Participants pose at the 15th International Energy Forum Ministerial (IEF15) in Algiers, Algeria September 27, 201677OPEC agreed on Wednesday to cut its oil output for the first time since 2008, with the group’s leader Saudi Arabia softening its stance on arch-rival Iran amid mounting pressure from low oil prices.Two sources in the Organisation of the Petroleum Exporting Countries said the group would reduce output to 32.5 million barrels per day from current production of 33.24 million bpd.How much each country will produce is to be decided at the next formal meeting of OPEC in November, when an invitation to join cuts could also be extended to non-OPEC countries such as Russia, sources said.Oil prices LCOc1 jumped more than five per cent to trade above US$48 per barrel as of 1830 GMT after the outcome of OPEC’s informal meeting in Algeria took traders by surprise. Still, many said they wanted to see the details of the deal.Saudi Energy Minister Khalid al-Falih said on Tuesday that Iran, Nigeria and Libya would be allowed to produce “at maximum levels that make sense” as part of any output limits which could be set as early as the next OPEC meeting in November.That represents a strategy shift for Riyadh, which has said it would reduce output to ease a global glut only if every other OPEC and non-OPEC producer followed suit. Iran has argued it should be exempt from such limits as its production recovers after the lifting of EU sanctions earlier this year. The Saudi and Iranian economies depend heavily on oil but in a post-sanctions environment, Iran is suffering less pressure from the halving in crude prices since 2014 and its economy could expand by almost 4 percent this year, according to the International Monetary Fund. (Excerpt from Reuters)
“I’m ready,” he said. “I wasn’t ready to leave.” Domino – whose real first name is Antoine and who is known in New Orleans nearly as much for his reclusiveness as for hits such as “Blueberry Hill,” “Blue Monday” and “Ain’t That a Shame” – rode out Hurricane Katrina in the Ninth Ward, where the Aug. 29, 2005, storm did some of its worst damage. His family and agent had reported him missing and learned days later that he had survived when they saw a photo in The Times-Picayune that showed him stepping off a rescuer’s boat. Domino, who had been back to see the Ninth Ward at least once before Friday, said he had no doubt he would eventually return for good. Workers are rebuilding his home, which is expected to be restored by summer. For many in the heavily devastated neighborhood, which some have said shouldn’t be rebuilt, Domino’s return is a sign of hope. “This is not about just getting one guy back in his house. It really is symbolic of this city coming back,” said Bill Taylor, director of the Tipitina’s Foundation, which is paying to repair the home Domino has lived in for decades. “There is hope down here now.” NEW ORLEANS – Fats Domino broke into soft song as he stepped slowly through his gutted house in the city’s flood-ravaged Lower Ninth Ward on Friday. Sometimes the Hall of Fame piano man murmured a line of his familiar lyrics. At other moments, he just seemed to be thinking out loud, with a tune. “Why such bad luck fall on me?” the 79-year-old sang, looking out a rear window into the neighborhood where he was born in 1928. In between melodies, he said repeatedly that it’s time to come home. Surrounded by blocks of abandoned homes – many untouched since Katrina – Domino’s house was buzzing with workers. Outside, they scraped away rust from the black iron fence that surrounds the house and gave it a fresh coat of paint. Inside, they tried to decide how to replace the air-conditioning system and electrical circuits. Sitting in what used to be his pink entertainment room on a bench from the front porch, Domino recalled memories of his life in the Ninth Ward – cutting grass for the neighbors, cooking red beans and rice for family and friends. “It don’t take a lot to be happy,” he said with a smile. The foundation, which helped scores of musicians find housing and new instruments after the hurricane, will spend upward of $100,000 restoring Domino’s home. The foundation is working with entertainers Elton John, Tom Petty, Bonnie Raitt, Willie Nelson, B.B. King and others who will record a tribute album of Domino’s songs to benefit the foundation. Roughly 25 percent of the proceeds will go toward Domino’s home, Taylor said. The back end of a pink 1959 Cadillac that for years sat in the living area of his home and served as a couch is being restored. Plans also call for bringing back many original details, including pink walls to match the car. A mirrored glass balcony and brass railing, which were not damaged during Katrina, also will be kept. After Katrina, Domino was taken to the Superdome, then by bus with other evacuees to Louisiana State University’s basketball arena in Baton Rouge, where he reunited with his family. They left the arena and spent two days at the off-campus apartment of Tigers quarterback JaMarcus Russell, who knew a friend of Domino’s family. Domino spent some time in a New Orleans hotel after that before moving into a gated community full of newly constructed homes in suburban Harvey.160Want local news?Sign up for the Localist and stay informed Something went wrong. Please try again.subscribeCongratulations! You’re all set!
