Podcasts about AVID

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

In this episode of Filmmaking Conversations, host Damien Swaby speaks with Juli Berg, an accomplished film and television editor and post-producer whose creative path began in junior high school and evolved into a decades-long career in documentary, unscripted television, music videos, and independent film.Juli shares the early experiences that shaped her artistic identity, the unexpected moments that led her to the School of Visual Arts (SVA), and the pivotal decision to pursue filmmaking professionally.She explains how her early academic strengths intersected with her love for art, eventually leading her to earn a BFA in Film/TV from SVA—a choice that set the stage for a distinguished career in post-production.After graduating from SVA, Juli began her career as an assistant editor in the documentary world, working alongside legendary editors including Larry Silk, Lillian Benson, and Jonathan Oppenheim.Her first professional editing assignment—ABC's In Concert—merged two of her passions: music and picture editorial. Over the years, she has:Edited numerous short films screened at domestic and international festivalsDirected, produced, and edited a wide range of music videosServed for two years as an Avid editing instructor at SVA, helping develop the next generation of editorsBuilt a reputation as a self-sufficient editor and post-producer capable of managing narrative structure, pacing, and story architecture independentlyDelivered over 80 episodes and specials as Editor/Post-Producer on History Channel's long-running series American PickersJuli is passionate about honoring the work of everyone involved in the filmmaking chain. She approaches editorial storytelling as a form of writing—shaping raw footage into its best possible version while maintaining the integrity and intention of those who shot it.If you enjoyed this episode, please rate, review, and share the podcast. Follow Damien Swaby for more filmmaker interviews and insights into the craft and business of storytelling.Use Promo Code "FILMMAKINGSWABY" for all my deals or just click the link:25% Off More Labshttps://www.morelabs.com/discount/FILMMAKINGSWABY20% Off Strong Coffee Companyhttps://strongcoffeecompany.com/discount/FILMMAKINGSWABY15% Off Tusslehttps://www.tusslegear.com/discount/FILMMAKINGSWABY20% Off Eric Javitshttps://ericjavits.com/discount/FILMMAKINGSWABY25% Off Quantum Energy Squarehttps://quantumsquares.com/discount/FILMMAKINGSWABY20% Off Long Tablehttps://longtablepancakes.com/discount/FILMMAKINGSWABY20% Off HyperNaturalhttps://hypernaturalstyle.com/discount/FILMMAKINGSWABY20% Off wearplaygroundhttps://wearplayground.com/discount/FILMMAKINGSWABY15% Off STAND+https://www.standshoes.com/discount/FILMMAKINGSWABY10% Off Molly Bzhttps://mollybz.com/discount/FILMMAKINGSWABY41% Off Cozy Earthhttps://cozyearth.com/discount/FILMMAKINGSWABYX (Twitter): @DamienSwaby https://x.com/DamienSwaby/status/1864468655582437405Instagram: @filmmaker__damien_swaby. https://www.instagram.com/filmmaker__damien_swaby/?hl=en 

Episode Notes Alec Patton talks to Tammy Unck, Maria Smith, and Uchenna Lewis about Bernal Intermediate School's work with part Partners in School Innovation on improving outcomes for multilingual learners, using techniques such as "shadow a student" and elements of the AVID curriculum. The result was remarkable: During the 2022-2023 school year, Bernal achieved a 250% increase in the rate of multilingual learners reclassified to fluent English proficient status! Check out Ivannia Soto's Shadowing Multilingual Learners** Also Tan Huynh and Beth Skelton's Long-Term Success for Experienced Multilinguals* * What are you waiting for, register for the National Summit for Improvement in Education before you miss out! Check out this Blog Post from Partners in School Innovation with resources for student shadowing and so much more! Learn more about the High Tech High Graduate School of Education

We talkAmerican storms, too much money, shark bonnet, alligator chicken, trick or treat police, Auschwitz moaning, the history of the lanyard, Facebook arguments, spinal preservation, The Traitors, Beefcake journey, time shares, made-up cheeses, window achievement, getting a Kevin in, meteor lies, Vampire babies and netball pressures.We also debut a brand new songAgain we've used the beautiful music of @benbrownstagram_ and also @_lewisbarton_@ipswichtownsocialclubipswichtownsocialclub@gmail.com

„Programové prohlášení nové vlády mě naplňuje optimismem,“ říká v podcastu Zdravé Zprávy výkonný ředitel Asociace inovativního farmaceutického průmyslu [AIFP] David Kolář. A přeje si, aby v příštích letech nepřišla žádná krize. Zkraje podcastu Zdravé Zprávy David Kolář ale popisuje aktuální situaci kolem dostupnosti centrových inovativních léků. Loni touto dobou se na ně nemocnicím kvůli vyčerpaným rozpočtům nedostávalo peněz, a tak se k těmto lékům někteří čeští pacienti zkrátka nedostali. Museli si počkat do ledna, kdy zdravotní pojišťovny pracují s novými rozpočty.„Letos jsme nezaznamenali, že by se situace z loňského roku opakovala. Ono to samozřejmě ještě může přijít, protože jsme teprve v druhém listopadovém týdnu. Loni jsme zaznamenali první problémy v říjnu... Takže se může stát, že ty problémy ještě přijdou,“ říká v podcastu Zdravé Zprávy David Kolář.Hned ale přidává i starou známou bolest systému specializovaných center a přístupu tuzemských pacientů k moderním inovativním lékům. Problém je v tom, že i když jsou tyto léky v systému úhrad, nedostane se k nim každý pacient, který je potřebuje.https://www.zdravezpravy.cz/2025/01/17/potrebujete-moderni-lek-mate-smulu-ted-nemame-penize/„Jsou tu léky, k nimž se dostane zhruba jen 20 až 30 procent pacientů z těch, kterým by tyto léky prokazatelně pomohly,“ vysvětluje a dodává, že to neplatí pro všechny inovativní léky. Záleží na konkrétním léku, u některých je reálná dostupnost podle jeho slov i 100%. Zdaleka ale ne u všech.Na otázku, co říká na to, že i přesto, že končící vláda si schválila, že úhradové vyhlášky nesmějí být deficitní, ministerstvo zdravotnictví v čele s ministrem Vlastimilem Válkem [TOP 09] předkládá takové úhradové vyhlášky, odpovídá: „Můžeme se bavit o tom, jestli ta úhradová vyhláška ministerstva je tím správným nástrojem pro přerozdělování peněz ve zdravotnictví.“https://www.zdravezpravy.cz/2025/04/01/premyslim-jak-to-rici-otevrene-uplne-a-natvrdo-rika-david-smehlik/„Já myslím, že nám teď vůbec nefunguje to dohodovací řízení, které by mělo zajistit, že bude dohoda jak na straně zdravotních pojišťoven, tak poskytovatelů péče,“ dodává.Podle něj je potřeba, aby se nové vedení ministerstva vrátilo ke své někdejší praxi, kdy dokázalo nastavit takové prostředí, v němž se v rámci dohodovacího řízení poskytovatelé péče se zdravotními pojišťovnami dohodli. To proto, aby peníze do zdravotnictví nepřerozděloval úředník na ministerstvu. A to na základě toho – ne, co potřebuje pacient, ale co požadují jednotlivé segmenty poskytovatelů péče. A pak toho, co si u úředníků na ministerstvu či politiků nakonec vyhádají.https://www.zdravezpravy.cz/2025/10/31/deficitni-uhradova-vyhlaska-pro-rok-2026-vysla-ve-sbirce-zakonu/To podle jeho názoru ale není jediný problém financování zdravotnictví. Další potíž spatřuje v nedostatečně zpracovaných datových podkladech. Datové analýzy, které ale nejsou, by pomohly ukázat skutečný stav vývoje a potřeby zdravotnického systému.„Jestli máme nějaký zásadní problém v českém zdravotnictví, tak je to vnitřní neefektivita toho systému. Tedy to, jak ty peníze ve zdravotnictví utrácíme,“ vysvětluje, proč jsou relevantní a aktuální data o dění ve zdravotnictví tak důležitá.„Co mě ale relativně naplňuje optimismem, je to programové prohlášení. Když jsme se dívali na jeho podobu, tak v oblasti zdravotnictví je v něm hned několik návrhů, které jsou proreformní a mohly by české zdravotnictví posunout dál,“ říká v podcastu Zdravé Zprávy David Kolář.Jako první jmenuje nápravu rozvalu dohodovacího řízení. A to za férových a jasně daných podmínek, kdy se obě strany – poskytovatelé zdravotní péče a zdravotní pojišťovny – dohodnou na výši úhrad.Dohodovací řízení je znovu v rozvaluDavid Kolář je optimista... Více na www.zdravezpravy.cz !!!

Fontana High School principal Joe Malatesta, AVID co-coordinator Kevin Escobar and AVID teacher Mario Echeverria discuss the school's award-winning AVID program, the importance of being an AVID Showcase and National Demonstration School, FOHI's AVID-inspired, Golden Bell Award-winning College Application Day, how AVID culture has spread throughout the campus, and how AVID changed the lives of FOHI graduates and former AVID students Escobar and Echeverria, who returned to the school to help teach the next generation of AVID scholars.

What was it like to be inside Softimage during the Microsoft acquisition? How did Bill Gates' "big pivot" to the internet change everything overnight? Industry veteran David Morin joins Chris to share his fascinating origin story, from programming with punch cards and an 8-year art detour to working with ILM on Jurassic Park and navigating the seismic shifts at Softimage, Microsoft, Avid, and Autodesk. Today, David leads the Academy Software Foundation (ASWF), and he details its crucial mission: providing a permanent, secure home for the industry's most vital open-source software. He discusses the importance of the foundation's "stamp of approval," the massive recent addition of ACES, and how open source works with commercial tools to democratize filmmaking, enabling independent, Oscar-winning animated films like Float to be created with tools like Blender. Academy Software Foundation > Join the ASWF > David Morin on LinkedIn > History of Softimage >   This episode is sponsored by: Center Grid Virtual Studio

When schools focus on what's working and align around a shared vision, transformation becomes possible.In this final installment in our National Principals Month series, Principal David Shaffer of Port Salerno Elementary shares how the AVID program has impacted his leadership and his school by providing structure, focus, and identity. David Shaffer and his team have used AVID not just as a program, but as a foundation for building schoolwide coherence and student agency. From “WICOR Wednesdays” to student-led collaboration, AVID structures help shift the cognitive load from teachers to students—giving learners ownership of their path and purpose.At the heart of it all is a community-driven approach. As David explains, “It really takes that community to create the system.” His team's grassroots efforts have improved academic outcomes and reshaped how students advocate for themselves—even long after they leave elementary school. This episode is a blueprint for schools seeking to embed AVID into their DNA while staying rooted in their local context and strengths.Visit AVID Open Access to learn more.

