It’s a wet and windy start to the weekend after heavy rain and southerly winds lashed Ireland last night.Met Eireann said: “Saturday will be a blustery day with scattered showers and good sunny spells.“Southwesterly winds will be fresh to strong and gusty, but very strong along west and northwest coasts.” Revellers heading to Love Sensation on Saturday will need to pack a jacket as highest temperatures will reach just 18C with some scattered showers expected also.However, they will bask in some good sunny spells also, according to Met Eireann.Meanwhile, Sunday will start off will be another blustery and showery day with good sunny spells.However, showers will become heavy and widespread during the morning, with the odd thundery downpour. It will be another cool day with top temperatures of just 16C to 18C in moderate to fresh west to southwest winds.Wet and windy start to weekend for Donegal was last modified: August 16th, 2019 by Shaun KeenanShare 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)
22 February 2005South Africa and Angola have signed four agreements aimed at strengthening economic and social co-operation between the two countries.The agreements, signed by the ministers of both countries in Cape Town last week, formed part of a visit to SA by Angolan Prime Minister Fernando De Piedade Dias Dos Santos.The visit by Dos Santos and his delegation followed Deputy President Jacob Zuma’s visit to Angola in August 2004.Social Development Minister Zola Skweyiya and Angola’s Social Assistance and Reintegration Minister Joao Baptista Kussuma signed an agreement on co-operation in the fields of social protection and re-integration.Trade and Industry Minister Mandisi Mpahlwa and Angolan Transport Minister Andre Luis Brandao signed an agreement on reciprocal promotion and protection of investments.Defence Minister Mosiuoa Lekota and his Angolan counterpart, Kundy Pahyama, signed a protocol on defence cooperation, while Minerals and Energy Minister Phumzile Mlambo-Ngcuka and Angolan Energy and Water Minister Jose M Botelho de Vasconcelos signed an agreement on cooperation in the field of electricity.Zuma and Dos Santos discussed a wide range of issues during their meetings, including reconstruction programmes in Angola, regional and continental peacekeeping efforts; and conflict prevention, management and resolution in Africa.Angola has an immense natural resource base in the form of oil, gas, diamonds and other minerals.The country, that has endured more than its fair share of civil wars, has the potential for significant exports of coffee and other agricultural products, as well as fertile highlands with a favourable climate and plenty of water.Various SA companies and agencies, including Eskom, the Gauteng Economic Development Agency, Protea Hotels and Absa Bank, have visited Angola recently to explore the possibilities of investing there.In addition, a number of South African churches and NGOs are contributing towards rebuilding Angola after decades of protracted civil war.Source: BuaNews
Global travel group Flight Centre faces stiff fines after Australia’s competition regulator won a High Court appeal over allegations of price fixing involving three international airlines.The Australian Competition and Consumer Commission took action against Flight Centre in 2012, alleging that it attempted to induce Singapore Airlines, Malaysia Airlines and Emirates to enter price fixing arrangments on six occasions between 2005 and 2009.The airlines had been offering cheaper fares than Flight Centre’s, which had a “Price Beat Guarantee’’ that forced it to beat fares by $1 and offer a $20 voucher.According to the High Court judgment, Flight Centre sent a series of emails to the three airlines between 2005 and 2009 in an attempt to get each airline to stop offering international airline tickets directly to customers at prices lower than those published to travel agents.It went as far as threatening to stop selling the tickets of each airline if that airline did not agree,The Federal Court fined the travel group $A11m in 2013 after finding it had attempted to induce “anti-competitive arrangements or understandings” with the airlines to prevent them from offering international online fares on their websites which undercut the fares on the Flight centre website.However, flight centre appealed the decision and it was overturned by the Full Federal Court which found there was no separate market for booking and distributing airline services and that Flight Centre did not compete with the carriers.The ACCC took the case to the High Court and a judgment delivered Wednesday allowed the appeal. The majority opinion was that Flight Centre was in competition with each airline, despite the fact it was also acting as their agents, and its actions contravened the Trade Practices Act.Each side will bear their own costs because not all of the ACCCs arguments were accepted by the court but the case will return to the federal Court to decide penalties.”The ACCC pursued this matter because we were concerned that Flight Centre’s conduct in this case affected the competitive process,” ACCC chairman Rod Sims said in a statement. “At the core of the matter is the question of whether Flight Centre and the airlines are legally considered competitors.“The ACCC has always maintained that they are in competition with one another to sell flights to consumers.”Sims said the decision would provide important guidance for the future application of Australian competition laws where competing offers were made directly to consumers by both agents and their principal.Flight Centre managing director Graham Turner said the company was pleased the long-running saga had been resolved and respected the Court’s decision. However, he was disappointed it had reached this point.”Flight Centre has sought to deliver cheaper airfares to the travelling public for more than 30 years and is not in the business of attempting to make airfares more expensive,” he said.”As an agent that provides considerable advice and help to the travelling public and extensive marketing for airlines, FLT asks for appropriate commissions from suppliers and also reasonable access to all deals that they release to the market.”This is a logical and natural business request for an agent to make to ensure the customers it serves on behalf of airlines are not disadvantaged.”
