Monday, August 28, 2006

A 24-year-old Texas man is set to be the first person executed in South Dakota in 59 years after asking to fire his lawyer and drop further court appeals.

Elijah Page of Athens, Texas, may die by lethal injection tomorrow for the brutal murder of Chester Poage, 19, in Higgins Gulch, in the Black Hills region of South Dakota.

The court will weigh whether or not Page is competent to fire his lawyers and drop appeals, and a decision is expected today.

Page, along with Briley Piper, 25, of Anchorage, Alaska, pleaded guilty in 2001 for the March 13, 2000, killing. Both were sentenced to death. A third man, Darrell Hoadley, 26, of Lead, S.D., also pleaded guilty and testified against Page and Piper. He was sentenced to life in prison.

Hoadley told prosecutors the men planned to steal a stereo, TV, and other items from Poage’s mother’s house. Prosecutors said Piper and Page killed Poage because they wanted to eliminate a witness to the theft.

Hoadley described brutal details to authorities how Piper stabbed Poage three times in the head and neck and Page then kicked Poage 30 to 40 times and then tore Poage’s ears off. Page then bashed Poage’s head in with large rocks. Hoadley finished the job by striking Poage with two large rocks.

Piper and Page then threatened to kill Hoadley if he told police about the crime, Hoadley told authorities.

Richard Dieter, executive director of the Death Penalty Information Center, said it is rare for someone to receive a death sentence after they’ve pleaded guilty to the crime. But in this case, the judge, Warren Johnson of Deadwood, opted for the death penalty, saying he considered the crime to be “vile and depraved”.

Wednesday, June 16, 2021

In early May, Wikinews extended an invitation to Vitaly Filipchenko, an independent candidate in the 2021 New York City mayoral election, set to take place November 2nd, alongside other candidates. Filipchenko answered some questions about his policies and campaign during a phone interview.

Filipchenko, registered on the New York City Campaign Finance Board as Vitaly A. Filipchenko, is the first Russian candidate for New York City mayor, being born in Tomsk, Siberia in 1973, according to news agency Sputnik. He has since naturalised as a United States citizen. According to the web site, Filipchenko has been educated in road construction and maintenance and owns a moving services company; he describes himself on his web site as a “small business owner”. On his web site’s platform page, he says that “[m]y English may not be perfect – but my platform is.”

Incumbent Democrat mayor Bill de Blasio, who won re-election in the 2017 New York City mayoral election by 66.5%, cannot run for a third term under term limits. As of April 28, 22 candidates are currently running, the majority of whom are also Democrats. Ahead of the June Democratic primary for New York City mayor, a poll conducted May 23 and 24 by WPIX and Emerson College of 12 Democratic candidates with a margin of error of 3.2 per cent has former commissioner for the New York City Department of Sanitation Kathryn Garcia and Borough President of Brooklyn Eric Adams leading with 21.1% and 20.1%, respectively.

Sunday, May 21, 2006

Three days after the Internet release of the free content 3D short Elephants Dream (see Wikinews coverage), we exchanged e-mails with Ton Roosendaal about the reaction to the film, open source filmmaking, and the changes to Blender that resulted from the production. Ton Roosendaal is the lead developer of the Blender 3D rendering and modelling software that was used for the movie. He is also the chairman of the Blender Foundation, a non-profit organization which was formed in support of the software and projects like Elephants Dream.

How much money did the Blender Foundation spend on producing the movie? Has the money been fully recouped by DVD orders and donations?

We still have to finish the final bookkeeping for this project. It has been executed in co-production with the Netherlands Media Art Institute, and we each had our own internal budgeting for the project. When you exclude expenses of pre-production and producer personnel, the total budget was about 120,000 €, of which we covered half. Our contribution was roughly covered half by the DVD sales, and half by European Union support (http://www.uni-verse.org consortium).

One of the most common criticisms of CGI films is focus on technology over content. For instance, Final Fantasy: The Spirits Within flopped with audiences, in spite of being an undisputed technical milestone. I’ve seen many reviews that criticized the plot of “Elephants Dream” as too bizarre or confusing. In retrospect, are you happy with the story development process?

Haha, I knew the story and plot would get a mixed acclaim. There’s a couple of reasons I’d like to mention for it.

First of all; the criticism resembles how people witness Blender itself, too. Many people expect that Free Software is an easy accessible mass audience product. We get a lot of complaints by non-artists that they can’t get into the software easily, whilst the complexity of commercial products like Maya or Houdini is perceived as a confirmation of its “quality”. Apparently an Open Movie created similar expectations with the audience.

Luckily we also got many positive reviews of the artistic result of the movie. It is quite abstract, but definitely has many layers of information, inspiring many of the viewers to see relevant real life messages hidden here.

For this project we’ve teamed up with the Netherlands Media Art Institute, internationally renowned as a resource for video art. So for Elephants Dream, we’ve had the luxury to challenge ourselves to create real independent artistic content as well. The artists had a lot of freedom from the start; they were responsible for the concept, story and creative development of the entire movie. This has resulted in a lot of quite personal choices, based on what the artists liked to do themselves. I really cherish such an approach, it has resulted in a very motivated team working crazy hours the last months to get it all realized.