Yes!  You are in!  You ready for a ride?  Buckle up.  Put your trays in the upright and locked position.  Here you go...Thank you Dr. Loritts.  Power teacher.  That's what I call you.  I am so grateful for you.  Listener, if that dude is new to you.  You need to check him out.  You can hear the rest of his message and more at the link below...https://www.youtube.com/live/S6QdJlFxw-s?si=Smr1Cy3JA1FepzUuRom 3:23Race and religionPolitics and religionIf you are a believer, better yet a follower, The Word comes firstBlue kool aid vs. Red kool aid.  Crips and bloods.  And I'm witnessing my brothers and sisters getting fed certain algorithms.  It's sad, I literally have Christian brothers and sisters that don't want to talk to each other...because they think they are correct.  They are choosing politics over what Jesus says we should do.  That sounds like idolatry to me.  Are you turning the cheek? Check Matt 5:39.  He told us not to judge, are you doing that?   Can you see how the enemy is dividing you?  Check Matt 7: 1-6.7 “Do not judge, or you too will be judged. 2 For in the same way you judge others, you will be judged, and with the measure you use, it will be measured to you.3 “Why do you look at the speck of sawdust in your brother's eye and pay no attention to the plank in your own eye? 4 How can you say to your brother, ‘Let me take the speck out of your eye,' when all the time there is a plank in your own eye? 5 You hypocrite, first take the plank out of your own eye, and then you will see clearly to remove the speck from your brother's eye.Confession, I wrestle with this.  Just ask my wife.  So, I've had to make my own more conscious effort to do less news and social media and more in the Word.  Avid listener, do you remember when I got stood up on my bike.  I was complaining about Gavin Newsome (CA Governor) in my head.  Inner voice that stood me up as if yelled out loud, Thomas, you need to be praying for you leaders, not cursing.  Check 1 Tim 2: 1-2.

