CHIEF SAYS HE IS
CONCERNED ABOUT THIS MISSING
SHOTGUN.
HE SAYS THIS THEFT MAY LEAD TO
POLICY CHANGES.
NEWSCENTER 5 WAS THERE AS THIS
POLICE CRUISER WAS LOADED ONTO A
TOW TRUCK AFTER BEING STOLEN AND
FOUND IN THE PARKING LOT OF A
PARKING COMPLEX.
>> THERE IS NO CAMERAS.
REPORTER POLICE SAY THE CAR HAD
BEEN ASSIGNED TO A POLICE TO
TAKE TO WHO PARKED IT IN HIS
DRIVEWAY, LOCKED.
>> HE ENTERED THE GARAGE, GOT
INTO A BREEZEWAY, STILL MULTIPLE
SETS OF KEYS.
REPORTER: A PERSONAL CAR WAS
ALSO FOUND LESS THAN A MILE
AWAY.
A LOADED 12 GAUGE SHOTGUN
SIMILAR TO THIS ONE HAD BEEN IN
THE CRUISER DRUNK WAS GONE.
-- TRUNK WAS GONE.
>> THAT IS A TOP PRIORITY.
REPORTER THE POLICE CHIEF SAYS
THE DETECTIVE DID EVERYTHING BY
THE BOOK TO PROTECT THE CAR AND
THE GUN.
HE IS LOOKING INTO WHETHER THAT
BOOK NEEDS TO BE REWRITTEN.
>> I'M GOING TO LOOK AT HOW OUR
RESOURCES ARE ALLOCATED, FOR
THEM TO BE IMPROVED.
REPORTER: THE CHIEF SAYS THE
EQUIPMENT INSIDE OF THIS CRUISER
IS RATHER DISCREET.
THE RADIO IS IN THE GLOVE
COMPARTMENT.
THE THIEVES MAY NOT HAVE KNOWN
WHAT HAD BEEN TAKEN AND THEY
DITCHED IT.
For more infomation >> Shotgun missing after police cruiser was stolen - Duration: 1:33.-------------------------------------------
High temps cause problems for beloved pets - Duration: 0:47.
THE HIGH TEMPERATURES CAN ALSO
CAUSE PROBLEMS FOR OUR BELOVED
HOUSE PETS.
ALBUQUERQUE ANIMAL WELFARE SENT
US AN ADVISORY TODAY TO WARN
OWNERS ABOUT THE POTENTIAL
DANGER
ON A HOT DAY, TEMPERATURES
INSIDE A VEHICLE CAN TOP 120
DEGREES IN 30 MINUTES.
TO PREVENT HEAT STROKE, YOU
SHOULD PROVIDE YOUR PETS WITH
SHADE AND WATER, WHEN THEY'RE
OUTSID
ASHLEY TEGEDA SHE ONLY WALKS HER
DOG, RIOT, DURING CERTAIN TIMES
OF THE DAY.
>> THE CAN BURN THEIR PODS.
YOU CAN TELL.
IF YOU EVEN STEP ON THEM, THEY
WILL JUMP AROUND.
IT IS JUST WAY TOO HOT.
DOUG DOGS WITH WHITE EARS ARE
-------------------------------------------
Behind the Scenes: TSA at OIA - Duration: 2:23.
SEE.
TODAY WE GOT A SPECIAL LOOK.
THE TSA SAYS IT WANTS PASSENGERS
TO KNOW IT IS MORE THAN JUST
SCREENING BAGS.
THURSDAY, THEY TOOK WESH 2 NEWS
BEHIND THE SCENES TO HIGHLIGHT
THE TECHNOLOGY USED TO SCREEN
58,000 TRAVELERS A DAY.
>> THE MORE PEOPLE UNDERSTAND
WHAT WE DO AND HOW WE DO IT, IT
IS BETTER.
AMANDA: IT STARTS WITH A
CHECKPOINT WHERE A UV SCANNER IS
USED TO SCAN FOR FAKE IDS.
THEN THE MACHINE THAT USES
ADVANCED IMAGING TECHNOLOGY TO
DETERMINE IF A PASSENGER HAS A
THREAT ON THEIR PERSON.
>> OUTSIDE OF THE BODY'S NATURAL
CONTOUR, A NAPKIN OR A CELL
PHONE WHICH IS WHAT PEOPLE
FORGET.
THE OTHER IS A YELLOW BOX, AND
WE WILL TARGET THAT TO PAT IT
DOWN.
AMANDA: THERE IS THE EXPLOSIVE
TRACE DETECTOR LOOKING FOR
CHEMICALS ON A PERSON'S HANDS OR
BELONGINGS THAT COULD BE USED
FOR EXPLOSIVES.
