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jacewilliams1 · 4 years

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Flying in the coronavirus sky—a freight pilot’s perspective

Nothing but silence.

I watch the N1 fluctuate between 89.1 and 89.2. The fuel flow indicates 5700 lbs an hour per engine. All is well. All within the airplane seems normal. And yet, the silence is unnerving—almost unbelievable—as we approach a longitude of 30 West.

I am flying across the North Atlantic in a Boeing 767-300 aircraft today. I’m a 767 captain with an international freight company and have flown to six of the seven continents, experienced the cold Siberian winters and the heat and humidity of the Congo from the flight deck of the Boeing 747 and 767. Yet today is a completely new experience.

The desert down there is awfully quiet—but so are the skies right now.

Today, there is no global terrorist threat or war keeping airplanes out of the sky. The threat is a microscopic organism, silent but still deadly as it spreads around the world. On the ground, people’s lives have been disrupted, in ways small and large. But from 33,000 feet, the silence gives the feeling of a much more dramatic shift: like a Twilight Zone episode, in which everyone below me has disappeared.

Normally even with the use of CPDLC (Controller Pilot Data Link Communication, a two-way text based digital communication system between pilots and controllers) and ACARS it can be a struggle to check in on HF when making the transition from Gander, in Canada, to Shanwick, in Ireland. This is normally the busiest oceanic airspace in the world, with about 1,500 flights a day. But today, I hear nothing but an eerie silence.

At the same time, there are other, more tangible, signs that the world below me has changed.

The North Atlantic Tracks, usually referred to as NAT Tracks, are a series of routes that change daily for the vast amount of traffic typically crossing the Atlantic. But today, and every day now that I fly, the routes are changing in different ways.

On this trip, for example, we are flying to Germany, where I will spend the next week flying between Europe and the Mideast. We have 30 hours of rest in Germany before heading to Dubai’s Al Maktoum International Airport (DWC), in the UAE.

We take off and, after flying across Eastern Europe and the Mediterranean, we head toward Egyptian airspace, en route to Dubai. A lot of countries require you to make contact before entering their airspace, and Egypt happens to be one of them. Normally, those calls aren’t any big thing. But in this eerie, locked-down world, nothing is routine.

Before crossing into Egypt, you really want to make contact with ATC.

As we get close, the first officer is monitoring com one while I start trying to call Cairo Control. Despite the lack of traffic on the frequency, and repeated calls, I can’t seem to get a response from Cairo. Finally, just as we enter Egyptian airspace, I make contact. It’s a sign of what’s to come.

We make our way through Egyptian airspace and head toward Saudi Arabian airspace and Jeddah control. ATC hands us off from Jeddah center to Bahrain center only about 40 minutes out from DWC, and when I check in with Bahrain, the controller requests our CON number.

We are a augmented crew of one captain and three first officers, and none of us have ever heard of a CON number. We are now fast approaching DWC—an incredibly high workload period of the flight—and we are searching madly to find this number in the 100 pages of paperwork that makes up our flight plan. Bahrain tells us this is something new the UAE has just started requesting. I use the satcom to call dispatch. Even they are unsure what the CON number is, but after a brief conference call, a number is provided to us. We still have no idea what a CON number is, but evidently the number we give them works, because we are cleared into UAE airspace.

As we approach DWC on short final, I look down and see rows upon rows of idle, parked heavy jets lining the taxiways and ramps. The majority of Emirates A380s and 777s are nose to tail, covering most of the concrete at the airport. We are the only aircraft on final and as we land on runway 30 the tower instructs us to exit at V6, the last high speed taxiway. Tower switches us over to ground and, once again, there is nothing but silence. DWC is one of the busiest airports in the Mideast, and it’s the middle of the afternoon, and we are the only aircraft moving at the airport. Just like the silence in the air, the utter stillness on the ground has the eerie feel of something out of the Twilight Zone.

Life soon appears, however. A requirement for entry to the UAE is a health check. This is a new requirement that a lot of countries have started since the pandemic has begun. The vans soon show up to transport us to the health center for our mandatory health check. This involves completing several pages of paperwork, and then a temperature check and a nasal Covid-19 test. Next we are taken to a security screening and immigration. The time, from opening the aircraft door to our arrival at the hotel door, is four hours.

All those airplanes aren’t waiting to take off, they’re parked.

The next morning, we taxi out between the rows of parked aircraft amid the same surreal silence and stillness, as if we are the only active aircraft and crew left in the world. Our next destination is Kuwait International Airport (KWI), and after the challenges of yesterday, we are hoping for a relatively smooth day of flying today. But in this new normal, nothing is going smoothly.