On this episode of The Founder's Sandbox, Brenda McCabe sits down with Jen Apy, Area Managing Partner and Chief Marketing Officer at Chief Outsiders, to explore how scaling companies can unlock growth through fractional marketing leadership. Jen shares insights from her 30+ years of marketing experience—spanning Mattel, Adobe, Intuit, and now Chief Outsiders—and introduces listeners to the Growth Gears framework: a strategic methodology designed to help small and mid-sized companies grow efficiently and sustainably. Jen and Brenda also dive into key trends such as the rise of “flash teams,” how AI is transforming the marketing playbook, and the importance of being a learning organization in a fast-moving world. You can find out more at https://www.chiefoutsiders.com        transcript:  00:04 So  welcome back to the Founder's Sandbox. I am Brenda McCabe, the host of this monthly podcast where I am joined by business owners, founders, and professional service providers that are scaling businesses. 00:34 with great corporate governance. This podcast is now in its fourth season and very excited to have Jen Apy as my guest today. For those that are subscribed to the Founder Sandbox, you always know that we have a story that's going to be told about the origins of the company and the founder  and the professional's experience as the introduction here. And we will always come back to the... 01:02 the sandbox where we're talking about resilience, purpose-driven and scalable growth. And when Jen, who I've known now for several years, we work in the same ecosystem, spoke to me about the growth gears, that is kind of the overarching framework  of chief outsiders. I was fascinated and wanted to offer the platform of the podcast to get the message out to  business owners that are 01:30 scaling and have not yet thought about using fractional marketing services. So welcome, Jen, to this fourth season. um Absolutely delighted to have you here. Oh, I'm delighted to be here. Excellent.  So we did choose a title. We're gonna you're gonna hear the word growth gears throughout this podcast. So the title for the podcast today is growth gears for scaling. And 01:56 Jen and I kind of share a similar background in the sense that we've been out there over three decades.  I um had my own consulting business. I worked in the McKinsey & Company and reinvented myself uh around really bringing the expertise that I had at multinationals into the ecosystem  of growth stage companies. Jen, tell me you are multifaceted marketing professional over three decades. 02:26 of experience contributing to marketing excellence. Tell us a bit about your origin and your currently, I think since five years ago, the area managing partner and chief marketing officer of Chief Outsiders. So share a bit how your role has evolved and what's it like to be with this company that was once a startup itself. Well, thank you so much for having me, Brenda. It's been a wild ride. 02:56 I feel like I was so lucky  early in my career to work with fabulous marketers at Mattel and Intuit and Adobe.  And now to have  the opportunity to apply those skills to help small to mid-sized companies grow. It's really been a fantastic experience. I feel like this is my purpose. Oh, beautiful. To share these enterprise little marketing skills with smaller companies that 03:25 are hungry for growth.  you when I, when I meet founders or I meet CEOs, I'm always really curious about, know, what's working, what's not working. You know, how do we create this flywheel that can help them grow in scale? It really is, is something I enjoy. You know, you found your purpose and then  I guess your purpose found you  working with chief outsiders because you were also a solopreneur  for years. What would be your 03:54 tagline if if anybody were to just listen to five minutes of the founder sandbox, what would be. Jen appease tagline such a good question. I think it would be be something like committed to growth. I feel like that is my purpose. That's what I enjoy. And you know now it's part of outsiders. I I now have 125 colleagues who feel the same way. They've all been fortune 1000. 04:23 and larger company marketers from a variety of different industries. think collectively we've probably covered over 80 industries, over 5,000 engagements. I mean, it's just incredible that the people at Cheap Outsiders that I get to work with every day. And I do feel like commitment to growth is almost a shared purpose for all of us. That's why we're here, because we love to make an impact, to see that impact on smaller companies and  be a part. 04:52 of their leadership team. We say that we're outsiders, but we're really embedded as insiders and therefore we can have that impact on  companies and watch them grow in scale. It's very gratifying as a marketer. m I  also work in the small and medium sized enterprise area.  And last month I actually wrote a blog on enterprise,  forms of enterprise and the like. 05:18 Did some research  on actually SMEs.  How many  SMEs in your estimation actually  reach  or go beyond $10 million in revenues? SMEs are 47%, I believe, for the number of enterprises in the United States. But how many actually scale beyond the $10 million revenue? You know, it's a surprisingly small number,  like maybe less than 1%. But you know, that's why we're here. 05:47 We want to increase the chances that those companies can scale, you know, 10 million, 50 million, 100 million. We believe that by really applying the market insights, customer insights, competitive insights into, you know, the strategies around positioning and offers and target marketing will lead to the cost of 06:14 efficient and cost effective strategies and execution that will help companies scale. that really is the heart of the growth gears methodology and approach. Well, that's  a great segue. You and I met at the recurring revenue conference, I guess, in the seventh year. And as you walk me through  the growth gears,  you also have an assessment tool. Would you like to  share? 06:42 overarching what is what are the gears, the growth gears, what are the key aspects that  one can be surveyed about and then and how to engage with  the chief outsiders, because I found it fascinating.  And I actually used it with one or two of my clients to kind of get the wheels, no pun intended, right to  to start moving, right? 07:12 Yes, so the assessment that we use asks companies and leaders questions about the business, about how much do they know about their customers, their competitors,  the company, they looked at market trends? And then starts to ask about, do they know where their revenue  comes from, where their growth is gonna come from? they  understand what channels are most efficient and are they measuring uh the effectiveness  of the marketing? 07:41 programs that they have in motion. And it's not every single question that we could ask, but just enough to get them thinking about where growth is gonna come from. And so we use this assessment, usually around this time actually, we're getting close to Q4. And we use it about this time in order to help them think ahead in terms of what are the priorities that are needed for the following year in order to stimulate. 08:08 enable or actualize growth. So if anyone's interested in doing this assessment with me, it's free. Just, you know, reach out to me on LinkedIn, happy to provide you with the link and then have a conversation about what the answers mean. Absolutely. Jen, we'll put those, the survey or the assessment, pardon me, in the show notes. All right. Great. In addition to other areas. So talk to me a little bit about Chief Outsiders. You did say it was a startup at one time. 08:37 How long has it been around? What's the organization look like? And what are the challenges that you particularly are dealing with with the advent of AI? That's a very little question.  That's a great question,  though. But  Chief Outsiders has been around for over 10 years. I think we've been around before the term fractional  executive or fractional marketer was even a term. think 09:01 Maybe early on we might've been discussed as strategic business consultants, right? Because we're helping companies grow in scale. But we've been around for over 10 years. We've been on the Fortune 5000 for quite a few years. I think definitely 10 or more. the way that we've grown is by really focusing on what marketing leadership needs to do. 09:30 for companies, which at the end of the day, it's about  knowing who your customers are, where to find them,  and  then how to grow the company  based on  that focus on finding and retaining customers, whether it's increasing market penetration within a certain target segment or  finding new markets or launching new products,  whatever that growth strategy is, how to harness that  and  help 10:00 a company,  um, scale over time  and marketing has changed so much. I know over the years, mean, I've seen that with your companies is  overwhelming. I pardon. I will get back to the question, but I, many, many years ago, McKinsey, was a marketing expert research. We didn't have all these amazing tools we have today to conjoin analysis, you know, with your Excel sheets, right. And focus groups. 10:29 Right. So the sophistication, channel, you know, growth explosion is, you know, I threw my talent a long time ago. Well, you know, it used to be, you know, direct mail and then websites, right. And then e-commerce and, and then it was about social media and content marketing and then SEO. I mean, it's just daunting. And now we have to be thinking about AI in all facets of the 10:59 the marketing toolkit, right? It's  impacting every aspect of what we do as marketers.  And we have to be thinking about AEO, like answer engine optimization in addition to SEO. So it really is rather overwhelming. So I think that over the years, Chief Outsiders has recognized that the marketing tactics and strategies are going to change and we need to change with it. But that the focus on 11:27 growth is going to come from really the growth gears, right? The approach to understanding the market, understanding how to go to market,  understanding how to  execute cost effectively. So recently in the advent of AI, knowing that it was going to impact so much of the marketing mix, we actually started to develop an AI platform for us to use. Yes, for us to use internally. What it does is confidentially, 11:57 takes all of the insights for all of the engagements that we've done with companies so that when we are working with clients, we can benefit from that collective knowledge and be able to deliver  better, deeper, faster insights from day one for our clients. So deeper insights, proven strategies, best practice execution. There isn't a workstream for marketing sales that isn't going to be impacted by AI. 12:25 So we've definitely thought about that and made sure that we can  leverage all this knowledge in order to help us be better marketers for our clients. That's  fascinating. It's kind of scary, right? So you've basically like in the healthcare industry, you've anonymized, right?  The plethora of data, right?  Within the  walls  of 12:54 chief outsiders of the 10 years of experience and I don't know how many clients, right? To then really document and have your own, for lack of another word, I guess, is it? The knowledge base. The knowledge base, but it's kind of an ocean, right? Data ocean. Yeah. And, you know, and this is how the AI tools work. 13:19 We figured we might as well have something that we can use on a proprietary basis and that can help us not only create our deliverables and have better deliverables, but also to help us manage processes.  Because as we talked about with marketing, there's just so much going on, so much to consider, so much to do. This AI platform also helps us to manage those processes.  And one of the things we haven't talked about yet is fractional resources. 13:47 I believe really are the future of work. And that's one of the reasons why I'm so excited to be a part of Chief Outsiders because we believe that as well. And that's also part of the reason why we built this platform.  Right. So one thing that I want to  highlight just from the last discussion here is 14:08 AEO rather than SEO or in addition to SEO that I mean, heard it here on the founder sandbox. Not only do we have to be looking to have our SEO optimization, it's AEO optimization. Yes. So answer engine optimization. And that's coming of course, from the AI tools. You know, I think the stat is something like 70, 71 % of searchers, anyone searching. 14:37 They're now using the AI engines instead of, or sometimes in addition to regular search. But it's the reason why Google is losing traffic share, right? Because people are going to these AI engines sometimes exclusively for certain things. And so this has had an impact on marketing in a couple of ways. One is we need to now optimize our content for answer engines, which it's not that much different from SEO. We still have to adopt the same good. 15:06 SEO practices, you keywords, relevance, backlinks, things like that. But now we call it LL  or large language model optimization in 2025. uh In order to be able to rank in those answer engines, we need to also consider  brand strength and authority, oh citations, quality of content, sentiment.  You know, we really 15:35 PR  from  authoritative sources is really going to become  more important. And so we do a lot of testing ourselves  in terms of how Chief Outsiders ranks in these engines. I was going to ask you, have you done that?  Yes. And that's how we know that it's not just the SEO good practices that's helping to rank in answer engines. um 16:02 It's also these other things, brand strength and authority. The content needs to answer questions. these engines are understanding when content is authoritatively answering a question. And there's so many factors involved in figuring that out. There are a number of tools we use to see how we're ranking. There are a number of tools we use to figure out how we're 16:33 uh how we're able to, uh I guess, for lack of better words, out the competition, right? And score, right? In our content. And we use this knowledge of how it's working for us  to help our clients as well. And we've been doing this from the beginning because we were very aware of all the changes. um So you have your own growth gears operating system. 17:00 It's a remote working AI enabled platform, right? That also enables remote and hybrid teams  that come together.  Speak to me a little bit about that. GrowthGear's operating system is effectively your LM?  Yeah, that's the, well, that's the AI platform that we developed is called the GrowthGear's operating system. And so not only does it leverage  the best content, the best tools, but because of the way that we're designing it and it's really to support us, right? And how we work. 17:29 we are really enabling fractional resources  and remote and hybrid teams to work together effectively on  the projects,  the marketing, the growth plans that companies need to scale.  this is kind of the way, I mean, if we believe that fractional resources are  of economic benefit to both companies because they don't have to hire 17:56 A lot, you know, heavy talent, right for long term. They can hire just what they need when they need it.  And also as they evolve and grow, they might need different resources, right? So they can they can cycle through  the skill sets they need, but but also because there's economic value because workers, if they want to be more flexible, if they want to leverage a specific skill set and not necessarily be tied to one company gives them  the freedom and flexibility to. So I think for for both reasons, there's there's a lot of. uh 18:26 momentum toward this style of working. the platform that we have, you know,  it  can enable these operational fractional resources, not only marketing, but any part of the organization in the future.  Let's go. Let's take that idea or what you're observing in the market and actual client work a little bit further. So how would a potential client 18:54 engage with chief outsiders. They're at, you know, 3 million AR, they have not yet hired a marketing full time, right? How, what would would walk us through a typical, for lack of another word, engagement, or how do they engage with chief outsiders? And particularly, the second part of that is, if you're talking about 19:21 Flash teams, I think is the term that you and I discussed, right? Yeah, it's actually the title of a book being launched by a professor from Stanford,  Melissa Valentine. She's coined this phrase flash teams, which essentially  is what cheap outsiders does, right? We  pull together the resources that a company needs at that moment in time in order to solve their growth problems.  we're essentially a flash team enabled by 19:51 the growth gears operating system. Cool. So I'm not I'm the CEO. I've got to hit some revenue milestones. I've interviewed some candidates. I'm not yet sold for you know, bringing in full time, full time chief marketing officer. Jen gives me a call. How do I how do you how do I engage with you? Yeah, well, the first thing I want to understand is, is what what keeps you up at night? 20:21 Right? What, what are some of your growth challenges that, you're struggling with? Because the first thing I want to do is really understand, you know, what resources do you need at this moment in time in order to get you from A to B?  so oftentimes  we'll look at this and say, is this, is this going to be solved by a marketing led team or sales led team? Sometimes that's the first  thing that we're thinking about. And then how much do we know already about the situation in terms of. 20:49 customers, competitors, market insights, customer buying journey, channels that are working and not working. We're wanna know all of that so that we can figure out the most efficient way to approach solving those growth challenges and what work streams are needed. So we'll bring in a fractional executive that's a good fit for that company and then orchestrate the resources that are required to get to the next step. And then when that engagement  is through, 21:18 we'll figure out what the next level is. Maybe the next level is bringing in full-time permanent resources to help execute and to help scale where we paid ourselves out of the picture. Or maybe it's just dialing back to more of an advisory role and then bringing in fractional resources from different places in order to be able to test and scale and see what's going to work, what's going to land  before we orchestrate on a more. 21:48 So we're very flexible with what a company needs at any point in time. And no two companies are alike. You when you're a $3 million company, you might have talent and skills and gaps that are different from the last client that we had. And we know that. We can recognize those situations just because we've had so much experience working with so many different companies. We can very quickly figure out what's needed for the next step and just give a company exactly what it needs. 22:16 to it. You do tap into your, your network of your 125  professionals with them, know, goodness,  the years of experience that you all have obtained while at fortune 1000 companies. Amazing. Oftentimes, I've seen you  with as keynote speaker, you do give conference speak and you speak at conferences. What one of the most recent 22:42 conferences.  I'm not uncertain where it was, but you the topic you spoke to, Jen, was winning website traffic in the age of AI, what CEOs need to know? Can you without sending us to  you know, that I don't know whether it's on online, we can put that in the show notes. But what's the top, you know, line messages from that conference where you spoke about winning website traffic? Yeah. 23:10 Well, I did it with a couple of my colleagues who are very experienced in digital transformation and now how to win traffic with the answer engines. And  so we talked about some of the uh tactics that we're finding work nowadays and how that's going to change how companies need to think about orchestrating their marketing mix. So Mike. 23:36 Colin Angela gave an example of a very specific example of an article that had been written for SEO that now needs to be written for AEO just so that people  could see the difference. But I think the main message that we were trying to send uh to companies is uh marketing is not static. Just because you've figured out your marketing mix doesn't mean it's going to work two years down the line. It's constantly evolving. And so you need leadership. 24:04 who can be thinking about how are customer behaviors changing? How do I reach them differently?  And the fact that  71 % of searchers are going to answer engines, that's a huge shift and marketers need to be ready to  address that. So  if you're a smaller company and you just don't have the resources to keep retraining your staff. 24:29 every year or so  and you need that expertise in the know how do I compete now today? How do I set myself up for success? That's where we as Fractional Resources can come in and help you be that learning organization, that resilient organization that's going to survive through the next sea of change. 24:51 That is  fascinating. Yeah, it's it's a living beast, right? marketing and it's moving so rapidly, it would be hard. I'm to actually have the inside resources, the talent inside unless they're constantly being retooled. So it is  an opportunity to use fractional resources, depth of expertise that you have.  Yeah.  And that's one thing that I value about the chief outsiders culture is the fact that I think what's made us 25:21 so resilient is the fact that we're really a learning and sharing organization. We've recognized that change happens rapidly. To be resilient, we need to change and constantly be learning and retooling ourselves. And that is something  we highly value.  But to be able to do that quickly,  no one person can do all this on their own. It's nearly impossible and very overwhelming. You can't do it in a silo. So we have a culture of sharing where 25:50 If we learn something new, um we'll share with the rest of the organization. So that, that, uh, that webinar that we did was just as much for us and our executives as it was for the clients that we, that we serve in this culture of sharing really creates resiliency in the sense that  if, a company brings in one of our fractional executives and let's say they encounter a market challenge or a sales challenge that that particular 26:19 executive hasn't seen before, they can turn to the other 125 marketers and say, hey, let's get together. Let's put our best brains on this business and determine what things we might be able to try or what things we should put in place in order to benefit this organization. And I think there's no individual fractional out there that has access to that much talent and expertise. 26:49 on a moment's notice as we do. And that's part of what's going to create the resiliency that we need as an organization  to survive in the next decade, because everything is just going to start to move faster and companies are going to just need that much more speed. So, but we also believe that's a value that we can bring in addition to being interim  and not being full-time and bringing in the expertise they need to write at that moment.  We can also draw on the collective expertise of the tribe. So the brain trust. 27:19 Well, that's a good term. love that. Right. Brain trust. I love that brain trust. One  technical question of the 125  professionals within chief outsiders and interim roles. Is it solely in the marketing area or do you also offer maybe in the sales?  there other interim roles?  That's a really good question. So we do focus on marketing and sales primarily, but sometimes we're actually brought in as fractional COOs. 27:49 as well or division heads. And it's because of our broad leadership expertise. And some of our executives have been  CEOs  of their own companies. They founded companies, they've sold companies. So they do have that broader business perspective, but primarily it's marketing and sales. Excellent. We're going to switch gears, to  the standby. No pun intended. 28:17 That's right. That's  here in the founder sandbox. I'm passionate about building resilience, scalable and purpose-driven companies. And I like to ask my guests briefly, what is the meaning of resilience? What does that mean to you? Or does he chief outsiders? It's a fascinating part of the podcast for me become that you have very different definitions. And that's the beauty of asking this. Yeah.  Well, I think that resilience, at least for for me, for us, a chief outsiders means 28:46 being able to survive and move forward and grow in the face of massive change.  Right. It's not, it's not bending to the will of the market. It's,  it's, it's basically saying, you know what? We know how we can add value at this moment in time. And we have the tools to address this change and add value. that, you know, it is one of the reasons why we constantly are thinking about 29:15 how do we bring more  to the table for our clients? So in addition to the growth years operating system that we created, we also have an ecosystem called team outsiders of fractional marketing execution resources that we can draw on at any point in time and create our own flash teams for our clients. So let's say we've gone through the strategy and we've determined that we really need an e-commerce expert 29:45 that can optimize Amazon or we really need somebody who can take charge of developing the content that's going to  address not only SEO and or but also AEO and we'll draw from our pool of team outsiders resources and we'll put together that fractional team for the client at a moment's notice. So we believe that that is going to make us a lot more agile. 30:13 for our clients because sometimes they just need to get started,  but they don't have time to go higher or they don't have time to go evaluate a new agency. We can bring somebody in. We can, we can set the stage. We can get things going and then let them have the time to decide really who they want on a longer term basis. So, you know, agile teams, flash teams, it comes from our ability to be able to,  draw on this network  of. 30:42 team outsiders and to be resilient.  How about purpose? What's purpose mean to you?  Purpose. You know, I think that when I look back on my career and also what I'm doing here at Chief Outsiders, I get the most satisfaction from seeing smaller companies grow from helping founders make their dreams come true. You know, there are so many great companies out there. 31:12 that just need a shot at the big time, right? And we can do that because we've seen it. We know how to get a company from one to a hundred. We've seen it. We know what a company at one or a company at zero, what they're faced with from the standpoint of  challenges, time, resources, focus, right? And so we can adjust what we do in order to adapt to that environment. But we know what an organization is going to need 31:41 to be competitive and to need to grow at 30, 50, 100. And we can keep our sights on what that needs to be and advise the companies we're working with on how they're gonna get there. So yes, we're implementing this today, but it's gonna look like this tomorrow, but we're not ready for that yet. We're just gonna do this here today because you don't have the time or the bandwidth or the money to do that many things. But this is, we've done the analysis, we've done the research, we've done the testing. 32:11 This is what you need to scale for right now. So, you know, being able to do that and then see  these companies grow from 10 to 30 to 50 million, it's a thrill. it  is very, very rewarding. So I think that, you know, I found my purpose and this is the, in speaking with my colleagues, they're all, we're all here for the same reason. So we really do have that shared. 32:39 purpose and we really enjoy what we do. Fantastic last one and then we'll move to how to contact you scalable growth. I'm certain you're going to talk about those the growth gears, but what's scalable right? What's that mean to you?  Scalable growth to me means we figured out what works and we can replicate it cost efficiently and cost effectively. So that is 33:07 our focus when we're working within the growth gears methodology, we're looking for the way to scale most cost-efficiently effectively. I know that one of the things that you are really big on with your  companies, the companies you invest in is governance. Yes. You're really big on governance.  And when I think about governance, I think about responsibility and accountability. And what that means to me as a marketer, 33:35 And  as a revenue leader is making sure that the spend that we commit to in marketing and sales is going to drive revenue and growth cost effectively.  so by making sure that we've done the analysis, that we figured out what's going to work, that we've tested before we scale is that responsible governance approach, right? To marketing and so 34:05 You know, I think that there are some companies that are in situations where they have to scale no matter what. They just throw money at it, you know, scale no matter what. And there are situations where that needs to happen. But we find with the companies that we work with that the more responsible, prudent, accountable, you know, organic growth is what the founders are looking for. And we know how to do that. 34:35 Replicable, right? Replicable, yes.  Amazing.  So Jen, um last question before  we listen to how to contact you. you have fun today in the Founder's Sandbox? Oh, it's always a pleasure to talk with you, Brenda. I really enjoy our conversations. We're of like minds. That's true. That's true. Avid readers and bringing the best to our clients. So thank you. How can my listeners 35:04 find you  and best reach chief outsiders. Yes. So they can find me on Jenna,  but they can also find me on the chief outsiders website on the leadership tab. And from the chief outsiders website, you can also learn about all of the things that we do. can meet all of the 125 executives that we have. You can learn more about growth gears, OS and team outsiders. Excellent.  And 35:32 In the show notes, will provide the assessment so that you listeners that are actually considering, you know, what do I need to do at this last quarter of the year, right? To plan my marketing resources, just download the assessment. It's a very interesting tool. So thank you. Well, to my listeners, if you enjoyed this episode with Jen Appie of 35:56 chief outsiders. I'd encourage you to subscribe to this monthly podcast where we have founders, business owners, corporate board directors and professional service providers that are really building scalable, purpose driven and resilient companies with great corporate governance. Signing off for this month. Thank you for joining us here on the Founder's Sandbox.  