THERE IS A BOTTLE LIQUID SCANNER
WHICH SCANS ANY LIQUIDS FOR
EXPLOSIVES.
IN CASE YOU WONDER WHERE YOUR
LUGGAGE GOES, IT COMES TO A ROOM
LIKE THIS.
THERE ARE FIVE OF THEM IN THE
BOWELS OF THE AIRPORT, AND THIS
GIVES YOUR LUGGAGE THE
EQUIVALENT OF A CAT SCAN.
IF SOMETHING UNUSUAL IS FLAGGED
AND GETS SEARCHED.
A FINAL LAYER OF SECURITY TO
PREVENT EXPLOSIVES FROM GETTING
ON PLANES ARE THE TSA CANINES.
THEY SNIFF FOR THE PRESENCE OF
EXPLOSIVES IN A LARGE CROWD.
I LEARNED SOME INTERESTING TIPS
TODAY.
MAKE SURE YOUR LUGGAGE GETS
SMOOTHLY THROUGH THE PROCESS AND
DOES NOT GET SEARCHED BY TSA,
DON'T PACK PEANUT BUTTER.
FOR SOME REASON, IT WILL FLAG
SECURITY SCANNERS.
I HAVE SOME IN MY SUITCASE.
WHEN I GOT TO MY DESTINATION, I
HAD ONE OF THOSE NOTES SAYING
THEY SEARCHED MY LUGGAGE.
-------------------------------------------
Child with Autism appears in court - Duration: 1:43.
WITH DETAILS FROM TODAY'S
HEARING.
TED?
TED: THAT CHILD, HIS MOTHER AND
THE ATTORNEY SPENT ABOUT 15
MINUTES IN COURT TODAY.
IT IS STILL UNCLEAR IF THIS
CHILD WILL ACTUALLY GO TO TRIAL
FOR THIS INCIDENT.
10-YEAR-OLD JOHN HAYGOOD IS
LIVING WITH AUTISM.
HE HASN'T BEEN TO SCHOOL IN
EIGHT MONTHS.
THURSDAY AFTERNOON, HE WAS BACK
IN AN OKEECHOBEE COURTROOM WITH
HIS MOTHER
>> MORE MOTIONS AND PAPERWORK.
NOT REALLY GETTING ANYWHERE
RIGHT NOW.
IT'S JUST THE START OF IT
TED: LAST APRIL, DEPUTIES
HANDCUFFED AND ARRESTED JOHN AT
OKEECHOBEE ACHIEVEMENT ACADEMY.
ACCORDING TO THE SHERIFF'S
OFFICE, ON OCTOBER 27, JOHN WAS
BEING DISRUPTIVE IN CLASS AND
THE TEACHER ASKED HIM TO GO TO
TIME OUT.
HE REFUSED AND WHEN THE TEACHER
TRIED TO REMOVE HIM, HE'S
ACCUSED OF ATTACKING THE
TEACHER.
JOHN WAS SUSPENDED WAS SUSPENDED
AFTER THE INCIDENT IN OCTOBER
AND HADN'T RETURNED TO SCHOOL
SINCE.
HIS ARRESTED HAPPENED WHEN HE
RETURNED TO THE CAMPUS TO TAKE A
STANDARDIZED TEST.
THE OKEECHOBEE SHERIFF'S OFFICE
SAYS SEVERAL ATTEMPTS WERE MADE
TO SERVE THE WARRANT.
IN COURT, PROSECUTORS
RECOMMENDED A DIVERSION PROGRAM
FOR THE BOY.
BUT THE FAMILY'S SAYS IT'S NOT
THE RIGHT OPTION.
>> ALL OF HIS BEHAVIORS THAT ARE
BEING ALLEGED ARE MANIFESTATIONS
OF HIS DISABILITY -- DIAGNOSED
DISABILITY, AND THE FACT THAT
THE SCHOOL SYSTEM UTILIZING THE
CRIMINAL JUSTICE SYSTEM AS AN
INTERVENTION TO TRY TO STOP THAT
BEHAVIOR IS A PROBLEM BECAUSE
IT'S NOT A PROPER INTERVENTION.
TED: JOHN'S MOTHER SAYS SHE
WANTS HER SON BACK IN SCHOOL.
>> SCHOOL STARTS AUGUST 10.
HE HASN'T HAD ANY SERVICES
DURING THE SUMMER AT ALL FOR
EXTENDED YEAR SERVICES.
I HAVEN'T MET WITH THE SCHOOL
BOARD.