California taxpayers saved nearly $2.50 for every dollar spent sending nonviolent drug offenders to treatment centers rather than jail under the state’s Proposition 36, a UCLA study released Tuesday says. The study is the most comprehensive to date and the first cost-benefit analysis of the Substance Abuse and Crime Prevention Act of 2000. “The best we can project, based on the UCLA numbers, the state has saved $1.5 billion in five years,” said study co-author M. Douglas Anglin, UCLA professor-in-residence of psychiatry and biobehavioral sciences. “That includes $1 billion in annual expenses and $500 million for not having to build a prison that would have been necessary had we been incarcerating drug users.” Since taking effect in 2001, Prop. 36 has diverted 140,000 people from incarceration into treatment. About 60,000 will graduate from treatment by the program’s full fifth year. During that time, California prisons saw a 32 percent drop in the number of people incarcerated for drug possession. Researchers at the Semel Institute for Neuroscience and Human Behavior in the David Geffen School of Medicine at the University of California, Los Angeles, compared the cost differences between all Prop. 36-eligible offenders during the program’s first year with those for a pre-Prop. 36 group of similar drug offenders. Both groups were monitored over a 30-month follow-up period. Researchers said program savings were largely due to reductions in jail and prison time. UCLA is conducting a series of studies on the proposition, which allows adults convicted of nonviolent, drug-related offenses to be sentenced to probation with drug treatment instead of either probation without treatment or incarceration. Darren Urada, program director at the UCLA Integrated Substance Abuse Programs, said researchers are concerned that only about one-third of those who enter the program complete treatment. “There is where further improvements should be focused on,” Urada said. “This is a tough population. These are people with real drug problems. Some of them have long, nonviolent criminal histories. And we need to do everything we can to ensure any barriers are being addressed.” Anglin said the authors’ suggestions for boosting the savings include further improvements in the coordination of services and continuity of care within counties, better participant screening, improved matching of services to needs, and attention to special populations of drug offenders, including minorities and offenders with psychiatric problems. Under the law, funding for the program is expected to expire June 30. The governor’s budget proposes to maintain funding at $120 million on a one-time basis in 2006-07 conditioned on the Legislature passing program reforms. email@example.com (213) 974-8985 AD Quality Auto 360p 720p 1080p Top articles1/5READ MOREOregon Ducks football players get stuck on Disney ride during Rose Bowl event160Want local news?Sign up for the Localist and stay informed Something went wrong. Please try again.subscribeCongratulations! You’re all set!
Golf writers, broadcasters and online media from the US, with a combined audience reach of almost 90 million, will arrive next Monday to play some of the key golf courses along the Wild Atlantic Way including Donegal.The visiting media are here as part of a visit, hosted and supported by Fáilte Ireland, who have designed an itinerary to showcase its top golf courses on the Wild Atlantic Way.The week-long visit will create an opportunity for the US media to experience first-hand a diverse range of courses in Donegal such as the challenging Glashedy Links Course at Ballyliffin Golf Club to the more informal and relaxing Portsalon Golf Club together with the Sandy Hills course at Rosapenna. Among the group visiting is John Garrity, senior writer with Sports Illustrated USA, which has a circulation of 23 million alone. John has connections in the West, with his ancestors coming from Carne, Co Mayo.Ciara Sugrue, Head of International Publicity with Fáilte Ireland, welcomed the benefits provided by the US group’s visit to the Wild Atlantic Way, saying:“North Americans are among the biggest spenders during their stay here in Ireland, so we welcome these top US golf media who will spread the word on our world class golf courses and the Wild Atlantic Way to their readers and followers at home. Our own research shows that the golf sector generates over €200m from overseas visitors for the Irish economy and, with 200,000 international visitors playing golf while in Ireland last year, each golfing visitor is worth on average two and a half times that of the average tourist.“The group also played at Portstewart Golf Club, this multi-accolade winning links course before finishing their golfing experience at the County Sligo (Rosses Point) Golf Links, giving them a final chance on the tour to test themselves against the elements on the Wild Atlantic Way. Ms Sugrue continued “We in Fáilte Ireland believe that trips such as these encourage and help maintain Ireland’s reputation as a destination for high quality and challenging golf and, with the dollar being so strong, we hope to see many more American golfing visitors to our shores this year. In 2014 we welcomed over 1 million US visitors which generated revenue of over €866 million and most encouraging for this year, latest figures indicate that we are already experiencing double digit growth on last year.”DONEGAL GOLF COURSES SNATCH HOLE IN ONE WITH AMERICAN REPORTERS! was last modified: July 17th, 2015 by StephenShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:donegalgolfUSWild Atlantic Way