But, most importantly; the main target of our project was not only to create a 3D movie short, but to experiment with ways to improve the efficiency and quality of open source development. On this aspect only, this project was just a huge success, and the main reason for our sponsors (the DVD pre-sale) to support it. I know they might have liked a cartoonish funny movie with furry animals better, but for that you get already pretty well served by the bigger 3D animation studios. 🙂

I’m the first to admit that – looking back especially – certain aspects worked out quite weakly; there’s loose ends and questionable decisions, especially in story development and continuity. That’s just the risk of doing experiments, and nothing I regret really. The five artists from our user community who were invited to make the movie were young people with no professional background in filmmaking. Their personal incentive to participate in this project was also to learn from it, and to create a good portfolio for their future career. I’ve witnessed them grow in competence in the past year enormously, something I’m incredibly proud of.

On the technical level, the only major criticism I’ve seen of “Elephants Dream” is the character animation, especially in the opening scene — many reviewers felt that the movements seemed a bit unnatural. Do you agree with these criticisms? If so, what do you think can be done to improve on that level?

Yeah, the challenge the artists set themselves – to use quite realistic personages – is also something that easily works against you. In many animation movies they introduce characters in the beginning in a way you get used to their specific characteristic movements, so you accept a certain level of non-realism easily. (Check the weird walk cycles in The Incredibles for example). Another aspect is that we’ve started work on the first scenes, and ended with the last scenes. I can clearly see the animation quality increase, and that whilst the ending scenes were done in much less time due to time constraints.

We also didn’t schedule to do 9.5 minutes of animation either…. Originally it was more like 6. But, it’s always easier to look back to define the right decisions, eh? 🙂

I’m very happy with the reviews we got so far; luckily the movie was perceived as a professional quality product, and reviewed based on comparisons with what the big studios come up with. Even when we couldn’t satisfy all these quality demands, it has luckily not been branded as a pathetic presumptuous attempt by amateurs!

Do you think there is hope for a full-length open movie project in the near future? Would the Blender Foundation be interested in such a project, or do you intend to continue focusing mainly on shorts?

I’d like to wait a little while with defining what a next project would look like. Given the constraints of “organizing projects to improve open source development”, we might have not much choice either. It would probably mean to work with a new team each time, so most likely be based on shorts only. On the other hand, there’s also clear signals that this approach works well, and creates excitement and involvement of a lot of people, also from producers and sponsors. That might enable us to set up a next project based on larger targets. For a full-length feature film however, we should involve a sufficient amount of experienced film makers as well, and/or invite the first team to participate again. That would put a lot of pressure on the required budget…. You can’t do that based on a 1000 DVD pre-sale target. Would more be like 20,000 or so…. 🙂

How did the process of making the movie feed back into the development of Blender? Are there major technical changes that were made only or primarily because of the film?

Already during the pre-production phase the artists have defined the key targets for Blender development. This then was coordinated with the online development community too. I’ve done the most crucial (re-)development mostly myself, though. Especially on the character animation tools, on the rendering pipeline and compositing tools.

It is especially the latter I’m most satisfied with. In 3D movie production the compositing stage creates a giant content bottleneck. By transparently integrating this in our render-pipeline, a very efficient workflow has been achieved. And, not to forget, Blender now also offers the first production-level open source compositor on the market!

The current summary you can find in our work-in-progress release notes.

What are the key technical features in Blender you want to add or improve for future movie projects?

Depends on what the movie is about! There’s always hundreds of features you can work on. However, we’ll have to work on that anyway, movie project or not. There’s a lot of professionals using Blender now, and they can’t wait for the Blender Foundation to do movies! Look at this studio for example:http://www.plumiferos.com/

I read that at least one proprietary software package, Reaktor, was used for the sound effects. Is this because no equivalent free software solution exists yet? Will future projects have a “free software only” policy?

We’ve limited the “Open Source tools” requirement to our own Studio Orange only. That was what we could keep in control at least, and I can tell you it was not always easy even… 🙂

For sound and music we’ve decided from the beginning to seek an external sponsor. We have chosen to work with the best quality studio and composer we could find, preferably using open source, but not as a prerequisite.

My own competence is solely within the CG [computer graphics, Ed.] side of movie making. When it comes to music editing, or video encoding and DVD authoring, I could only decide to choose to work with external parties with proven competences in that area. I have to be practical in projects like this, especially to ensure it will be realized.

Hopefully, now we’ve got so much attention world wide, we can involve more non-CG open source next time, too. I will definitely strive for the maximum here, but it will fully depend on the amount of professional support we can get.

Blender itself was originally closed source freeware, until it was “liberated” through a fundraising campaign. If you could choose one proprietary application to “set free” where such a goal could be realistically achieved, which one would it be?

Well, the “realistically achieved” demand makes it quite difficult. 🙂 Looking back at similar cases, like Mozilla and OpenOffice.org, it was always very circumstantial. It just happens sometimes, you can’t organize something like this to happen in advance. The only common denominator is “a company in troubles”… so, who’s in trouble now?