TED: THE NEXT COURT HEARING IS
SET FOR JULY 20.
-------------------------------------------
Laws of Light: How Light Conveys Emotion - Duration: 12:37.
Jay: Today on the "Laws of Light," we're gonna talk about the emotion of light.
It's gonna be emotional.
Our Mastering Studio Strobes download is meant to help you move into the world of strobes.
It'll help you understand what platform works for you in the type of work you do.
So, go to theslantedlens.com where you can get the download today.
Hi, this is Jay P. Morgan.
Today on "The Slanted Lens," I've got Nadia here with me.
She is beautiful and she's gonna help us to illustrate how light can create emotion.
So, why do we create things?
Why do we do video?
Why do we do photography?
What is our purpose in creating imagery?
We, obviously, wanna communicate.
We want people to be able to understand a message through a visual medium.
But in that communication process, we want people to feel emotion.
We want to move them in some way.
In my early work, I really wanted people to feel...I wanted them to laugh when they looked
at my pictures.
That was the emotion I wanted.
I did comedy work.
I wanted people to look at my pictures and wanted them to just laugh and to have a great
experience.
As my work has progressed into more and more video, as I do a documentary, as I do a bio
piece about someone, I want you to feel a connection to them.
I want you to feel something for this person.
I want you to empathize with them.
I want you to feel sad for them.
I want you to feel happy with them.
We want to move people.
We want them to cry.
We want them to laugh.
We want them to go, "Ahh," or "Agrrh."
The worst thing an artist can get is indifference.
When people look at your work and they just don't respond.
They don't feel anything.
I mean, that's the worst response an artist can get.
Remember this, subject matter can contrast light.
A smiling baby in a very hard light is going to make a much different viewing experience
for the viewer than a limp body of a baby after birth who has not made it through that
experience in a dramatic light.
That's gonna have a much different viewing experience to the viewer.
So, the subject-matter can contrast the light that we're using and sometimes you can use
that to your advantage.
But for the most part, you're gonna want the light to support and to strengthen what you
want to communicate.
So, light becomes a critical tool that we can use to create the emotion and to set the
stage for what we want to communicate.
So, let's talk about how light communicates emotion.
In my experience, light has the power to create emotion in four different ways.
First off, let's talk about ratios or contrast.
We've talked about ratios before.
Basically, just the ability to create contrast to make it dramatic and more moody.
I think it's fascinating if you listen to the things people say that use light as a
motivator in conversation.
"He had a dark personality or she lights up a room."
I mean those kinds of things are really talking about light and how light creates an emotional
response.
So, now, if you're going to use light in order to communicate, you wanna tie into the key
element, the things people in society say and relate to.
A light, bright, open scene is not going to communicate dark and moody, sullen, lost,
and confused as much as a dark, high-contrast scene is going to.
Now, any of these rules can and will be broken all the time.
You can take and shoot a really wonderful dark portrait of a very bright, and sunny
and happy situation.
So, I'm not saying any of this is an absolute, but it certainly becomes an obstacle you have
to overcome.
Lighter images are more open, more friendly, more inviting.
We feel a comfortableness with them.
It's the kinda way we see things in life which is interesting because we see things outside
in that bright, open light.
We're used to that kind of look.
When you get inside, and in rooms, and single lights and darkness, we don't feel as comfortable
in the dark.
People are afraid of the dark.
You know, it's a place they're scared to go into.
So, we're shooting all these examples with LEDs.
We've got here the Aputure 120Ds.
And the reason we're doing that is so that you can see the example in the video and we
don't have to shoot strobes and put the images up.
You could do this just as easily with strobes.
I do it all the time.
But this just gives a way to communicate and teach.
So, first off, let's take a look at a strong, split light versus a very open, soft light.
So, strong, split light.
Now if she smiles and looks at the camera.
Just a nice smile there.
Even though she's in that very hard contrast, that hard ratio, she still has a nice smile,
but it's a very hard, deep ratio.
Now, just look kinda sad and distant.
Now if you look a little bit evil.
So, we've now brought our key light in and up into a butterfly position and we've pretty
much lit her entire face, it's a lot more open and a lot more flat.
I mean, it's not necessarily flat, we've got a nice shadow on her nose because nice split
light fly under her chin.
I'm gonna even further kind of open this up by sliding this in and getting that right
in underneath her.
And now we should have just a nice...it's a very, very flat image.
It's not an unflattering image, it's a pretty image on her face, but it gives us a much
different experience, viewing experience emotionally than that split light did.
Now, if she does the very same things here if she smiles towards the camera.
Now, if she acts depressed...or if she acts kinda evil.