The Coast Guard chopper in Moville today> Pic Kevin Callaghan for donegaldaily.comA WOMAN has been airlifted to hospital after falling this afternoon.The incident happened on the foreshore near Moville.She was stretchered to Moville football pitch where she was taken by Coast Guard helicopter to hospital. The woman had fallen and may have suffered a broken leg. WOMAN AIRLIFTED TO HOSPITAL AFTER COASTAL FALL was last modified: October 26th, 2013 by John2Share this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:movilleMoville FCrescue
South African a cappella group Ladysmith Black Mambazo won their fifth Grammy at the 2018 Grammy Awards, confirming their status as one of the country’s greatest cultural exports.South African isicathamiya group Ladysmith Black Mambazo rose to global fame with their appearance on Paul Simon’s Graceland album. As one of South Africa’s most prolific groups, the singers are world ambassadors for South Africa and its cultures. (Image: Ladysmith Black Mambazo website)CD AndersonOver the last 40 years, the KwaZulu-Natal ensemble have brought traditional Zulu harmonies, called isicathamiya, to a global audience. They won the 2018 Best World Music Album award on 28 January for Shaka Zulu Revisited, a contemporary reworking of their 1987 breakthrough album.Ladysmith Black Mambazo first came to the world’s attention through their work with Paul Simon on his multiplatinum, Grammy-winning album, Graceland, in 1986.However, it was the original Shaka Zulu album – the follow-up to Graceland – that group founder Joseph Shabalala always considered their landmark album in taking the South African sound to the world. It won them their first Grammy for Best Traditional Folk Recording in 1988.To mark the 30th anniversary of the album, Ladysmith, led by Shabalala’s four sons since his retirement from music in 2008, re-recorded it. They gave the songs a modern feel without losing the traditional elements that have made the singers’ music so popular.Thamsanqa, Msizi, Thulani and Sibongiseni Shabalala said that the album was a way to pay tribute to their father and his leadership, as well as a dedication to the legacy of the many members of the ensemble over four decades, many of whom have since retired or died. Ladysmith Black Mambazo currently includes Shabalala cousins Albert and Abednego Mazibuko, as well family friends Russel Mthembu and Ngane Dlamini.In addition to a host of South African, African and global music and cultural awards, the group have been nominated for Grammys 19 times.Tweets about “Ladysmith Black Mambazo” The 2018 win is Ladysmith’s fifth Grammy. The group was also nominated this year for the Best Children’s Album award for Songs of Peace & Love For Kids & Parents Around the World. That Grammy went to American Lisa Loeb’s Feel What U Feel.Ladysmith Black Mambazo leader Msizi Shabalala accepts the award for Best World Music Album at the 2018 Grammy Awards ceremony in Los Angeles, USA, on 28 January 2018. (Image: Official Grammy website)On accepting the Best World Music award in person at the Grammys in Los Angeles, group leader Msizi Shabalala dedicated the win to his father and his commitment to using music as a way to bond the world’s diverse cultures. The group’s philosophy behind the music, Msizi said, was always “that people have to unite… not in fighting with each other but [in] harmony and peace and love”.Ladysmith are currently on a world tour to promote their new albums and celebrate their continuing success, longevity and fans around the world.Here are the five Grammy-winning moments that made Ladysmith Black Mambazo a global music sensation:“Unomathemba” from the 1988 Best Traditional Folk Recording Shaka Zulu“Selingelethu Sonke” from the 2004 Best Traditional World Music Album Raise Your Spirit Higher“Vela Nsizwa” from the 2009 Best Traditional World Music Album Ilembe: Honouring Shaka Zulu“Emgodini” from the 2013 Best World Music AlbumLive: Singing for Peace Around the World“Hello My Baby” from the 2018 Best World Music Album Shaka Zulu Revisited: 30th Anniversary Celebration Read more about Ladysmith Black Mambazo and other great South African music in these Brand South Africa articles:Mambazo’s golden anniversaryA journey around Africa with ten great songsSouth African music gets three Grammy nodsWatch: Salif Keita and Black Mambazo call for harmony in AfricaSouth African musicSource: News24, official Grammy website, WikipediaWould you like to use this article in your publication or on your website? See Using Brand South Africa material.