As we enter Kuwait airspace and begin the STAR (Standard Terminal Arrival Route) for KWI, Kuwait ATC asks for our destination. We confirm our destination as KWI. Kuwait Control informs us that KWI is closed to incoming flights, takes us off the arrival, and gives us vectors away from the city. It’s only a two hour flight from Dubai, and we’ve been following our filed flight plan—which includes landing permits for KWI. We relay the landing permits again to the Kuwait controllers, who tell us to stand by. After couple more vectors and a descent to 12,000 feet, I call ATC again, and I’m told again to stand by.

In the 767, when the calculated fuel burn to the destination and alternate drops below our reserve fuel level, we get an “Insufficient Fuel” message on the FMS. It’s one of those messages you never like to see. As the Insufficient Fuel message appears on the FMS, I query KWI ATC once again. And once again, the only answer is, “Stand by.” Most captains tend to add a bit more fuel to the minimum reserve fuel level for a bit of comfort, but I’m fast approaching the edge of my comfort zone. Once again, we pass our landing permit numbers to ATC, and I tell them that if we don’t get vectors towards the airport, I will be declaring a fuel emergency and will be coming in to land. Once again, their only response is, “Stand by.”

In some parts of the world, approaching fuel minimums for one airport wouldn’t make me overly concerned, because there would be countless other airports we would have access to. In the Mideast, however, that’s not the case. I’m pretty sure Iran would not be happy with us dropping in for a bit of fuel unannounced. Fortunately, I don’t have to find out. ATC finally gives us vectors and we are cleared to land. While the Kuwait airport does not have as many jets parked around the airport as Dubai—perhaps because Dubai is such an international hub—there’s still a significant number of empty, idle airplanes lining the taxiways and ramps.

After a relatively quick turn, we head back to Germany. The only other aircraft I hear on frequency during the seven-hour return flight is one lonely FedEx freighter.

In all my years of flying I’ve never experienced anything like this. Even after 9/11, the airlines returned to the sky more quickly, and in larger numbers. Before the pandemic, it was easy to complain about crowded frequencies and long wait times before takeoff. But to experience a complete absence of traffic, silent frequencies, unnerved controllers and health inspectors, and major international hubs looking more like the aircraft boneyards at Davis-Monthan AFB, is a sobering and surreal experience that puts all those old irritations in a whole new perspective.

Flying across Europe last week, I noticed more traffic in the skies. I hope that continues, and things are able to return to normal soon. Believe it or not, I actually miss trying to break in on HF to give a position report.

The post Flying in the coronavirus sky—a freight pilot’s perspective appeared first on Air Facts Journal.

from Engineering Blog https://airfactsjournal.com/2020/05/flying-in-the-coronavirus-sky-a-freight-pilots-perspective/

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kdramaindonesia · 4 years

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Sinopsis Drama Korea Hi Bye Mama!

Sama Seperti Drama Itaewon Class (JTBC), Crash Landing on You (tvN), Mr. Sunshine (tvN), Vagabond (SBS), Memories of the Alhambra (tvN), Romance is a Bonus Book (tvN), Possessed (OCN), Life (JTBC), Abyss (tvN), One Spring Night (MBC), Arthdal Chronicles (tvN), Rookie Historian Goo Hae-Ryung (MBC). Drama Itaewon Class, tayang eksklusif di Situs Resmi Netflix dan ditayangkan di 190 negara melalui Situs Resmi Netflix dengan 25 Subtitle, diantaranya Subtitle English, Indonesian, Arabic, Chinese, Danish, Dutch, Finnish, French, German, Greek, Hebrew, Italian, Japanese, Korean, Norwegian, Polish, Portuguese, Romanian, Spanish, Swedish, Thai, Turkish, Vietnamese.

Notes:

Seo Woo Jin, the child actor who plays Yoo Ri & Kang Hwa’s daughter is actually a boy.

First acting role for Kim Tae-Hee, since starring in 2015 SBS drama series “Yong-Pal.”

Details Drama Korea Hi Bye Mama!

Title: 하이바이, 마마! / Haibai, Mama! Genre: Drama, human, fantasy, comedy Episodes: 16 Broadcast network: tvN, Netflix (international) Broadcast period: 2020-Feb-22 to 2020-???-?? Air time: Saturday & Sunday 21:00 Original Soundtrack: Hi Bye Mama! OST

Production Credits Production Companies: Studio Dragon, MI Director: Yoo Je Won Screenwriter: Kwon Hye Joo

Daftar Pemain Drama Hi Bye Mama!