Full Video Tutorial Transcript[color-box color=”gray”]EVAN ABRAMS: In this After Effects tutorial from Premiumbeat.com we’re going to create a 3D mosaic break-apart and come together of a logo, or really anything. It’s going to be using the card dance plug-in and a couple of other things to shore it up, so let’s get into it. So inside of After Effects the first thing we’re going to do is create a new composition, and in this case we’re going to use the HDTV 1080 24 frames per second preset, and we’ll set the duration to 30 seconds even though we won’t use all of it.Now, the first thing we need to do is create a place holder for the logos or the elements that you’re going to break apart using the mosaic effect. For this case we’ll just make a new text layer and we’ll just type in logo. And we’re going to use sort of a gold-brown color, and we’ll shrink it down so that it fits more or less towards the center and we can use the align panel to put it right in the middle.Now on the logo we might dress this up with a drop shadow, just to give it a bit more visual interest. So we’ll give it a white drop shadow, set it’s opacity to 100, put up the distance above 15, and then we’ll also go into the character palette here and we’ll add a stroke to it. So this will serve as the logo for the piece, and what we’ll do is we will pre-compose this so, control-shift-C, and make sure you have move all attributes to new composition. We will call this the logo comp, and all of the things that we do are going to happen to this logo comp. If you need to change anything you just go inside and change it. So, comp 1 out here should be renamed final export, because this is where things will be exported from.Now the next layer we have to make is a control layer, so we’re going to make a new solid, and we’ll make it the comp size and we can set it as white or black, or it doesn’t really matter because we’re going to cover it up using fractal noise. Now fractal noise will generate this nice sort of cloud pattern, and you can change the fractal type and the noise type and all sorts of things. But for our purposes what we’re really interested in increasing the contrast a little bit, perhaps to 150, and you can tweak the brightness if need be. But I think we’ll leave it pretty much as is. We just want to make sure you can see pure black spots and pure white spots, and there is considerable amount of change going on throughout; because this layer is going to control what happens in the next part.The first thing to do is pre-compose this, so control-shift-C again, or Cmd-shift-C, and call this the control comp. And we would like to move our attributes into the new composition so the fractal noise we created stays on that solid and goes into the composition; and hit OK. And you can drag this below the logo comp, or just poke its eye out, because we don’t need to look at it. Now on the logo comp we are going to use something called the card dance, and the card dance basically will break up this layer into a bunch of small cards and then it will animate them using another layer. So we have to say, gradient layer 1 is now the control comp. That means it will be using that gradient and that fractal noise that we put on there, and then multiplying the values underneath the cards and using that to generate position and rotation changes in those cards.So, the first thing we want to do is change the rows and columns of these cards. This will divide the layer up into various rows and columns in order to make the cards. So we would like 90 rows and 160 columns; so we’re dividing its height here into 90 pieces and we’re dividing the width into 160. Since this is a 16 x 9 composition that’s divide it up into squares. Now, when we go down here to the Z position and we say, use the source’s intensity, you can see that it starts to fragment apart into a bunch of little squares. And as you increase the multiplier they start to go all over the place. So let’s set the multiplier at 25 and we’ll set a key frame here at the beginning for it to be at 25, and we’ll most ahead 30 frames holding down shift and page down. And then we’ll set the multiplier down to zero. So the layer kind of collects itself together out of all of these pieces.And we can also put in similar things for the X and Y position as well. So we’ll go back to the beginning here and we’ll set key frame for those. So we’ll set the multiplier here for the X position to be at 25 as well; and we will set the multiplier for the Y position to be at 25 as well. And then we’ll set the source to be intensity one for both. And you can see it spreads them out quite nicely. And you’ll probably need to refine this just to make it a little bit more cohesive so that it isn’t going all over the place.These don’t have to be as extreme, because we are going to also add movement using a camera. So let’s just call up those key frames by hitting U, and then advancing to where they should all come together and making sure they’re all at zero. And we can see how that all comes together. We’re going to want to easy-ease them all into their end state just so it doesn’t happen so abruptly. And now we’re going to create a new camera to add more motion. And we’re going to use the 24 