In this episode, we're joined by Dr. Darrell Potts, Principal of Northridge Middle School in Charlotte, North Carolina. As an AVID alum, former AVID teacher, and now AVID-focused leader, Darrell shares how he's cultivated a schoolwide culture rooted in the belief that every student is an achiever. In fact, at Northridge Middle School, success is not an abstract ideal but rather a daily practice, fueled by a shared mantra: “We will strive for excellence in all that we do . . . because we are achievers.” Darrell embodies this belief in every facet of his leadership, using AVID as the framework to embed college and career readiness into the school's culture. His approach centers on building systems that empower both students and teachers to believe in their potential and work toward it, one step at a time.Whether it's through the Triple A initiative that rewards attitude, academics, and attendance, or the intentional use of student voice to shape school incentives, Darrell prioritizes relevance, recognition, and relational capacity. His advice to fellow educators is clear: Start small, lean on your network, and don't be afraid of the struggle because without it, there's no progress. This episode offers powerful insights for leaders looking to build a culture where excellence isn't just expected, it's achieved. Visit AVID Open Access to learn more.

Welcome to another Retrospective episode, this time about wildflowers. This was originally recorded in 2019 as part of the radio show, Digging in with Master Gardeners on 90.7 WGXC FM. The content is still very relevant today, so we've repurposed it for our podcast format. In this episode, Tim and Jean sit down with Tracey Testo-Smith, Agroforestry and Natural Resources Program Manager at Cornell Cooperative Extension (CCE) of Columbia and Greene Counties. Tracey considers the Agroforestry Resource Center in the Siuslaw Teaching and Model Forest as her “specialty.” She leads frequent forest walks, and Part I of this interview is a chat about the wildflowers she observes. She explains the Siuslaw Forest's evolution from a logging resource to one of four model forests in the New York City/Catskill Watershed area. The forest is an education source and is frequently open to the public. So, when you want to learn about wildflowers and attend one of Tracey's walks, what should you expect? Tracey says to keep in mind three main features of most : wildflowers are; petal number and symmetry (odd or even number); leaf arrangement, whether opposite, alternate or whorled; the edges of the leaf, whether the margins are entire, toothed or lobed. With these three basic observations, you can begin to “key out” an iID for the plant you're looking at. Newcombe's Wildflower Guide is Tracey's favorite reference book. On her walks, Tracey likes to point out the more subtle flowers, while still admiring the showier “stars”, of course. There is also a grey area about non-native introduced flowers that have coexisted peacefully with the natives for, in some cases, centuries. These are acknowledged for their beauty and usefulness, too. In the Spring wildflower walks, the Ephemerals show off. These are plants with a specific lifestyle habit of appearing early in the year, growing to full maturity and producing seeds before disappearing, plant and all, until the next year. Tracey points out that sometimes plants are misnamed as ephemeral but arent because the foliage perseveres into the summer. One example of this is the Hepatica. A field trip, whether into the Siuslaw Forest or, often, the Hudson CCE campus, consists of the group gathering and reviewing how to use field guides before venturing outside to explore. Phone apps are discussed as well. Tracey admits a partiality to the Springtime. She points out that at that time of year, we're hungry for color and fresh plant life as the forest reawakens. When Tim asked about the rarest plant she'd observed, she described the green fringed orchid, a very subtle beauty that seems to “move around” from year to year. It's listed by the state as not “rare”, but “vulnerable.”Some plants are hunted, specifically ginseng. Once almost eradicated because of its value to herbalists and over-harvesting by landowners and poachers alike, wild stands of the plant are often kept secret by those who find them. Ginseng planbts typcally don't thrive when transplanted, so Tracey warns against thinking you can bring them home to grow them in “safety”. In fact, she advises against digging up any wild plant... it's usually a death sentence because its growing requirements are very specific. Other threats beside loving them to death (moving them) include climate change and invasive plants. Climate change interferes with the interrelations between plants, birds and animals that had evolved over millennia, when outside temperatures are no longer predictable by seasons. With extremes occurring more often, it stresses plant life. Invasive plants outcompete native plants for resources by sprouting earlier and lasting later into the seasons. The other major threat to wildflowers is deer browse. Tracey describes experimental “exclosures” build within the forest and observed over a number of years for effect on the plant population. There is an opportunity for citizen scientist volunteers to participate in the AVID program (see website link in the resources). Another way to participate is via the iMap invasive app, reporting on discovery and reporting of invasive plants. Hosts: Tim Kennelty and Jean Thomas Guest: Tracey Tesot-Smith Photo by: Teresa Golden Production assistance: Linda Aydlett, Deven Connelly, Teresa Golden, Tim Kennelty, Amy Meadow, Xandra Powers. Annie Scibienski, Jean Thomas Resources