Main Cast

Kim Tae Hee as Cha Yoo Ri Lee Kyu Hyung as Jo Kang Hwa Go Bo Kyul as Oh Min Jung

People around Yoo Ri

Seo Woo Jin as Jo Seo Woo (Yoo Ri & Kang Hwa’s daughter) Kim Mi Kyung as Sun Eun Sook (Yoo Ri’s mother) Park Soo Young as Cha Moo Poong (Yoo Ri’s father) Kim Mi Soo (김미수) as Cha Yun Ji (Yoo Ri’s younger sister) Shin Dong Mi as Ko Hyun Jung (Yoo Ri’s best friend) Yoon Sa Bong (윤사봉) as Mi Dong Daek (shaman) Lee Shi Woo (이시우) as Jang Pil Seung (airline pilot)

People around Kang Hwa

Oh Ui Shik as Gye Geun Sang (Hyun Jung’s husband/Kang Hwa’s best friend) Ahn Nae Sang as Professor Jang

Ghosts

Ban Hyo Jung as Jung Kwi Soon Bae Hae Sun as Sung Mi Ja Park Eun Hye as Seo Bong Yun (Pil Seung’s mother) Kim Dae Gon as Jang Dae Choon (Pil Seung’s father) Shin Soo Yun as Jang Young Shim (Pil Seung’s sister) Lee Jae Woo as Kang Sang Bong Shim Won Joon (심완준) as Shim Geum Jae Bae Yoon Kyung as Park Hye Jin Choi Dae Sung as Kwon Man Suk

Others

Ahn Soo Bin (안수빈) as Seo Woo’s kindergarten teacher Park Kwi Soon as monk

Download Drama Korea Hi Bye Mama!

Info Video: KORDRAMAS.COM

360p: Format .mp4 (HARDSUBS INDO) 540p: Format .mkv (RAW/TANPA SUB) Encoder: 360p @ KORDRAMAS Encoder: 540p @ KORDRAMAS

Info: Subtitle Drama Hi Bye Mama! cepat karena tayang eksklusif di Situs Resmi Netflix. Situs Resmi Netflix menayangkan Drama Hi Bye Mama!, sebelum Episode terbaru ditayangkan sudah di terjemahkan terlebih dahulu oleh Staff Netflix -nya (Jessie Yobelia), jadi begitu tayang Subtitle -nya langsung tersedia di Situs Resmi Netflix, kurang lebih ada 25 Subtitle Bahasa (Diantaranya Subtitle English, Subtitle Indonesia, Subtitle Korea, Subtitle Jepang, Subtitle Chinese, Subtitle Thailand, Subtitle Arabic dll).

Info: Buat yang berlangganan Netflix. Drama Hi Bye Mama! bisa di saksikan di situs Resmi Netflix / Aplikasi resmi Netflix setiap hari SABTU & MINGGU pkl. 23.00 WIB, dengan Subtitle English, Subtitle Indonesia, dan Subtitle lainnya.

Catatan: Sebelum bertanya, budayakan membaca. 1. Jadwal tayang setiap hari SABTU & MINGGU Malam di Korea. Untuk Video RAW (Tanpa Subtitle) versi 540p di update di KORDRAMAS besoknya, setiap hari MINGGU & SENIN sekitar jam 5/6 pagi. 2. Tidak menerima Request. Silahkan bisa cari di situs lain, jika di situs KORDRAMAS tidak ada (berarti memang tidak di Update). Jadi bisa Gunakan Google untuk Browsing/Searching. 3. Subtitle English & Indonesia bisa mengecek langsung di Situs Subtitle, Subscene. 4. Hanya menyediakan Harsubs Indo versi 360p saja, tidak menerima request ukuran resolusi lain. (Untuk Video versi Harsubs Indo (360p) di Update di KORDRAMAS setiap hari MINGGU & SENIN, untuk jamnya tidak menentu, tergantung Subtitle Indonesia -nya, bisa Pagi, kadang Siang, Sore atau malem, jadi di tunggu sajanya. 5. Hanya menyediakan RAW/TANPA SUB Versi 540p saja, tidak menerima request ukuran resolusi lain. Subtitle Download terpisah di Subscene.

The post Hi Bye Mama! Episode 1 Subtitle Indonesia appeared first on DramaKoreaIndo.

#KDrama #KDrama Subtitle Indonesia

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olivierdemangeon · 4 years

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Une servante de la Cour est retrouvée pendue. Lors de l’autopsie, la médecin du palais soupçonne un meurtre et commence à enquêter sur l’affaire. Profondément motivée par un sens de la justice, cette médecin va courageusement lutter contre sa hiérarchie et les us et coutumes de la Cour afin de démasquer le meurtrier…

“Shadows in the Palace” est un thriller histoire sud-coréen à connotation mystérieuse, datant de 2007, co-dirigé et réalisé par Kim Mee-jung, qui a travaillé sur le scénario de “The Concubine” (2012) et sur le montage de “Natural City” (2003). Les acteurs principaux sont Park Jin-hee, qu’on a pu voir dans “Grape Candy” (2012), Yoon Se-ah, qu’on a pu voir dans “Blood Rain” (2005), Seo Young-hee, qu’on a pu voir dans “The Accidental Detective 2: In Action” (2017), Im Jung-eun, qu’on a pu voir dans “Tazza: The High Rollers” (2006), Jeon Hye-jin, qu’on a pu voir dans “Venus Talk” (2014), et Kim Sung-ryung, qu’on a pu voir dans “The Fatal Encounter” (2014).