Give it a little evil look.
Can you raise an eyebrow?
Nadia: Yes, I can.
Jay: There you go.
Those emotions, those three expressions on her face have a different feeling in this
context than they did in the dark, split light because you're looking at an open light.
She looks very beautiful in this light, and so you have that as kind of the main thing
you're communicating and it becomes very difficult to communicate evil or "I'm mischievous,"
or "I'm feeling depressed or lost."
Number two is quality of light.
How quickly it transitions from highlight to shadow helps you to understand the quality.
If there's a short transition from highlight to shadow, then it's a very hard, harsh quality
of light.
But if there's a soft transition from highlight to shadow, then it's a much softer light and
that communicates a softer tone, a softer experience.
Harder light, harder experience.
Now you might say, "How's that different from ratios?"
You can have a one to four ratio in a hard light.
You can also have a one to four ratio in a soft light.
So, let's take a look at that, how a one to four ratio in hard light versus one to four
ratio in soft light.
So, I put this in the one to four ratio.
She looks into that light.
That's a very hard contrast on her face, a very hard light.
So this is what I call a back Rembrandt.
She's in a Rembrandt.
If you turn your head towards the light, you'll see the little triangle that comes under her
face, but most of that Rembrandt is hidden from us because it's away from the camera.
But anyway, now I'm gonna put this into a back Rembrandt with a softer transition of
light.
So, you can see when you have a hard light that has a quick transition, it's almost an
immediate transition from highlight to shadow.
That in that you create a...something that is much more dark and kind of moody.
Whereas when we had the softer light, we still have a one to four ratio.
I'm still getting...I'm still getting an F4.
I'm still getting a four stop ratio on this.
Now we're getting a little bit of pollution from this softbox onto the background, which
is causing her to separate more, but if we got rid of that completely, we would see that
dark, deep fall off light on the back of her hair.
But the light transitions around her face, we don't see that harsh triangle on her face.
We see an openness in her cheeks, so you get this really soft transition to the darker
spot at the back of her hair.
So, we're going to the same value at the back of her hair, but it's a much softer transition
around and in that, it's a much more beautiful light.
So, even though they're both a very strong light and a high ratio, we're still getting
a much different look from hard, harsh and direct to soft, more inviting, and more open.
Next is the color of light.
The color of light communicates emotion, absolutely.
Just like we talked about when we say things about light, like having a dark personality,
people use color in reference to people all the time.
"She had a warm personality.
He was cold and distant.
She's all red.
He was blue today."
So even Taylor Swift has a song about this called "Red."
All about color and emotions.
Who is Taylor Swift anyway?
Anyway, let's go on.
So, let's use that color to our advantage when we light to be able to communicate the
emotion that we want people to feel in the image that we're shooting.
I remember being on set one day when we were the paratroopers shot.
We had the paratroopers in the foreground.
We got smoke going in the background and then we just introduced a little bit of blue in
the background.
And when Lars looked at on the screen, he goes, "That looks terrifying."
Like, you're sitting on this airplane, you're about to jump out into who knows what.
Our lights in the house are warm.
We like that warmth because it gives us a sense of coziness.
It gives us a sense of comfort, of feeling accepted and taken care of.
So, let's take a look at warmth on someone's face and cold on someone's face and just see
how that communicates and what that says to the viewer.
So, we're gonna do this shot with two different gels.
We're gonna do a CTO...a full CTO, and a full CTB.
We'll leave the color balance on daylight, so we're not trying to color correct this
here.
So, let's do a couple of shots of each of those.
We'll just see how this feels.
We'll take a look at a couple different expressions on her face and see how they communicate emotion
and just see how we can fight against the color and what we're seeing in the shot.
Number four is direction of light.
We're used to light that comes from above.
The sun comes from above.
Lights in the house come from above.
Everywhere we go, light comes from above.
And that looks comfortable and natural to us.
When you get a light that comes below that, it becomes very unnatural, it becomes very
unsettling.
So, when I put the light below Nadia, automatically she went into this "hahaha" kind of mode because
that's just what we expect.
It's just kinda that horror light from underneath.
So, let's take a quick look at light high and low as we wrap up on the emotion of light.
So, when we get the light completely overhead, that starts to create ratios and feels a little
unsettling as well because it starts to fall into the shadows on the face.
It can look very interesting and have a very evil kind of look from above as well as you
can from below.
So, push the scene behind her, Christian.
Just rotate the box around.
Maybe rotate it here.
Yeah, like that.
There you go.
Right about in there.
Just see how we have these deep shadows on her face.
We're not lighting her face.
