Empire of the Sun artwork
PI planning is a two-day face-to-face or remote event held at the beginning of each program increment (PI) involving all ART members and key stakeholders. Teams align on objectives, plan work, and identify dependencies before committing to a final PI plan https://robertsonpiper.com/mobilebet-bonus-code/.
Although both terms are sometimes conflated in agile teams, here, a product owner is responsible for something different when compared to a product manager. Where a product manager is responsible for the overarching strategy, purpose, and reason for the type of work that the ART team is thinking about delivering, the product owner works with the scrum master to ensure that there is value in the deliverable that the team produces at the end of sprints.
Net zoals een trein de passagiers in een vaste kadans van A naar B brengt, zo zorgt een Agile Release Train voor het vervoer van waarde naar de eindklant. Het is een zelforganiserend team van meerdere Agile teams, bestaande uit passagiers vanuit alle delen van de organisatie. Deze teams (treinstellen zoals je wilt) samen zijn verantwoordelijk voor een bepaald eindproduct. Dit team, bestaande uit Scrum teams vanuit meerdere disciplines, plant en voert gezamenlijk werkzaamheden uit binnen een bepaalde timebox (Programma Increments, ookwel PI’s genoemd). Een Programma Increment duurt gemiddeld 5 sprints.
A sprint is a short, time-boxed period (usually 1–4 weeks) in which a Scrum team works to complete a set of tasks and deliver a potentially shippable product increment. On the other hand, a release is a broader event involving deploying a collection of these increments to end users. While sprints focus on incremental progress within a team, releases represent the integrated output of multiple sprints, ensuring that the final product is market-ready and delivers overall value.
Resistance to change is a natural response, especially when introducing a new way of working. Some team members may be comfortable with established practices and may resist adopting the ART approach. It is crucial to address these concerns proactively and involve team members in the decision-making process.
Film graphic
While movie posters grab attention, movie titles are the first point of contact for potential viewers. Graphic designers must carefully craft titles that are visually appealing and in sync with the film’s themes:
As a general rule, period films are mostly research for the overall look of that era, but factious companies, props, products, etc. have to be designed to match the period. For example, ‘42’ was all about baseball, and all of the advertising at the ballpark was about recreating the actual products and companies. But when you walked down a neighborhood street, the businesses were all fictions designed to fit into the period.
While movie posters grab attention, movie titles are the first point of contact for potential viewers. Graphic designers must carefully craft titles that are visually appealing and in sync with the film’s themes:
As a general rule, period films are mostly research for the overall look of that era, but factious companies, props, products, etc. have to be designed to match the period. For example, ‘42’ was all about baseball, and all of the advertising at the ballpark was about recreating the actual products and companies. But when you walked down a neighborhood street, the businesses were all fictions designed to fit into the period.
To accommodate their busy schedules and to get two different perspectives, we gave both graphic designers the same prompts. Here’s what each had to say about their experiences, things they’ve learned along the way and tips for budding graphic designers, and what they think about the current state and future of graphic design for film/TV.
There’s no getting away from the fact that getting a job in the film industry is still notoriously difficult. A Google search presents very little opportunities, so it appears the film industry is still as much about who you know as what. But don’t let that put you off, there are still ways to get that proverbial foot in the door.
Empire of the Sun artwork
These works led me to attempt to create this photographic book, using the notion of the map as a clue to the future and to question the whereabouts of my spirit. Discarded memorial photographs, a farewell note, kamikaze pilots – the illusions of various maps that emerge are to me like a discussion with the devil. The stains are situated as a key image of the series by drawing a future stratum and sealing the history, the nationality, the fear and anxiety of destruction and prosperity. It was almost a metaphor for the growth and the fall.
Toshio Fukada (Japanese, 1928-2009) The Mushroom Cloud – Less than twenty minutes after the explosion (4) 1945 Tokyo Metropolitan Museum of Photography © The estate of Toshio Fukada, courtesy Hiroshima Peace Memorial Museum
In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect…
These works led me to attempt to create this photographic book, using the notion of the map as a clue to the future and to question the whereabouts of my spirit. Discarded memorial photographs, a farewell note, kamikaze pilots – the illusions of various maps that emerge are to me like a discussion with the devil. The stains are situated as a key image of the series by drawing a future stratum and sealing the history, the nationality, the fear and anxiety of destruction and prosperity. It was almost a metaphor for the growth and the fall.
Toshio Fukada (Japanese, 1928-2009) The Mushroom Cloud – Less than twenty minutes after the explosion (4) 1945 Tokyo Metropolitan Museum of Photography © The estate of Toshio Fukada, courtesy Hiroshima Peace Memorial Museum
In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect…