mil. preset, hit OK, and go into the logo comp here. And we’re going to have to tell it to use the camera that is in the comp. So it has built-in camera controls, but we would like to use the composition camera to move things around.So what we’re going to do is we’re going to take this camera and we’re going to transform its position. So, we know its final position should be here, so set a key frame. And before we animate it we want to go layer transform R orient and remove its auto orientation towards this point of interest. It causes too much confusion when you start moving the position, but it’s still locked and staring at a fixed point that doesn’t actually move as well.So now move back to the beginning and we’ll just push the camera forward through this mass of particles until it reaches a point where there are no participles, or there are so few that it doesn’t really matter. And then we’ll also easy-ease that last key frame so that it’s pulling out as it’s coming together; so that looks pretty good. And we’d also like to add a rotation, so put a key frame for the Z rotation, or zed rotation, go back to the beginning and we will just induce perhaps 180 or 90 rotation there so it spins as it comes out, and again, easy-easing that last key frame.So we have the logo coming out and coming together quite nicely. In order to add a motion blur to this though we have to force it to have motion blur. So, type in force motion blur on the effects, and then drag that out onto the composition. And what this does is it over rides any native motion blurs because this effect actually can’t have normal motion blur applied to it. In fact, it doesn’t believe the layer is moving at all, and if you tried to apply motion blur to it it doesn’t believe there’s any vectors for it to apply.So that brings the logo together. We’re going to advance a few frames, as long as you want to have it on. And now to remove the logo we’re going to simply key frame the position, the rotation, and those multipliers again, and move ahead only 10 frames. And now we’re going to set all of these up to be 25 so it’s fragmenting apart. And we are going to go in at -180 on the Z rotation, and we’re going to push back in using the camera’s position. So at around 50 it’s all gone; that’s good. So we can see when it gets ready to break itself apart it’ll look kind of like everything’s flying at the camera; in some kind of vortex.So that’s working out for me. What we’ll do now is we’ll take these inside key frames here of the camera’s movement and we’ll just turn them into auto beziers, which means that these key frames here in the middle are going to be the result of a tween between the two on the edge, just so it has continuous motion and isn’t so boring.Now, the last thing to do is to just take these layers and style them a little bit. So we’ll make a new solid that will serve as the background;set it to whatever color of gray you think is important. But we’re going to use a ramp on that, and what I like to do is use a radial ramp, move the inside to be close to the middle, and move the outside to be beyond the corner; set the end color to be something dark, like 5, and set the inside color to be something a little bit lighter, like 25.Now we can apply a drop shadow to this layer here, and we will set it to be at a distance of 25 and a softness of 25. And we’ll just put the motion blur below that, and you might have to amp up opacity, so you can see it a little better; but there it is. And now what we’ll also be doing is we’ll be adding an alpha bevel, so bevel alpha; again, put that above the drop shadow and set it to a value of 4.Now what this does is it appears that the shadow is being cast on the background, so instead of it looking like we’re pushing a camera through something it’s more like these are coming from behind the camera or materializing in some way. So that shadow just helps to ground the image. And that’s about it. You can do this for example on this text placeholder, and then if someone comes around with a logo they would prefer you to use you can just go in and place it in the comp.Now what you can do is also change it, and just to show you what it looks like when you change things I will put in a star here that has rather ridiculous colors, just scale that down and remove the logo we originally made. And so now you can see that it works for just about anything that you put in there. So this has been Evan Abrams for Premium B.com, your source for royalty free sound effects and music. If you want to learn more go to After Effects or other applications; stop by the blog. There are plenty of other tutorials and tips and tricks from industry experts there. And as always, I’m Evan Abrams, thank you so much for watching, and I’ll see you next time.