Telefonica, the multinational telecommunications provider, has launched the first TOF Global Race, a competition aimed at finding great startups that are struggling to succeed.The competition is part of the company’s Open Future innovation platform, which connects entrepreneurs, start-ups, investors and public and private partners from all around the world to invest in projects and give advice to new startups.See Also: Sigfox invades America; coming to 100 U.S. cities by end of 2016Telefonica will assess online applications from thousands of startups that have an innovative technological project or use emerging technologies. It said that startups should be making no income or have less than 1,000 users. On January 15, votes will be counted, and the most popular projects will be placed on a final shortlist. A panel of experts will choose the winner on January 31.The winner hopefully gets some investor loveThe winner will receive an invitation to Four Years From Now (4YFN), an entrepreneurial forum, where they will be able to present the project to the public.Throughout the competition, Telefonica wants startups to be active on its Open Future network, raising awareness for their project and trying to interest investors. This could be good experience for young startups that may have never held a funding round.Exposure at the 4YFN forum could lead to increased investor interest, and the investors attending the event tend to be better at nurturing startups and making them successful.Telefonica is one of the largest multinationals in Europe and has stakes in Brazil, China, Germany and the United Kingdom. In the past few years, it has tried to diversify its business; this program being part of the process. Internet of Things Makes it Easier to Steal You… Tags:#4YFN#Open Future#startup#Telefonica#TOF Global Race Follow the Puck Related Posts What it Takes to Build a Highly Secure FinTech … Why IoT Apps are Eating Device Interfaces David Curry
Download 75 FREE .look files for Adobe Speedgrade. They can also be used for creative grading in Autodesk Smoke!Autodesk Smoke uses the Autodesk Color Management which allows for consistent processing, interpretation, and communication of colors throughout a mixed pipeline. It is the same Color Management System found in Autodesk Flame and Lustre, the Autodesk dedicated color grading software. Autodesk Color Management is designed to support a variety of color management workflows, including ACES, ICC, OpenColorIO, and ASC CDL.With Smoke you can easily mix footage from digital cinema cameras, film scans, and video using different color spaces that use ACES, the Academy Color Encoding System. ACES is a 16-bit file format for digital motion picture production, mastering, and archiving. Smoke uses the Academy/ASC color transform format and provides the color transforms needed to convert between the ACES reference color space and a wide variety of input and output devices. This enables better creative control by providing an accurate and consistent representation of floating-point linear color spaces across editing, 3D VFX, and grading.Now, I am not a colorist, I am an editor. But I still have to color correct footage and work with color spaces… mainly Log footage. Thus, I have to work with Luts from time to time. But ACES gives you proper conversion between color spaces and keeps you colors accurate through the pipeline…even a ConnectFX pipeline, if you are mixing Log and regular REC701. Smoke has proper Log to Lin converters, as well as ACES to sRBG, and popular camera LUTs for when you shoot in Log or Slog2 withSony F65 and F35, Alexa, and even “flat profiles” like the Canon Technicolor Cinestyle conversion.But none of these are creative look generating tools.You have the Color Correct and the Color Warper Nodes to allow you to creatively stylize you clips, but sometimes, you just need a quick color look applied. It would be nice to simply load up a color look and apply it to a clip or as a CFX adjustment layer. Well, luckily the Autodesk Color Management System can help you with that. See how I brought this full circle?The Autodesk Color Management System handles it’s own .ctf files found in the Lut Editor Imports. But it also handles industry standards.I highlighted one format above. It’s the Iridas .look file. Adobe purchased Iridas and it’s product SpeedGrade, and made it a part of Adobe CC. With it, they continue to use the .look files which contain the