 2020-09-18:6c44017dc7d9441121630781 Player ID: videojs-brightcove-player-743431-4449858461001 OK Close Modal DialogCaption Settings DialogBeginning of dialog window. Escape will cancel and close the window.TextColorWhiteBlackRedGreenBlueYellowMagentaCyanTransparencyOpaqueSemi-TransparentBackgroundColorBlackWhiteRedGreenBlueYellowMagentaCyanTransparencyOpaqueSemi-TransparentTransparentWindowColorBlackWhiteRedGreenBlueYellowMagentaCyanTransparencyTransparentSemi-TransparentOpaqueFont Size50%75%100%125%150%175%200%300%400%Text Edge StyleNoneRaisedDepressedUniformDropshadowFont FamilyProportional Sans-SerifMonospace Sans-SerifProportional SerifMonospace SerifCasualScriptSmall CapsDefaultsDoneClose Modal DialogThis is a modal window. This modal can be closed by pressing the Escape key or activating the close button.Josh Pohl, Vanderbilt’s assistant director of video productions, demonstrates the virtual reality gear in the team meeting room. Video is taken with a 360-degree cluster of cameras mounted on a light-weight tripod and then viewed through a headset or on a screen.