Since 2001, METAL – Media | Entertainment | Technology | Artists | Leaders has been a premier community for men committed to continuous growth, mutual support, and meaningful connections. Together, they foster a culture of learning, collaboration, and thought-provoking dialogue—building relationships that inspire personal and professional transformation. Will Henshall, METAL.MEN partner/CEO is a veteran start up entrepreneur, inventor and artist. He's an experienced personal growth leader, specializing in men's work and is an equal left/right brain thinker which means he can imagine, create and then build big picture visions. He founded the UK band Londonbeat in the early 90s and wrote the global #1 hit song ‘I've Been Thinking About You'. In 1995 he founded San Francisco based Rocket Network (pro audio cloud collaboration), sold to Avid in 2003. metal.men sageintl.com

Erik Tomalis, Chief Revenue Officer at Avid, shares how nonprofits can move from data overload to clear direction. We explore how Avid's fundraising operating system unifies disconnected tools, surfaces real insights, and helps teams focus on what truly drives generosity, trust, clarity, and human connection.

Editor - Andy Jurgensen One Battle After Another editor Andy Jurgensen came into his new film already "battle" tested with director Paul Thomas Anderson's unique film-based workflow.  Shoot film.  Print film dailies.  Screen film dailies.  Create digital workprint.  Cut in Avid.  Conform negative.  But Paul loves a challenge, so he decided to not only make "One Battle" the first IMAX film presented entirely in the 1.43:1 ratio, but he also resurrected the VistaVision format for the first time in sixty years.  Luckily, Andy loves a challenge too. One Battle After Another stars Leonardo DiCaprio as Bob, a washed-up revolutionary who lives in a state of stoned paranoia, surviving off-grid with his spirited and self-reliant daughter, Willa. When his evil nemesis, Colonel Lockjaw (Sean Penn), resurfaces and Willa goes missing, the former radical scrambles to find her as both father and daughter battle the consequences of their pasts. ANDY JURGENSEN Andy Jurgensen has worked with director Paul Thomas Anderson since their time together on Inherent Vice (2014).  At that time, Andy was first assistant editor to Leslie Jones ACE.  From there Andy served as associate editor to Dylan Tichenor ACE on Anderson's Phantom Thread (2017).  Andy finally got his big break as a lead editor for Anderson's Licorice Pizza (2021). In addition to his work with Paul Thomas Anderson, Andy has also served as an assistant editor on a number of films with director Jay Roach, including The Campaign (2012), Trumbo (2015) and Bombshell (2019). The Credits Visit Extreme Music for the new Extreme Music panel for Avid Media Composer Hear Andy's interview on Licorice Pizza See which Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The October 6 edition of the AgNet News Hour put the spotlight on California's most pressing issue: water. Hosts Nick Papagni and Josh McGill welcomed Corey Broad, agronomic sales manager at Avid Water, who shared candid insights into irrigation technology, policy failures, and the future of farming in the Golden State. Broad explained that while California farmers have widely adopted drip irrigation systems over the past two decades, the current challenge is improving efficiency. Growers are now asking how to optimize not just water use, but also energy, fertilizer, and labor through these systems. “It's about finding the right solution for each grower,” Broad said, noting Avid Water's ability to handle everything from pumps and wells to system design and crop advising. He emphasized that irrigation technology also plays a key role in labor savings. Fertilizer applied through drip systems can cut application costs dramatically compared to manual or machine-based methods. But pests like gophers remain a challenge, pushing manufacturers to explore subsurface drip irrigation for orchards as the next frontier. Beyond technology, Broad addressed the political side of California's water woes. He argued that shortages are manmade, the result of decades without significant storage investment since the 1970s, despite the state's population doubling since then. “Imagine if we hadn't built a road since 1979,” he said, drawing a parallel to California's outdated water infrastructure. Broad also warned of uncertainty heading into 2026. Many Westside growers are forced to make planting decisions before knowing whether they'll even receive federal water allocations. “Every year it's the same discussion: will there be water, and how much?” he said. This unpredictability, he cautioned, trickles down to farm communities, threatening jobs, small towns, and local economies. Still, Broad remains optimistic. He pointed to potential federal investment, improved groundwater recharge in districts like Fresno, and opportunities to bridge the gap between agriculture and urban communities. “Yes, this problem is solvable if we take action,” he concluded. For farmers across the Central Valley, Broad's message rang clear: California doesn't lack water — it lacks leadership and infrastructure. Listen to the full interview with Corey Broad on the AgNet News Hour by clicking below.

Begleite uns auf der faszinierenden Reise von Roman Weber, einem erfahrenen Audioingenieur aus München. Von seinen frühen Tagen mit klassischem Klavierunterricht über seine Leidenschaft fürs DJing bis hin zu seiner Rolle in der Audio-Postproduktion – Romans Geschichte ist geprägt von Leidenschaft, Ausdauer und Innovation. Seine Liebe zur Musik und Technik brachte ihn dazu, mit großen Studios und Rundfunkanstalten zu arbeiten, und sich in der sich wandelnden Welt des Audio-Engineering zurecht zu finden. Besonders spannend ist seine Zeit bei Avid, einem der größten Namen in der Audiobranche, wo er als Produktspezialist tätig war und Kunden bei der technischen Beratung unterstützte. Roman erzählt von seinen Erfahrungen mit immersiven Audiotechnologien und seinen Gedanken zur Zukunft der Branche. Verpasst nicht dieses aufschlussreiche Gespräch mit einem wahren Audio-Enthusiasten! PS: Eventuell gibt's am Ende sogar noch etwas neues von Roman? Findet es raus! LinkedIn: https://www.linkedin.com/in/roman-weber089/Life After SAE auf Instagram: https://www.instagram.com/lifeaftersae/Mehr zu Kurt gibt's hier:https://www.instagram.com/kurt_jonathan_engert/Mehr zu Glen gibt's hier:https://glenschaele.com/linktree

Avid readers, numerous genres are served up in this lively episode: Many of the engrossing novels seem primed to be turned into limited-edition streaming series. (Read them first!) Hosts Sarah Bowen Shea and Ellison Weist talk up: -Fifteen Wild Decembers: Karen Powell-The Art of a Lie: Laura Shepherd-Robinson-The Dentist: Tim Sullivan-To the Moon and Back: Eliana Ramage-The Phoebe Variations: Jane Hamilton Here's the half-marathon and marathon nutrition program. When you shop our sponsors, you help AMR.We appreciate your—and their—support! Fuel + stay hydrated: Save 20% with code AMR2520at GUenergy.com through 11/30/25 Get 20% off, plus free shipping, on allIQBAR products by texting AMR to 64-000 Learn more about your ad choices. Visit megaphone.fm/adchoices

Two young, experienced hunters vanish in Colorado's backcountry—and even their survival gear can't save them. What went wrong? John Rush and Bill Anderson recount the chilling discovery of the 25-year-olds whose bodies were found after a weeklong search. From sudden mountain weather to the “hunt mode” that lures even seasoned outdoorsmen away from safety, they unpack how a quick trip from the truck can turn fatal. Have you ever been so focused on your goal that you forgot the basics of survival? Would you recognize when it's time to turn back, even with a trophy bull elk in sight? This gripping opening of Ready Radio sets the stage for a hard look at preparation, awareness, and the thin line between adventure and tragedy. Find out more at https://ready-radio.com

Elli Ofthenorth tells Alex Mason about almost a dozen seahorses she saw Sunday at Paddys Head. Then, three ecologists talk about other examples of warm water migrants that are showing up more often off Nova Scotia's coast, and how they're contributing to research in this area.

Jacob Smith is running for Evergreen School Board, citing priorities including paraeducator support, restoring AVID, adding International Baccalaureate programs, supporting DECA and FBLA, and ending secret bargaining bonuses. https://www.clarkcountytoday.com/opinion/letter-jacob-smith-seeks-evergreen-school-board-position/ #EvergreenSchoolBoard #JacobSmith #EvergreenPublicSchools #VancouverWA #DECA #FBLA #AVID #InternationalBaccalaureate #Paraeducators #SchoolBoardElection

On HR Insights, we strive to bring our listeners conversations they are asking for. Avid listeners of the show may remember that this summer, we have been running our HR Resilience Report in collaboration with The Resilience Institute. Initial results highlighted a recurring theme of mindful leadership. As HR continues to take on more responsibility in an ever-changing world of work, engaging with a leadership coach can provide invaluable support and shift your perspective to be more mindful during times of change.In this episode, our CEO and Host of the show, Stuart Elliott, is joined by Nina Donovan, Head of UK and Europe at OSC Leadership Development. Nina is an experienced executive coach who works with senior leaders and facilitates leadership teams through complex periods of change.Together, Stuart and Nina explore how high-stakes environments shape leadership behaviours, and the practical frameworks leaders can use when navigating career shifts. They discuss the reality of “loneliness at the top,” with senior executives often feeling pressure to have all the answers and why building the right support system is so important. Nina also shares her perspective on what to look for when beginning a coaching relationship, how to find the right coach, and how to approach coaching as a long-term journey rather than a quick fix.The conversation then turns to leading through uncertainty and how to pace change effectively, communicate with transparency, and maintain trust without creating unnecessary anxiety. Nina explains how she draws on both psychodynamic thinking and neuroscience to help leaders work with emotions rather than against them. The discussion concludes with a look at the growing role of AI in coaching, what it can offer today, and what it might mean for the future of leadership development.If you'd like to continue the conversation or explore coaching opportunities with Nina, you can connect with her on LinkedIn or reach her directly at nina.donovan@globalosc.com.Key Timestamps:01:30 – An introduction to Nina05:05 – Navigating change through a career shift08:22 – Loneliness at the top 14:38 – Different leadership styles 15:42 – Beginning a relationship with executive coaching18:06 – Common blind spots seen with Senior Executives 21:19 – Executive coaching is not a quick fix26.14 – Balancing communication during times of uncertainty 29:40 – AI in executive coaching30:31 – Using neuroscience to complement change38:45 – Finding an Executive CoachYou can listen to and download HR Insights from Apple Podcasts, Google Podcasts, Spotify and other popular podcast apps. Please subscribe so the latest episodes are directly available! You can also join our HR Community by following us on LinkedIn.Thank you for listening and please do review and rate us wherever you listen!