[/color-box] Create a 3D style mosaic animation in After Effects – perfect for making logos and titles more dynamic!In this After Effects tutorial, you’ll learn how to break apart text or a logo into a mosaic pattern and then quickly reassemble it for an impressive reveal. All of the AE tools used in this tutorial come default with the app, so there’s no need to purchase any fancy (read: expensive) third party plugins or filters.Although some AE experience is suggested before taking on this mosaic animation tutorial, it doesn’t require any advanced scripting or expressions. The fundamentals of the tutorial include:Applying the Fractal Noise plugin to text or logoUsing the Card Dance plugin to break the text or logo into a mosaic patternSimulating movement of the mosaic tiles with the AE virtual cameraApplying Force Motion Blur effect to the animation for a smoother effectAlthough the effect seems like a likely fit for text or a logo, it can actually be applied to any video or graphic element in your AE project. Best of all, the affected element sits in it’s own comp, so you can quickly swap it out for something else with the same animation applied. For example, if a client decides they want to update their logo you won’t need to go through all of the steps of reanimating it, simply swap out the logo in the comp.This AE mosaic effect is quite simple and will add pizazz to a video editing or motion design project.Tutorial best viewed in full screen:
Manchester City Man City Team News: Injuries, suspensions and line-up vs Arsenal Sam Lee Last updated 1 year ago 19:14 2/23/18 FacebookTwitterRedditcopy Comments(0) Getty Images Manchester City Premier League Guardiola Yaya Touré İ. Gündoğan Kevin De Bruyne Raheem Sterling Leroy Sané Sergio Agüero Everything you need to know ahead of the Carabao Cup final at Wembley on Sunday afternoon Manchester City could be without Raheem Sterling as they try to claim the first piece of silverware of the Pep Guardiola era.Fabian Delph will not be available for Sunday’s Carabao Cup final, though Gabriel Jesus could return from a knee injury which has kept him out for more than six weeks.MAN CITY INJURIES Sterling suffered a muscle problem in the Champions League game against Basel which kept him out of Monday’s shock defeat at Wigan, and Guardiola says he does not know if the winger will be ready for Sunday. Article continues below Editors’ Picks Lyon treble & England heartbreak: The full story behind Lucy Bronze’s dramatic 2019 Liverpool v Man City is now the league’s biggest rivalry and the bitterness is growing Megan Rapinoe: Born & brilliant in the U.S.A. A Liverpool legend in the making: Behind Virgil van Dijk’s remarkable rise to world’s best player Jesus returned to training on Friday, February 16 and he could be in line to make Guardiola’s match day squad.Only Benjamin Mendy remains on the sidelines, though he could be back in the next month or so.City will be without either of their first-choice left-backs for the next three matches, however, as Delph will miss three games through suspension.MAN CITY SUSPENSIONS Delph will miss Sunday’s game as well as Thursday’s clash at the Emirates Stadium and next Sunday’s meeting with Chelsea as a result of his red card against Wigan.MAN CITY POTENTIAL STARTING LINE-UP If Sterling is not fit it is likely Bernardo Silva will take his spot on the right-hand side.Guardiola will also have to decide who plays left-back given Mendy’s injury and Delph’s ban. Danilo has tended to play in games with more defensive demands, while Oleksandar Zinchenko has tended to play at home in matches City are expected to dominate. Guardiola may err on the side of caution and use Danilo.There are other selection considerations for Guardiola, too. John Stones did not look entirely comfortable against Wigan and in fact he has struggled slightly since returning from injury in January. Aymeric Laporte will be trusted to play in City’s biggest matches this season and it would be no surprise if he started on Sunday. Nicolas Otamendi was rested on Monday and is likely to come back into the side.Claudio Bravo has played all of City’s Carabao Cup matches and he will start on Sunday, with Ederson on the bench.ARSENAL TEAM NEWS Arsene Wenger says Arsenal have no injuries for Sunday’s game. There had been concerns over Aaron Ramsey and Mesut Ozil but Wenger believes both will be fit.”I don’t know what kind of state [Alex] Iwobi is in, we will know that today [Friday] – but overall we have no injuries.”I’ll make a decision on Aaron Ramsey on Saturday, he looks to be available but he’ll have another test today. So we will know more about it tomorrow [Saturday].”On Ozil, the Frenchman added: “He had a good session yesterday [Thursday] which he absorbed well. We’ll have to see how he responds to it, but I think he will be alright.”OPTA MATCH FACTS Arsenal have won just two of their last 11 Premier League meetings with Manchester City, drawing five and losing four. Arsenal have recorded just two victories in their last 16 Premier League matches against fellow ‘big six’ teams (D6 L8). They beat Spurs in November 2017 and Man Utd in May 2017. The Gunners have failed to keep a clean sheet in each of their last nine Premier League matches – they last went 10 without a shutout in the top-flight back in February 2002 (11 games).TV COVERAGE & KICK-OFF TIME Kick off is 16:30 GMT (11:30 ET) on Sunday, February 25, and the game will be shown on Sky Sports in the United Kingdom. It will be shown on ESPN in the United States, and on various channels around the world, details of which can be found here . Check out Goal’s Premier League 2019-20 fantasy football podcast for game tips, debate and rivalries.