What is your personal favorite computer-animated full-length film?

Uuuh… that differs every week! Probably Ice Age (the first one). Mostly because they didn’t overdo showcasing 3D technology so much, but created truly adorable characters and great funny gags.

Friday, March 25, 2005A Spotsylvania County woman, whose three dogs allegedly attacked and killed her elderly neighbor, was freed Wednesday by posting a $10,000 bond. Dianna Large, 36, received one felony charge of involuntary manslaughter and three misdemeanor charges in an indictment issued last week.

In her first appearance before a judge, she answered Circuit Court Judge William H. Ledbetter questions with simple “Yes sir.” and “No sir.” responses. The short hearing, held Thursday, formalized the charges against her. The involuntary manslaughter charge, a first in the severity of punishment being sought on a dog owner in the Virginan state of USA, carries a maximum penalty of 10 years.

State procecutor Wiliam Neely said that Large knowingly let her three Pit Bull dogs run free, and that an animal control agency person had warned her to keep them under better control. She also a violated a county ordinance requiring owners of dangerous dogs to post a warning sign to visitors. The prosecution also noted that none of the three male dogs were neutered.

The Animal Control Department of Virginia maintains a dangerous dog registry. It contains a list of owners whose dogs are deemed dangerous to society. The link to the registry was moved to a more prominent position on the county web page following the attack.

Thursday, May 13, 2010

Wikinews reporter Iain Macdonald has performed an interview with Dr Isabella Margara, a London-based member of the Communist Party of Greece (KKE). In the interview Margara sets out the communist response to current events in Greece as well as discussing the viability of a communist economy for the nation. She also hit back at Petros Tzomakas, a member of another Greek far-left party which criticised KKE in a previous interview.

The interview comes amid tensions in cash-strapped Greece, where the government is introducing controversial austerity measures to try to ease the nation’s debt-problem. An international rescue package has been prepared by European Union member states and the International Monetary Fund – should Greece require a bailout; protests have been held against government attempts to manage the economic situation.

Thursday, January 4, 2007

Bicycle sales in Australia have recorded record sales of 1,273,781 units for 2006, exceeding car sales by 32 percent. It is the fifth year in a row that the bicycle industry has sold more than one million units, a figure yet to be realised by car manufacturers.

The Cycling Promotion Fund (CPF) spokesman Ian Christie said Australians were increasingly using bicycles as an alternative to cars. Sales rose nine percent in 2006 while the car market stalled. Mr Christie said people were looking to cut their fuel costs and improve their fitness.

Mr Christie said organisations were beginning to supply bicycles as a company vehicle. “There is an emerging trend towards people using bikes as their official company-supplied vehicle in place of the traditional company car,” he said.

“Some of Australia’s biggest corporations now have bicycle fleets, and when you add in government organisations, we now know of at least 50 organisations which operate fleets of bikes.”

“Although the company bicycle is a long way from taking over from the company car, it’s an important trend when you consider that nearly half of all cars sold are to company fleets.”

The CPF claims most commutes to work are less than 5 kilometres (3 miles) making bicycle travel a viable alternative.

Monday, January 2, 2017

On Friday, Tyrus Wong, a Chinese-US painter who inspired the style of Disney animated film Bambi, died at home of natural causes in Sunland-Tujunga, Los Angeles, according to his daughter Kim Wong.

Born on October 25, 1910 in Guangdong province, China, Tyrus Wong left the country with his father at the age of nine under fake names “Look Tai Yow” and “Look Get”. Wong’s father taught him the art of calligraphy using water instead of ink on newspapers.

Wong used to work as a houseboy after school in Los Angeles earning half a dollar per day. Wong’s principal in junior high school helped arrange a scholarship in Otis Art Institute for his art skills. At Otis, Wong studied Western art and graduated in 1935. In 1934, a landscape of Wong’s appeared in an exhibition organised by the Art Institute of Chicago which also featured a Pablo Picasso etching, “Two Nudes”. For two years, from 1934 to 1936, he worked for the Works Progress Administration to create paintings for public buildings.

In 1938, Wong began work in the Disney animation studio as an in-betweener — creating hundreds of intermediate images for the appearance of motion. Walt Disney noticed his work. Wong’s forest paintings of deer strongly influenced the style of Bambi. Wong worked at Disney for only three years before he was sacked in 1941, following an employee’s strike in which Wong did not participate. Next year, Wong became a Warner Bros. concept artist, drawing storyboards and set designs for live-action films. Films he drew concept art for included The Sands of Iwo Jima, Rebel Without a Cause, and The Wild Bunch. After more than a quarter century at Warner Bros., Wong retired in 1968. Wong gained US citizenship in 1946.

Wong influenced animator Andreas Deja, the creator of Lilo from Lilo & Stitch and Jafar from Aladdin. Wong also worked as a janitor, designed greeting cards, and picked asparagus during the lows in his career.

Wong was named a Disney Legend in 2001. Wong is survived by three daughters and two grandchildren.