It's not open very much anymore.
So it starts to veil her a little bit.
It's gonna feel very evil.
It's gonna feel very distant.
So, if you see, if we take this light and we go from high and we go to really low, really
low.
There we go.
We get this.
Everyone knows this is kinda horror lighting because of the old Bela Lugosi movies.
This is they way they would light him with this under light.
You know with the big shadows falling up on the back and it's just not a way we're used
to seeing light and so, it gives us this kind of creepy feeling.
So, let's take a few shots of Nadia like that.
It's gonna be hard to make her feel very inviting in that light.
Okay.
Here we go.
Looking right here.
Nice smile.
So, there you have it.
We're looking at how light helps to create emotion.
We're really looking at the ratios, quality, color, and direction.
Those four things really come together to create an emotional experience.
We've looked at her in different kind of from sad, to depressed, to happy in each one of
those.
So, the idea is to come up with a message that is consistent with your viewer.
If you want this to be a strong, happy statement, then you'll choose color, direction, ratios,
and the things that will...and quality that will communicate that message.
So, you're not trying to fight against the message, you're trying to communicate by making
decisions that are not consistent.
Now there are times, like I say, with all of these things where you'll break these rules
and you'll use colors to help to emphasize something even though it's inconsistent with
the message and the direction and the feeling and the emotion the person is giving you.
And that's okay.
All these rules are meant to be broken, but at least know what they are so you're making
strong decisions and as you go forward, you can have a consistent message in that experience.
You control the message.
The reality is, when you take all of these different principles and mix them up, you
have thousands of options which gives you the ability to create things that no one else
has ever seen.
Now, I'm sure when it comes to emotion and the way we control emotion with light, there's
things I've forgotten.
But this is the way I see light and this is how I work.
So keep those cameras rolling.
Keep on clicking.
Our giveaway for the month of June is sponsored by Dynalite with a 400-watt power pack, two
heads, an umbrella and a Tenba case.
Get over to theslantedlens.com and try to win it.
Nadia: I see your future subscribing to theslantedlens.com and wonderful things will happen to you.
-------------------------------------------
Descendants hope for 'minimal disturbance' at Clarksville cemetery excavation - Duration: 1:55.
T TO BE BACK IN COURT
NEXT WEEK.
JENNIFER: ARCHAEOLOGISTS ARE
EXCAVATING PART OF A CLARKSVILLE
CEMETERY IN PREPARATION FOR A
ROAD WIDENING PROJECT.
TODAY, DESCENDANTS OF THOSE
BURIED AT THE SITE VISITED THE
GRAVES.
WLKY'S CHRISTINA MORA WAS THERE
TOO AND HAS MORE FROM BLACKISTON
MILL ROAD.
CHRISTINA: ARCHAEOLOGISTS ARE AT
THIS SMALL FAMILY CEMETERY IN
CLARKSVILLE, MAKING SURE THAT A
ROAD PROJECT CAN MOVE FORWARD.
FAMILY MEMBERS OF THOSE WHO ARE
BURIED HERE SAY THIS IS AN
EMOTIONAL EXPERIENCE.
>> IT WAS A FAMILY CEMETERY, I
GUESS IT STILL IS A FAMILY
CEMETERY.
EVERYBODY HERE IS RELATED ONE
WAY OR ANOTHER.
CHRISTINA: THIS IS THE STEWART
EMERY CEMETERY.
AND THIS IS STUART EMERY.
THE 74-YEAR-OLD LOUISVILLE MAN
SAYS HE'S LIKELY RELATED TO
EVERY PERSON BURIED HERE.
>> I HAVE A LIST OF 65 HERE, I
DOUBT SERIOUSLY THAT THIS IS A
COMPLETE LIST.
CHRISTINA: THE GRAVESITE DATES
BACK TO THE 1700'S.
WHEN EMERY FOUND OUT ABOUT THE
EXCAVATION, HE BEGAN TO
DESPERATELY SEARCH FOR ANSWERS.
>> I HAD TWO OR THREE CALLS FROM
FAMILY MEMBERS CONCERNED ABOUT
THEIR LOVED ONES OUT HERE.
CHRISTINA: DAVID ABBOTT IS THE
PRESIDENT OF CLARK COUNTY'S
CEMETERY COMMISSION.
HE SAYS GRAVESITE EXCAVATIONS
CAN BE HARD ON LOVED ONES.
>> IT EVEN GETS ME CHOKED UP,
SOMEONE IS TELLING YOU THAT, AND
THEY HAVE BEEN FORGOTTEN,
THERE'S A LOT OF CEMETERIES
THAT'S BEEN FORGOTTEN.