setups used in the Lumetri color engine. These .look files are how creative color grading setups convert from SpeedGrade to Premiere. And since the Autodesk Color Management also imports this industry format… you can use Premiere and SpeedGrade .look files in Autodesk Smoke.Now that we have the technical explanation out of the way, lets get to the fun stuff… being creative with color.Download Creative LUTsPremuimbeat’s Aaron Williams wrote a great blog on creating the classic Blue/Teal blockbuster movie look in SpeedGrade. He also provided a download link to his setups. Inside the .zip file you will see many compatible .luts for Smoke, including the .look file.Also, Oliver Peter’s on his “digitalfilms” blog created 75 different creative color grading looks for your video using SpeedGrade. Download them and thank Oliver for creating them!How to use SpeedGrade Looks in SmokeOnce you have the .look files downloaded, simply place them in a folder somewhere where you can access them. There are 2 ways to use these Luts on your clips in the Smoke timeline.One is directly on a clip via the Format Options or the Pre-Processing Settings.These sections affect the clip before any other Timeline Effects are applied. Simply enter the editor of the settings by double-clicking the button in the toolbar or by selecting the button pressing the “Editor” button. Once there the process is the same.1. Select the RGB LUT button and then change the Import selection menu to Color Transform. 2. Press Import and you will see the standard Smoke file browser were you can navigate to your folder with the saved .look files.3. Select the name of the Look you would like and it will immediately load and return you to the previous menu.4. If you don’t see the Look applied, make sure you have the ACTIVE button enabled to see the effect. If you want this effect copied to other clips, you can easily do that by copying the Format Options or Pre-Processing effects from the toolbar to any other clips or clips like you do any other timeline effect. You cannot modify this LUT effect at all in this menu, the LUT is either on or off. Any further adjustments will have to be done on top of this effect with a Color Correct or Color Warper node added to the clip in the timeline. Because of this you may want to add these .look files to the clip via ConnectFX which will give you more flexibility with color adjustments prior to the LUT. This is the second method:1. Add a ConnectFX to the clip and enter the editor.2. Add a LUT Editor node after your clip.3. The process is the same as above, select Color Transform and press Import4. Select the Look you want and the grade will be applied.If the color isn’t right with your footage, you can add a Color Correct or Color Warper Node before the Lut Node and make adjustments. Set your Lut Node as a context point so you can see the result with the Look applied as you work in one of the other color nodes.By working in CFX this way you can also combine these Looks by using more than one Lut Node with additional Color Corrections as needed.However, if you need to do other CFX effects on your clips then working this way might be awkward since you may need to perform some green screen keying or other effects prior to the LUT. If this is the case, then you can simply add the CFX as an adjustment layer on a new track above your clip with it’s additional CFX applied.Of course you can also double-click the clip in CFX and access the Pre-processing menus here as well and add your LUT. This would be just as if you added it on the timeline.The Oliver Peter’s Look files were designed with Log footage. So if you are using standard video or Rec 709 clips, the CFX workflow will be your best bet, as you can “flatten” the existing color of your clip to simulate the Log look before the LUT is applied. In doing this you might be able to simply use the Pre-Processing settings on the clip in the Basic menu, and adding a Lin-to-Log adjustment to create a flattened look and a psudo-log clip.The most important thing is that the Autodesk Color Management in Smoke is really quite powerful. Not only is it extremely capable at proper color conversions and workflows, but since it can import many other formats, you can use some of these great free tools available on the internet which makes Smoke even more user friendly.Feel free to post a comment or a question below, and stay tuned for more tips and tricks for Autodesk Smoke.