In this episode of The Responsive Lab, co-hosts Carly Berna and Scott Holthaus sit down with Stephen Boudreau and Erik Tomalis from Avid to explore how fundraisers can actually use their data to drive meaningful action. From demystifying AI to scaling human relationships with technology, this conversation dives into the real challenges facing fundraisers today and how teams can stop drowning in spreadsheets and start making decisions with confidence. Erik shares lessons from 5,000+ donor visits and how tech can enable deeper generosity, while Stephen explains why the best fundraising teams are shifting from being data hoarders to decision-makers. Plus, they introduce Avid, a new fundraising operating system that helps nonprofits aggregate data, visualize insights, identify audiences, and deploy campaigns, all without replacing your existing tools. Learn more about Avid at https://www.avidai.com/ Learn more about Virtuous at virtuous.org/learnmore and download your free Nonprofit CRM Checklist at virtuous.org/crmchecklist

This week on The Stack Pack, Dan Derwin, Road Dan, and Avid explore Unsolved Mysteries Volume 4, Episodes 3 and 4. From baffling cattle mutilations to the enduring mystery of Roswell, we dive into the facts, theories, and unanswered questions behind these iconic cases. We will be back with OG episodes next week!

Connor shares his life, his passion and his faith! “Don't die without Jesus!”

In this episode, I sat down with my dear friend and teammate Dr. Victoria—someone who has been instrumental in our growth over the years. We've worked together off and on for more than eight years, and she's become a trusted voice and support for so many of the women we serve. We talk all about her background as a chiropractor, her passion for women's health, and how she supports our clients in navigating hormonal imbalances, DUTCH testing, and lifestyle shifts. And of course, we got into the fun stuff—like Nikes at her wedding, her favorite foods, and her sweet pit bull, Riley. Meet Dr. Victoria—The Hormone-Focused Chiropractor: A licensed chiropractor with deep roots in women's health Works with clients in our programs to interpret DUTCH test results and support hormone healing through lifestyle, nutrition, and functional care Helps clients understand the "why" behind their symptoms—whether it's fatigue, cycle irregularities, PCOS, thyroid issues, or adrenal dysfunction Uses her clinical skills to bridge the gap between lab testing and real-life solutions What We Cover:  How We Started Together: From my early clinic days (where she saw me first fall in love with women's health!) to where we are now Chiropractic & Hormones: Why the two can go hand-in-hand—especially when addressing stress, nervous system regulation, and inflammation Her Role in the Programs: Reviewing DUTCH hormone test results Helping women understand their unique hormone patterns Supporting women in implementing changes to improve their cycles, mood, sleep, and energy Bringing clarity and encouragement to women who often feel dismissed elsewhere Personal Life: Got married last year (yes, I was there!) Golfs with her husband weekly—solo if needed Lifelong Minnesotan who lives for lake time and hockey Dog mama to Riley, her 15-year-old pit bull What I appreciate most about Victoria—beyond her clinical knowledge—is how she meets women where they are. She brings a gentle, science-backed, and down-to-earth approach to everything she does. Women in our programs feel seen, heard, and empowered when she walks them through their test results or helps them troubleshoot symptoms. She's been a huge part of evolving how we care for women—especially in how we approach hormones from a whole-body perspective, not just symptom work.  Let's Work Together If you're ready to feel like yourself again—Dr. Victoria and I are here to help. Join the waitlist for The Female Hormone Solution: https://drbethwestie.com/waitlist/ Book your hormone test: https://drbethwestie.com/dutch-hormone-testing/

In this episode, Dr. Michelle Magallanez, Head of Interaction Design at AVID Center, returns to Unpacking Education to share how AVID Future Lab is equipping students with the durable skills they need to thrive beyond the classroom. The conversation explores how project-based learning (PBL), student voice and choice, and real-world issues—like the impact of social media on mental health—prepare learners for the future of work and life. Learn how the free resources within AVID Future Lab, supported by Adobe Express, give students authentic opportunities to research, create, and present solutions to real problems—all while building confidence, collaboration, and creativity. Regardless of your familiarity and experience with PBL, this episode offers accessible strategies and free classroom-ready resources to help every student see themselves as a designer and change-maker. Visit AVID Open Access to learn more.

Australian guitarist Davey Lane discusses his new album 'Finally, a Party Record', joining You Am I at 18, meeting Paul McCartney & nerding out on vinyl! Listen to the new album here. Topics Include: Davey Lane discusses his new album "Finally, a Party Record" and the ironic title choice Originally titled "The Great Unraveling" but changed to something more approachable and chipper Despite upbeat title, songs deal with dark subject matter that inspires his songwriting Finding peace with mental state and place in world as he's gotten older Always includes glimmer of optimism even when writing about romantic catastrophes going wrong Makes music as compulsion, not for career goals - realistic about posthumous appreciation Big Star, Nick Drake - artists appreciated later in life Avid record collector who browses sections aimlessly rather than shopping with lists Discovers new bands like Comets on Fire by hearing them playing in record stores Vinyl is primary listening format - meditative experience that keeps him focused and level Thinks about album sequencing early, including crossfades between songs on new record Beatles were gateway drug, fascinated by production techniques on Sgt Pepper's at age seven Met Paul McCartney in 2017 backstage in Melbourne through Jimmy Barnes and Michael Gudinski Took Valium beforehand, talked about McCartney's jacket instead of asking musical questions Started transcribing You Am I songs as teenager, sent tabs to drummer Rusty Got invited on stage at 16 to play with You Am I at all-ages show Returned to high school as local hero after performing with established rock band Tim Rogers called offering solo tour opportunity, left university after two days to tour Officially joined You Am I in 1999 at age 18 after proving compatibility on tour Took years to feel like full band member rather than nervous new guy Learned importance of authenticity over networking and career-focused schmoozing in music industry Collaborated on The Rites project covering Stevie Wright's "Evie" to raise money for legend Recorded with Saints' Chris Bailey on what became his final album before passing Created experimental Dual Monophonic vinyl with Tim Rogers and King Gizzard's Stu McKenzie Each vinyl channel contains different arrangement of same song, can be heard separately Technical challenges getting proper stereo separation on vinyl pressing required multiple attempts New album on Cheer Squad Records features striking red and yellow vinyl pressing Cover art deliberately references Rod Stewart despite not particularly liking that album Record designed to catch browser's eye in record stores like albums that attracted him Interview wrap up Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Avid fly fisherman Liam Neeson brings his very particular set of skills (and his Stanley thermos) to the show this week. To Sean's dismay, we don't talk about Star Wars. However, of his over 100 film roles, we discuss Alfred Kinsey, Oskar Schindler… and Jesus. And the time he made Jason's mom cry for a week.This episode was originally released on 5/2/2022. Subscribe to SiriusXM Podcasts+ to listen to new episodes of SmartLess ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

Welcome back to the It's All Greek Retrospective series that contains previously aired short segments about gardening acronyms, jargon, and botanical nomenclature. In this third and last part of a series, Master Gardener Jean Thomas covers plants that have been named after people, a discussion about soil pH, and a range of acronyms. The first short segment covers the popularity of naming plants for people. It's been going on since people began naming plants at all, dating back to at least four centuries BC. Two causes are usually to blame; either the ego of the “discoverer” or the desire to flatter someone powerful. There are often great stories to uncover. One of the most interesting is the name of the Christmas standard, the Poinsettia (not poinTsettia). Dr, Joel Poinsett was the first U.S. Ambassador to Mexico and an avid plant collector. His life story is a colorful one, but the only reason anyone remembers his name is because of the seasonal flower. Actually, the history of the flower and its interaction with humans is equally interesting. Some other names every gardener is familiar with are: Forsyth because this gentleman (1737-1804) was a respected palace gardener in England and was honored with the name of the familiar Forsythia; Kasper Wister (died in 1818) was a famous botanist in Pennsylvania and honored with the name of the popular Wisteria. Wister and Forsyth were honored by the English botanist Thomas Nuttall (1786-1859), who spent over thirty years cataloging plants in the U.S., and had the power to assign formal names to plants. The familiar Magnolia x soulangeana was named by and for Pierre Magnol and m. Soulange-Boudin, and developed from two Chinese species. Many familiar shrubs bear the species names (like Sargentii( C.S. Sargent), Fortuneii (R. Fortune), Thunbergii ( Carl Peter Thunberg)), named for contemporaries and students of Linnaeus. Many plant and animal names honor the interesting Pere Armand David with the appelation “davidii.” The familiar Fuchsia (Dr. Fuchs) and Dahlia (Dr. Dahl) are good herbaceous examples. The large Lobelia group (415 species) was named by Linnaeus himself for Dr. Mathias De Lobile. The conversation then moves on to one of the great topics discussed by gardeners without a real understanding of the mechanism. The pH of soil is crucially important and measured and adjusted fanatically by gardeners. The way the chemistry works is described, starting with the litmus papers we dealt with in school science classes. Cations and anions are the active ions that determine how soil makes nutrition available to plants. A scale is used, with one end called acid and the other end called alkaline. The place on the scale tells the soil's description as to what kinds of nutrients are best assimilated. “Acid” soil is best for blueberries and Rhododendrons and “Alkaline” soil is better for Lilacs and Spirea. Gardeners assiduously “adjust” the soil with amendments like sulfur or wood ash, remembering that this takes several seasons to effect. Jean closes this segment with an aside about names where she wonders about Monkshood, Begonias and Darth Vader. The final segment moves on to acronyms, which translates to “names from the extremities.” It refers to new names for things created from the initials of word describing the things. Like Scuba, Laser, and Yahoo. There is also another related usage of initials called initialism, where the actual letters are sounded out, not merged into a new word. For instance, AT&T or DEC. Both of these practices are twentieth century phenomena. Further discussion of acronyms leads us to AVID, CRISP and PRISM, all popular programs in New York, devised by Cornell and the NY Department of Conservation. In a nutshell, the ideal acronym is an invented word that should either help recognize its subject or be catchy enough to be memorable and relatable to its subject. Host: Jean Thomas Guest:Jean Thomas Photo By: Jean Thomas Production Support: Linda Aydlett, Deven Connelly, Teresa Golden, Tim Kennelty, Amy Meadow, Xandra Powers, Annie Scibienski, Jean Thomas Resources