CHRISTINA: FEDERAL, STATE, AND
LOCAL MONEY IS HELPING TO WIDEN
BLACKISTON MILL ROAD NEAR LEWIS
AND CLARK PARKWAY.
BUT, BEFORE THE EXPANSION BEGINS
IN 2018, CREWS HAVE TO FIRST
TAKE CARE OF WHAT MAY BE
UNDERNEATH.
>> IF SOMETHING IS FOUND, THEY
WILL BE REMOVING THOSE REMAINS,
DOING LABORATORY TESTING ON
THOSE AND THEN, AT SOME POINT,
IF HERE ARE REMAINS, THERE WILL
BE A REINTERNMENT AT A PLACE
THAT IS YET TO BE DETERMINED.
CHRISTINA: EMERY SAYS, AS
CLARKSVILLE GROWS, THIS HAS
ALWAYS BEEN HIS FEAR.
HE NOW HOPES FOR ONE THING.
>> MINIMAL DISTURBANCE.
CHRISTINA: CLARKSVILLE OFFICIALS
SAY THE ACTUAL ARCHAEOLOGICAL
-------------------------------------------
Jurors fail to reach verdict on Bella Bond case - Duration: 1:22.
HOW NICE YOUR SUNDAY WILL LOOK
COMING UP IN A FEW MINUTES.
BEN: JURORS HAVE FAILED TO REACH
A VERDICT IN THE BELLA BOND
MURDER TRIAL.
LIVE IN SUPERIOR COURT.
WHAT IS GOING ON?
REPORTER: 16 HOURS OF
DELIBERATING OVER THREE DAYS.
ALSO INTERESTING, THEY HAVE NOT
ASKED THE JUDGE ANY QUESTIONS
THAT TYPICALLY COULD GIVE US
SOME INSIGHT INTO HOW THEY MAY
ULTIMATELY DECIDE.
THE DEFENDANT IN THIS TRIAL IS
MICHAEL MCCARTHY.
HE KILLED BELLA BOND AND PLACED
HER BODY IN THE HARBOR.
REMAINS WASHED UP ON DEER
ISLAND.
HIS ATTORNEYS ARGUED THE REAL
KILLER IS THE GIRLS MOTHER WHO
IN EXCHANGE FOR HER TESTIMONY
WALKS AWAY A FREE WOMAN AT THE
CONCLUSION OF THIS TRIAL.
THE BRIEF TIME THAT WE SPENT
WITH THEM THEY HAVE FOUR OPTIONS
.
THEY COULD MURDER IN THE FIRST
DEGREE, MANSLAUGHTER, OR RETURN
A VERDICT OF NOT GUILTY.
-------------------------------------------
LaGrange dangerous intersection - Duration: 1:45.
YEAR AT KENTUCKY 53
AND KENTUCKY 146 IN LA GRANGE.
WLKY'S MATTHEW RAND TALKED TO
PEOPLE WHO USE THE CROSSING AND
ARE HAPPY ABOUT THE DECISION.
>> THE INTERSECTION IS ONE OF
THE BUSIEST IN LA GRANGE.
RIGHT NOW, STOP SIGNS AND
FLASHING RED LIGHTS ARE THE ONLY
THINGS WARNING DRIVERS TO SLOW
DOWN.
A WOMAN WAS KILLED CROSSING THE
STREET HERE LAST JANUARY WHEN
SHE WAS HIT BY A TREE-TRIMMING
TRUCK.
MAYOR JOE DAVENPORT SAYS TOO
OFTEN DRIVERS ARE CONFUSED BY
THE FOUR-WAY STOP.
>> PEOPLE WILL STOP AND THEY
EXPECT SOMEONE TO GO, AND THEN
ALL OF A SUDDEN EVERYBODY WANTS
TO GO AT ONC
I JUST DON'T THINK A LOT OF
PEOPLE UNDERSTAND THE FOUR-WAY
STOP.
>> ALMOST TWO YEARS AGO, FONDA
MCCLELLAN LEARNED THE HARD WAY
HOW DANGEROUS THE INTERSECTION
CAN BE.
>> I WAS COMING BACK FROM THE
SHERIFF'S OFFICE, PAYING MY
TAXES, OF ALL THINGS.
>> THAT'S WHEN SHE SAYS A TRUCK
HIT HER SIDE AND KNOCKED HER TO
THE PAVEMENT.
>> LUCKILY, IT WAS JUST SOFT
TISSUE.
HE WASN'T GOING THAT FAST, BUT
IT'S A VERY DANGEROUS
INTERSECTION AND I'M CERTAINLY
GLAD TO FINALLY SEE SOMETHING
HAPPEN.