The new Essential Sound panel simplifies the process of editing a soundtrack directly in Adobe Premiere Pro.Cover image via Shutterstock.Adobe’s new Essential Sound Panel is easy to use while also allowing advanced users to manually fine-tune effect settings. Here is an explanation of the panel that demonstrates how it will save editors considerable time getting a good audio mix.Set Your Project to the Audio Workspace and Open the Essential Sound PanelIf you don’t see the workspace options at the top of your screen, you can change your workspace by going to Window/Workspaces/Audio. You should see the Essential Sound panel on the right, but if you don’t, go to the Window menu and select Essential Sound.Organize the Audio in Your Sequence by TrackKeeping your audio organized with track labels is always a good idea, but it’s even more important in the Essential Sound Panel workflow. In this example I have dialogue, sound effects, music, and ambience. Notice that there is sometimes more than one track for each category.Assign Your Dialogue to an Audio TypeLasso all of the clips you would like to include in the Dialogue group. Notice that the Dialogue, Music, SFX, and Ambience buttons in the Essential Sound panel are now active. Click the Dialogue button to open the options for manipulating the dialogue effect controls.Begin Editing the Characteristics of Your ClipsSimilar to the Lumetri Color controls, there are various categories of effect controls that you can expand or collapse. In this instance, I would normalize the volume so I can quickly make all of the dialogue in the sequence conform to a unified standard. Click the Loudness heading to open the controls pertaining to volume. Click Auto-Match for the fastest results by letting Adobe Premiere quickly conform all the selected audio clips to a uniform level.Apply Any Additional EffectsHere, I would like to apply different effects for the two main actors in my scene. Highlight the group of clips you wish to affect, and apply the settings using the slider controls in the Essential Sound Panel. In this case, I will reduce the hum and the rumble in the Repair category by manipulating the sliders. Notice that you can toggle the Repair category on or off to compare the before and after results. After establishing the overall setting for all of your dialogue, click on the clip you wish to fine-tune, and open the Effect Controls window for access to individual controls for effects. Experiment with other options such as Clarity in the Dynamics category to further improve your audio.Auto-Match the Volume of Background AmbienceSelect all of your clips associated with the background ambience in your edit and assign them to the Ambience category by clicking the Ambience button in the Essential Sound panel. Click on the Auto-Match button to normalize the audio to a uniform rate.Improve Your Mix with Creative and Stereo WidthDepending on your clip, change the preset to something that describes the location of your scene. In my case, I will choose Room Ambience, and I will adjust the slider to achieve a more realistic sound for my office ambience clips. Take it a step further by adding a Stereo Width effect to create the perception of a more dramatic stereo effect.Customize the Volume and Duration of Your TrackBy clicking on your music track and assigning it to the Music category in the Essential Sound panel, you can normalize the volume using the Auto-Match button and the background music preset. Additionally, you can customize the duration of the music track by opening the Duration menu in the Essential Sound panel. Either type in a new duration for your music clip or click and drag to increase or decrease the duration of the selected clip(s). After you hit play, your computer will briefly render the track to play at a new speed to fit the desired duration.Apply Room Sound or Other EffectsYou can assign all of your sound effects to the SFX category in the Essential Sound panel. Here you can change the loudness, add room sound or reverb, and pan the audio left or right.Save Your Settings in Adobe AuditionWith the timeline selected, go to the Edit menu and select Edit in Adobe Audition then select Sequence. The dialogue box defaults to preserving all of your edits, including any keyframes on clips such as volume and panning. Adobe Audition then automatically creates a multi-track session that contains all of the work you completed in Adobe Premiere Pro.Do you have any tips for the Essential Sound Panel? Let us know in the comments.
Mahendra Singh Dhoni is not at all pleased with the use of some umpiring devices like ear-piece, which he feels prevents the on-field official from hearing nicks and edges in a packed stadium. Also read: Kohli showed Pakistan how to bat, says Afridi Bangladeshi umpire SIS Saikat failed to detect a nick from Khurram Manzoor’s bat off Ashish Nehra’s bowling and the Indian captain wasn’t happy about it.Asked about umpiring, a sarcastic Dhoni said, “You don’t want me to get banned before World Twenty20. You have all seen umpiring. It’s your call.””One thing certainly should be done. Umpires now use walkie talkies as well as wear ear piece in one ear which effectively means they are umpiring with one ear.”It’s a difficult job. One needs to consider this. They are hearing with one ear. I believe there is no point having a ear piece when the bowler is bowling as you don’t need to use it then. It’s better to use both ears as a lot of things might happen on field,” the skipper said at the post match press conference. Also read: India survive Amir scare to beat Pakistan Dhoni was in a mood to take dig at match officials as another innocuous question about his tips to bowlers caught on stump microphone was asked.”It’s very interesting you know. Match referees say that microphone is off when there is a situation of one guy from one team saying something to the other guy.But it is very strange that whenever I say something, they always catch it.advertisement”Something may be very fishy from my side or match referee’s side! For example, okay this guy used a word that should not be used and we find mike is off but whatever I say, mike is always on,” Dhoni took a veiled dig at the match officials.”