Avid astronomer Dom Knight has incredible news about how Queenlanders are pushing into the final frontier. Meanwhile, Charles shares his solution for reviving the Australian space program, as well as an unlikely cure for multiple sclerosis.---Buy the Wankernomics book: https://wankernomics.com/bookListen AD FREE: https://thechaserreport.supercast.com/ VOTE OPTICS FOR A LOGIE: https://vote.tvweeklogies.com.au/Follow us on Instagram: @chaserwarSpam Dom's socials: @dom_knightSend Charles voicemails: @charlesfirthEmail us: podcast@chaser.com.auChaser CEO's Super-yacht upgrade Fund: https://chaser.com.au/support/ Send complaints to: mediawatch@abc.net.au Hosted on Acast. See acast.com/privacy for more information.

Pauline tells us about her son who has been missing since January. Ruth explains what happened when she injured her ankle while in America. James explains his frustrations with the Decision Support Service (DSS). Avid surfer Caoimhe rescued someone who got into distress while swimming in the sea.

Sarah wishes her 87-year-old father, a longtime listener of Mooney Goes Wild and birdwatcher, happy birthday.

Our guest this week is Randy Pierce of Concord, NH who is an author, avid outdoorsman, mountain climber, keynote speaker, president & CEO of Future In Sight New Hampshire, and who himself if blind. Randy and his wife, Tracy, have been married for 15 years. When Randy was in his early 20s he suddenly went blind in one eye and then over a number of years would lose sight in the other eye.  If that wasn't challenging enough, Randy also lost the ability to walk for the better part of two years.  After a series of medical procedures and through old fashion grit and determination, Randy regained his ability to walk and has become an avid outdoorsman and mountain climber.  Professionally Randy is president & CEO of Future In Sight New Hampshire, a non-profit providing essential services and support for over 100 years to children, adults and elderly living in New Hampshire who are blind and visually impaired.Randy is also author of the book: See You At The Summit: My Blind Journey From The Depths Of Loss To The Heights Of Achievement, a brilliant and inspirational read.  There was so much to cover we decided to break his interview into two parts.  This is Part #2 of Randy's SFN Dad To Dad Podcast interview. Show Notes - Phone – (603) 546-8542Email – rpierce@futureinsight.orgLinkedIn –  https://www.linkedin.com/in/randy-pierce-2020/Website - https://futureinsight.org/Heroes of Summer YouTube – https://www.youtube.com/watch?v=DmUKmbNLvagBook - See You At The Summit: My Blind Journey From The Depths Of Loss To The Heights Of Achievement - https://tinyurl.com/y6kwpvjhSpecial Fathers Network -SFN is a dad to dad mentoring program for fathers raising children with special needs. Many of the 800+ SFN Mentor Fathers, who are raising kids with special needs, have said: "I wish there was something like this when we first received our child's diagnosis. I felt so isolated.  There was no one within my family, at work, at church or within my friend group who understood or could relate to what I was going through."SFN Mentor Fathers share their experiences with younger dads closer to the beginning of their journey raising a child with the same or similar special needs. The SFN Mentor Fathers do NOT offer legal or medical advice, that is what lawyers and doctors do. They simply share their experiences and how they have made the most of challenging situations.Check out the 21CD YouTube Channel with dozens of videos on topics relevant to dads raising children with special needs - https://www.youtube.com/channel/UCzDFCvQimWNEb158ll6Q4cA/videosPlease support the SFN. Click here to donate: https://21stcenturydads.org/donate/Special Fathers Network: https://21stcenturydads.org/  SFN Mastermind Group - https://21stcenturydads.org/sfn-mastermind-group/

Midscale doesn't mean middle of the road — and IHG Hotels & Resorts is proving that with two rising stars: Avid Hotels and Garner. In this special hashtag#NoVacancyNews tour, Glenn Haussman visits hashtag#IHG Hotels & Resorts' Design Center in Atlanta with Karen Gilbride, VP of Brands for avid, Garner, and Atwell Suites. They walk through real model rooms, explore growth strategies and hashtag#HotelDevelopment, and reveal why these brands are resonating with both travelers and owners.

“So I'm in Chicago, I've quit my job, I've almost run out of money. You know, you're young, you don't care. And I met Robert, who's now my co-founder. He had mixed a CD of mine a couple of years before through friends of friends. So we meet up, have a beer, and then he's like, ‘Oh, you know, I'm spending all this money on IT every month,' because he was a sound engineer. And he's like, ‘But we've got this thing called the internet, right? I thought, ‘I've got 1 MB internet in my studio, why can't I use that? It's free.' And I was like, ‘Yeah, let's do it.' And because I, you know, had been doing software development and the internet, it just made sense. The two of us really bonded, and I went home to New Zealand and he stayed in Chicago, and we built Source-Connect.” – Rebekah Wilson This episode's guest is the co-founder, technical director, and CEO of Source Elements, and has worked for over twenty years with customers and industry partners like Avid and Dolby. Since the release of their pioneering remote audio app Source-Connect in 2005, she's advocated for the benefits of remote collaboration in all sorts of areas, including sound engineering, voice acting, music performance and production, film and cinema production, and education.Originally trained as a composer, she's now a software developer and expert in the fields of music technology and networking, and, as a New Zealand native, she understands very well how important it is to stay connected no matter where we are. Her name is Rebekah Wilson, and you'll want to hear what she has to say about how Source Connect is making our creative lives easier, what it's like being a woman in a male-dominated field, and where she sees this technology going in the future. As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that. (0:00:01) - Musical Journey to Tech InnovationWe start off with Rebekah's early memories of her father playing the guitar, and how it helped spark her love of music. “I must have been four or five,” she tells us, “and I can see the house that we were living in at the time. So, yeah, around their age and um, just those lovely, warm feelings.” She shares her experience growing up in New Zealand and how quickly things changed as the internet began to connect the world. “I went out and told everybody,” she explains, recalling the day she learned about Princess Diana's passing on a web forum. “I was like, ‘Oh my God, oh my God.' And they're like, ‘How do you know? The internet? What, that's crazy!' And so it was like one of those first moments of finding out that you can connect to the rest of the world with this medium.”(0:11:06) - Navigating Gender Dynamics in TechRebekah shares her journey from orchestral composer to tech entrepreneur in the ‘90s, and just how much things have changed for women since those early days. “I went in for the job interview and, uh, they, they show me where the programmers work,” she explains. “It's a dark room in the middle of the building with no...

Justin's cooking up ATC pedestals for Avid machines with fancy PEM hardware while Jem's crushing it with 0.6% Shopify conversions. After midnight whiskey-fueled Grasshopper sessions with AI buddy Uncle Sven, Jem finally cracked multi-axis robot sanding and now dreams of weird angled fixtures. Justin unleashes AI on sleazy car dealers who play dumb professionally. Help Scout's AI actually writes decent support emails, and sick kids get robot tours that make everything worthwhile. Watch on YoutubeDISCUSSED:✍️ Comment or Suggest a TopicAvid users - New ATC Pedestals coming - want to test?Shopify MCP "Help customers search, ask, and buy in natural language."Sentry Error MonitoringSyntax - MCP #920 episodeCNC sander toolGrasshopper with Uncle Sven ꘎Bevels ✅Fixture design session, 3A breakGet them back ✊Helpscout continues

Our guest this week is Randy Pierce of Concord, NH who is an author, avid outdoorsman, mountain climber, keynote speaker, president & CEO of Future In Sight New Hampshire, and who himself if blind. Randy and his wife, Tracy, have been married for 15 years. When Randy was in his early 20s he suddenly went blind in one eye and then over a number of years would lose sight in the other eye.  If that wasn't challenging enough, Randy also lost the ability to walk for the better part of two years.  After a series of medical procedures and through old fashion grit and determination, Randy regained his ability to walk and has become an avid outdoorsman and mountain climber.  Professionally Randy is president & CEO of Future In Sight New Hampshire, a non-profit providing essential services and support for over 100 years to children, adults and elderly living in New Hampshire who are blind and visually impaired.Randy is also author of the book: See You At The Summit: My Blind Journey From The Depths Of Loss To The Heights Of Achievement, a brilliant and inspirational read.  There was so much to cover we decided to break his interview into two parts.  This is Part #1 of Randy's SFN Dad To Dad Podcast interview. Show Notes - Phone – (603) 546-8542Email – rpierce@futureinsight.orgLinkedIn –  https://www.linkedin.com/in/randy-pierce-2020/Website - https://futureinsight.org/Heroes of Summer YouTube – https://www.youtube.com/watch?v=DmUKmbNLvagBook - See You At The Summit: My Blind Journey From The Depths Of Loss To The Heights Of Achievement - https://tinyurl.com/y6kwpvjhSpecial Fathers Network -SFN is a dad to dad mentoring program for fathers raising children with special needs. Many of the 800+ SFN Mentor Fathers, who are raising kids with special needs, have said: "I wish there was something like this when we first received our child's diagnosis. I felt so isolated.  There was no one within my family, at work, at church or within my friend group who understood or could relate to what I was going through."SFN Mentor Fathers share their experiences with younger dads closer to the beginning of their journey raising a child with the same or similar special needs. The SFN Mentor Fathers do NOT offer legal or medical advice, that is what lawyers and doctors do. They simply share their experiences and how they have made the most of challenging situations.Check out the 21CD YouTube Channel with dozens of videos on topics relevant to dads raising children with special needs - https://www.youtube.com/channel/UCzDFCvQimWNEb158ll6Q4cA/videosPlease support the SFN. Click here to donate: https://21stcenturydads.org/donate/Special Fathers Network: https://21stcenturydads.org/  SFN Mastermind Group - https://21stcenturydads.org/sfn-mastermind-group/

Second Date Update: Jonah and Lila went for Thai food in Albany. He thought things went really well. They are both avid readers, into poetry nights and open mic. Now, she's Casper.