>> THE KENTUCKY TRANSPORTATION
CABINET DETERMINED LAST YEAR THE
INTERSECTION MET THE NECESSARY
TRAFFIC VOLUME AND OTHER
REQUIREMENTS TO INSTALL A
TRAFFIC LIGHT.
SOME DOWNTOWN PARKING WILL BE
LOST FOR NEW TURNING LANES.
AND THEN THERE'S THE TRAIN.
>> THERE'S JUST THE ONE BLOCK
BETWEEN THE TRAFFIC LIGHT AND
THE TRAIN TRACKS, SO IT SEEMS
LIKE THAT MIGHT BLOCK UP TRAFFIC
A LITTLE MORE.
>> HIGHWAY OFFICIALS SAY THE
TRAIN CROSSING WILL REMAIN A
FOUR-WAY STOP.
>> THAT WILL KEEP PEOPLE FROM,
YOU KNOW, GETTING STUCK, YOU
KNOW, SITTING ON THE TRACKS,
BECAUSE THEY ALREADY HAVE TO
MAKE THAT STOP AND LOOK AND MAKE
THE DECISION BEFORE THEY CROSS
-- BEFORE THEY CROSSED.
>> JUST HOW MUCH THE TRAFFIC
-- BEFORE THEY CROSS.
>> JUST HOW MUCH THE TRAFFIC
-------------------------------------------
New report upsets mom of missing teen boater - Duration: 2:11.
SHE JOINS US NOW IN STUDIO.
TERRI: THAT REPORT REALLY ROCKED
PAMELA COHEN.
IT OFFERED NEW DETAILS THAT THEY
SAY HAS THEM ASKING MORE
QUESTIONS THAN EVER BEFORE.
>> FROM MINUTE ONE, THE QUESTION
WAS OUT THERE -- WHY DIDN'T YO
CALL ME?
MY SON WAS IN THAT BOAT, W
OPPORTUNITY TO SAVE HIM?
TERRI: LAWYER GUY RUBIN SAYS FOR
THE MOTHER OF PERRY COHEN THE
NEW FDLE REPORT OPENS THE DOOR
TO A WHOLE NEW SET OF QUESTIONS.
>> ALL OF THE INTERACTION TH
THE FAMILY OF AUSTIN HAD, AFTER
THE STORM PASSED OVER AND PAMELA
WASN'T NOTIFIED, 911 WASN'T
NOTIFIED, MANY HOURS PASSED BY
, AND THOSE HOURS WERE SO
PRECIOUS.
TERRI: THE FDLE REPORT NOTED
THAT CARLY BLACK LAST GOT A TEXT
FROM HER SON AUSTIN AROUND 11:30
THE MORNING HE AND PERRY WENT
OUT ON THE OCEAN TO FISH, AND
EVEN THOUGH A MASSIVE STORM BLEW
UP AND SHE DID NOT HEAR BACK
FROM THE BOYS, SHE DID NOT CALL
911 OR PERRY'S MOTHER FOR ALMOST
FOUR HOURS.
INSTEAD SHE ALERTED OTHER FAMILY
MEMBERS AND AUSTIN'S FATHER, WHO
WENT OUT ON HIS OWN BOAT TO
SEARCH.
>> SO FOR THERE TO BE THIS
CONVERSATION TO BE GOING ON BUT
NO CALL TO 911 AND NO CALL TO
THE OTHER PARENTS FOR HOURS,
THAT'S REALLY SURPRISING, WE
TERRI: THE REPORT INCLUDED A
SNAPCHAT IMAGE THE BOYS SENT TO
A FRIEND SAYING, PEACE OUT JUP,
INDICATING THEY WERE GOING TO
THE BAHAMAS.
HOWEVER, RUBIN DOESN'T THINK THE
BOYS REALLY MEANT TO, ESPECIALLY
IN A BOAT THE FDLE CALLED
ILL-EQUIPPED FOR THE OCEAN
>> IT COULD HAVE BEEN BRAVADO,
LARK, A PRANK, A PUNK, BUT THAT
BOAT WASN'T GOING TO THE
BAHAMAS.
TERRI: AS FOR THE NEXT STE GUY
TELLS ME THEY MAY HAVE TO FILE
-------------------------------------------
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THE BOSS OF BITCOIN!
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Como furar o teto sem sujeira? - Duration: 2:12.
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Beaver County family: Came to pick up dog's ashes, handed his frozen body - Duration: 2:01.
.
REPORTER: THE FAMILY TELLS ME
WHEN THEY MADE THE DIFFICULT
DECISION TO HAVE THEIR SICK DOG
OUT IN A NICED THEY BROUGHT HIM
HERE TO RAINBOW VETS IN
DARLINGTON.
IT WAS ALREADY AN EMOTIONAL TIME
BUT WHAT HAPPENED NEXT THEY TELL
ME WAS UPSETTING, SHOCKING AND
ON CAMERA.
>> THEY ARE BRINGING OUR DOG OUT
AT EIGHT DAYS HE DIED.
REPORTER: DREW IS UNDER THIS
BLANKET.
THE 15-YEAR-OLD BORDER COLLIE'S
BODY WAS CARRIED OUT OF THE
RAINBOW VETERINARY HOSPITAL
WEDNESDAY AND PLACED INTO HIS
OWNER'S CAR.
>> I'M THINKING MY DOG IS COMING
OUT IN A LITTLE URN OR
SOMETHING, OR IN A PLASTIC BAG,
NO, I GET A FROZEN DREW.
REPORTER: LISA AND MARLENE WERE
DEVASTATED.
THEY TELL ME THEY CONSIDERED
DREW FAMILY.
>> AND HE JUST LOVEY-DOVEY.
REPORTER: AND THE WOMEN WANTED
TO KEEP HIS CLOSE.
THEY ASKED THAT RAINBOW
VETERINARY HAVE HIM CREMATED AT
HEAVENLY SPIRITS SIX MILES AWAY.
EIGHT DAYS LATER AFTER THEY WERE
TOLD HE WAS READY TO BE PICKED
UP THEY WERE HANDED DREW'S BODY
INSTEAD OF THE ASHES THEY CAME
FROM.
>> THEY HAD NO EXPLANATION
NOTHING.
THEY JUST GIVE ME MY FROZEN DOG
EUFRPTS A
DOG.
REPORTER: AT FIRST THE HOSPITAL
DIDN'T WANT TO TALK TO US BUT
THEY ISSUED THIS STATEMENT
SAYING IN PART "OUR ENTIRE STAFF
TREATS EVERY PET WITH THE UP
MOST CARE, RESPECT AND
COMPASSION UNDER ALL
CIRCUMSTANCES AS IF THEY WERE
OUR OWN AND THEY BEING
ACKNOWLEDGED THAT THERE WAS A
DELAY IN DREW'S BURIAL BUT STILL
GAVE ME REASON WHY.
>> SHOW SOME COMPASSION.
REPORTER: FOR THE TWO WOMEN
SEEING THEIR DOG LIKE THIS ADDED
TO THE HEARTBREAK OF LOSING HIM
AND THEY WANT TO.
MIKE C: SURE THAT NO FAMILY EVER
FEELS HOW THEY DO.
>> THEY NEED TO LEARN FROM THIS
MISTAKE.
THEY NEED TO DO THE RIGHT THING
TO OTHER PEOPLE AND DON'T DO IT
AGAIN, BECAUSE THAT'S A HORRIBLE
THING.
REPORTER: DREW'S OWNERS TELL ME
HE IS NOW BEING CREMATED AND
THEY'LL GET TO BRING HIM HOME ON
SATURDAY.
-------------------------------------------
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Trinity vs Doomsday (Part 2) | Batman v Superman Dawn of Justice (2016) | Movie Clip 4K - Duration: 4:08.
Clark!
Clark!
Clark!
Clark!
Clark! Are you all right?
-------------------------------------------
Superman's Death | Batman v Superman Dawn of Justice (2016) | Movie Clip 4K - Duration: 4:29.
I love you.
No. No, Clark, you can't.
This is my world.
No, Clark, don't.
You are my world.
No.
Please. Clark!
-------------------------------------------
Trinity vs Doomsday (Part 1) | Batman v Superman Dawn of Justice (2016) | Movie Clip 4K - Duration: 4:16.
Master Wayne, are you receiving me?
Alfred.
It's Kryptonian.
Only Kryptonite weapons can kill it.
They might. If you had any left.
I got one round left.
The spear. Alfred, the spear. It's pure Kryptonite.
It's back in Gotham.
If I can penetrate the skin, the spear will kill it.
It would in theory.
I've gotta get it to chase me back to the city.
Back to the Kryptonite.
Oh, shit.
Why did you bring him back to the city?
The port is abandoned.
There's a weapon here that can kill it.
Did you find the spear?
I've been a little busy.
This thing, this creature, seems to feed on energy.
This thing is from another world.
My world.
I've killed things from other worlds before.
Is she with you?
I thought she was with you.
-------------------------------------------
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