Dave Kalema is an assistant editor at Library Films. His journey into post-production is interestingly unique, and we're sure it'll be an inspirational conversation as he steadily drops gems of wisdom throughout.We talk about his eclectic upbringing and how growing up between Uganda and the US gave him the valuable skill of adaptability. With sports as an early passion, it was this avenue that gave him his first look at both business and editing.We learn about the times in his life when putting himself out there and creating opportunities from nothing gave him the trajectory he needed. He also shares how he impressively navigated without connections.Later in the episode, we're joined by Jennifer Sofio Hall and Bedonna Smith, phenoms and founders of Industry Standard. They share what was so rare about Dave's story that he was offered a residency at Industry Standard, a program for creative professionals that aims to connect talent with opportunity. Their recollection is so moving, surely it'll help you dive into your unique story in order to rise to the top. #EditingJourney #BehindTheScenes #PostProduction #OpportunityDave Kalemahttps://www.instagram.com/davekalema/Industry Standardhttps://www.industrystandard.workhttps://www.instagram.com/industrystandard.work---------------------------------------------------------------------------------------------------------***GIVEAWAY ALERT***A huge thank you to our sponsors at Avid for the incredible opportunity to raffle off a one-year subscription to Media Composer as a thank you for watching.To enter, please visit https://postinblack.com/avid/ to register and submit your information. The link will remain active for a week after each episode airs and we'll announce the winner the following week via IG Live and via email.Stay tuned for more episodes of Post In Black's sixth season as we continue to amplify the stories and experiences of Black professionals working in post-production. Look out for new episodes every second and fourth Wednesday.Host: David Hunter Jr. | Executive Producers: Daniel K. Hunter, David Hunter Jr, Tatiana M. Johnson | Producers: Eric Johnson, Aurelia Belfield | Editors: SutchiLee Productions | Audio Post Production: Trailblazer StudiosTheme Song: "Sanctuary" by Chvrles Produced by Made for More Entertainment in association with Trailblazer Studios and SutchiLee Productions

Episode 129 – The Star Wars Influence: Live at the BFI's Film on Film Festival In this special live episode, I join Doug Weir—Remastering Lead at the BFI—and post-production veteran Paul Collard on stage for a panel titled The Star Wars Influence, recorded at the BFI's Film on Film Festival. Curated and hosted by Doug, the panel explores how George Lucas's frustrations with the Hollywood studio system led to a wave of technological innovation that forever changed the filmmaking landscape. From the creation of ILM to the invention of motion control, EditDroid, SoundDroid, and digital cinema tools, we look at how Lucas empowered a generation of problem-solvers and helped pioneer the digital workflow we now take for granted. This conversation took place just before a rare screening of Star Wars from a 35mm Technicolor dye-transfer print—an experience I'll be covering in more detail in a bonus episode coming soon. Topics include:Lucas's break from the traditional studio systemThe founding of ILM and the Dykstraflex motion control rigVistaVision, optical printers, and visual effects R&DThe origins of EditDroid and non-linear editingThe value of Technicolor dye-transfer printsLucasfilm's wider influence on Pixar, Avid, and beyondThanks again to Doug and Paul—and to the BFI for hosting such a thoughtful and inspiring event.Joe Alves Doco GoFundMeAll my links

Editor - Eddie Hamilton ACE MISSION: IMPOSSIBLE - THE FINAL RECKONING editor Eddie Hamilton ACE has edited the last four of the franchise's eight films.  While there are a combined five other editors responsible for the first four movies, the challenge of tying up any loose ends and bringing the franchise to a close (seemingly) fell solely to Eddie.  In addition to his work on the Mission Impossible films, Eddie has also taken part in two other action franchises.  Eddie cut TOP GUN: MAVERICK as well as two of director Matthew Vaughn's "Kingsman" films.  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action movie editors working today. Picking up two months after the events of MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE, Ethan Hunt and the IMF team must stop a malevolent AI known as "The Entity" from either forcing the world powers into a nuclear war or launching the missiles on its own.  Adding to the challenge, they must do this before Ethan's nemesis Gabriel gains control of The Entity and its power to dominate the world. Eddie Hamilton, ACE Prior to finishing the seventh and eighth films in the Mission Impossible franchise, Eddie cut Top Gun: Maverick, directed by Joseph Kosinski, for which he was nominated for the Oscar and BAFTA Film Editing awards, and won the ACE Eddie and Hamilton Behind The Camera Award. He also cut Mission: Impossible - Fallout and Mission: Impossible - Rogue Nation for director Christopher McQuarrie. Other credits include Kingsman: The Secret Service, Kingsman: The Golden Circle, X-Men: First Class and Kick-Ass for director Matthew Vaughn. After 30 years in the industry Eddie has cut over 20 feature films (both indies and studio movies) in a wide variety of genres as well as TV dramas, documentaries and award-winning short films. His enthusiasm for big screen storytelling is matched only by his total dedication to the craft of film editing, his nerdy technical expertise and his undisputed love of chocolate. He has given presentations on Avid Media Composer editing at NAB and IBC. Eddie is a member of the Academy Of Motion Picture Arts & Sciences, American Cinema Editors, British Film Editors and BAFTA, was on the feature film panel at EditFest London in 2013 and 2018, and was the keynote speaker at EditFest Los Angeles in 2022. The Credits Visit ExtremeMusic for all your production audio needs Hear Eddie talk about his work on Mission: Impossible - Fallout, Mission: Impossible - Dead Reckoning Part One and Top Gun: Maverick Take a guided tour with Eddie of his Avid timelines from Mission: Impossible - Fallout, Top Gun: Maverick and Mission: Impossible - Dead Reckoning Part One See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Step inside Sphere with Robert Scovill as he rejoins Dave on Gig Gab to dissect the art—and science—of immersive live sound. From his early days quad-mixing Rush to commanding 32 channels through Avid's S6L with Meyer's Spacemap Go, Scovill walks you through prepping for Sphere with simulators, Holoplot mapping, and […] The post Sphere Sound Unpacked: Robert Scovill's Deep Dive into Immersive Mixing – Gig Gab 485 appeared first on Gig Gab.

The BedMed trial of nighttime BP meds, SURMOUNT-5, Troponin URL, gene tests in patients with no disease, and guideline-directed medical therapy for HF are the topics John Mandrola, MD, discusses in this week's podcast. This podcast is intended for healthcare professionals only. To read a partial transcript or to comment, visit: https://www.medscape.com/twic I Timing of BP Meds – The BedMed RCT MAPEC https://doi.org/10.3109/07420528.2010.510230 Hygia https://doi.org/10.1093/eurheartj/ehz754 Turgeon et al https://www.ahajournals.org/doi/10.1161/HYPERTENSIONAHA.121.16501 TIME trial https://doi.org/10.1016/S0140-6736(22)01786-X BedMed https://jamanetwork.com/journals/jama/fullarticle/2833860 Time Antihypertensives Taken Doesn't Matter: New Trials https://www.medscape.com/viewarticle/time-antihypertensives-taken-doesnt-matter-new-trials-2024a1000g3z Timing of BP Dosing Doesn't Matter: BedMed and BedMed-Frail https://www.medscape.com/viewarticle/timing-blood-pressure-dosing-doesnt-matter-again-bedmed-and-2024a1000fz2 Timing of Blood Pressure Meds Doesn't Affect Outcomes: BedMed in Print https://www.medscape.com/viewarticle/timing-blood-pressure-meds-doesnt-affect-outcomes-bedmed-2025a1000cdm II Tirzepatide vs Semaglutide SURMOUNT 5 https://www.nejm.org/doi/full/10.1056/NEJMoa2416394 III Age-specific Troponins Coyle and McEvoy https://doi.org/10.1093/eurheartj/ehaf308 Mandrola/Foy JAMA-IM https://jamanetwork.com/journals/jamainternalmedicine/fullarticle/2777967 IV Return to Play for Gene Positive Phenotype Negative athletes Martinez et al https://doi.org/10.1016/j.jacep.2025.03.013 V Rapid Titration of GDMT in HF STRONG HF: More Beats Less After Discharge for Heart Failure https://www.medscape.com/viewarticle/983698 JACC-HF Substudy https://doi.org/10.1016/j.jchf.2025.02.020 STRONG HF https://doi.org/10.1016/S0140-6736(22)02076-1 AVID https://www.nejm.org/doi/full/10.1056/NEJMoa013474 EAST https://www.nejm.org/doi/full/10.1056/NEJMoa013474 You may also like: The Bob Harrington Show with the Stephen and Suzanne Weiss Dean of Weill Cornell Medicine, Robert A. Harrington, MD. https://www.medscape.com/author/bob-harrington Questions or feedback, please contact news@medscape.net