L’histoire proposée par “Shadows in the Palace” nous plonge dans la période de la dynastie Joseon, au sein d’un groupe de gungnyeo, ou des femmes du palais. Le terme couvre différentes catégories d’employés allant des courtisanes aux domestiques en passant par les servantes, les médecins, les gardes, les habilleuses, etc. Assermentées dans le secret, la soumission, le célibat, la chasteté, les femmes du palais consacrent officiellement leur vie au bien-être de la famille royale. À ce stade, le royaume n’a pas d’héritier du trône, alors que la concubine royale Hee-bin (Yoon Se-ah) a donné naissance à un fils. La reine mère souhaite que la reine adopte l’enfant comme étant le sien, mais Hee-bin hésite, craignant qu’elle ne soit éliminée une fois l’adoption devenue officielle.

Un matin, alors que les servantes vaquent à leurs occupations, l’une d’elles, Wol-ryung (Seo Young-hee), la plus proche de la concubine Hee-bin est retrouvée morte, pendue à un chevron du plafond dans l’une des chambres du palais. En supposant au départ qu’il s’agissait d’un suicide, Chun-ryung (Park Jin-hee), l’infirmière royale, découvre au fur et à mesure de l’avancée de son autopsie que Wol-ryung a été assassinée par étranglement. Elle découvre également des signes qui indiquent que cette femme de chambre venait d’accoucher peu de temps avant son meurtre, chose complètement prohibée par le règlement du palais. Ignorant les directives de sa hiérarchie qui l’incitent à conclure rapidement l’affaire en indiquant qu’il s’agit d’un suicide, Chun-ryung part à la recherche de réponses…

Le scénario concocté par Choi Seok-hwan et Kim Mee-jung, qui endosse ici la double casquette de co-scénariste et réalisateur, est ambigu. On pourrait juger le film différemment en le divisant en deux parties. La première est probablement la plus intéressante, la plus captivante, puis la seconde partie transforme le métrage en quelque chose d’abscons, fouillis qui fait décrocher le spectateur de manière assez spectaculaire. Dès lors que l’histoire prend une tournure fantastique, avec la présence insistante d’un fantôme, ou d’un esprit, la polarisation est détruite. Autant, on adhère à la quête de vérité de cette infirmière, médecin légiste avant l’heure, qui lève progressivement les énigmes afin d’identifier les responsables et leurs motivations réelles, autant on se perd avec l’arrivée d’une approche mystique, obscure et irrationnelle.

On saluera bien entendu cette farouche volonté de proposer une histoire qui se déroule quasiment intégralement dans un univers féminin. Il n’y aura donc aucune surprise en découvrant que le réalisateur est une réalisatrice, Kim Mee-jung. On se rendra compte que ces femmes sont, d’une part , capables d’humanité, en quête de vérité et de justice, mais d’autre part, qu’elles sont également capables de violence, de brutalité, de malfaisance et de cruauté. On retrouve des intrigues, des manœuvres, des complots et des trahisons afin d’assouvir toutes formes de quêtes personnelles. Le personnage principal, l’infirmière Chun-ryung interprété avec force par Park Jin-hee, appartient à cette première catégorie et s’inscrit donc dans une lignée de justiciers, relevant les indices, cherchant les preuves, les témoignages tout en se heurtant à la tradition, aux us et coutumes et à la hiérarchie qui n’hésite pas à faire disparaître les indices, les documents et même les personnes.

Les valeurs de production sont superbes, la photographie proposée par Lee Hyung-deok est splendide avec une belle élaboration des décors et des costumes. La bande originale orchestrée par Lee Hyung-deok est très agréable avec des partitions qui accompagnent judicieusement les moments les plus importants du récit. Enfin, l’édition élaborée par Kim Jae-bum et Kim Sang-bum permet d’obtenir un film prenant dont on ne voit pas passer le temps. En effet, on absorbe les 118 minutes du métrage sans s’ennuyer malgré la dernière partie qui installe le récit dans une forme inintelligible. Ce dernier a d’ailleurs une longue carrière derrière lui, ayant œuvré sur plus de 130 métrages, dont des classiques comme “Sympathy for Lady Vengeance” (2005), “Blades of Blood” (2010), “The Man from Nowhere” (2010), “The Front Line” (2011), “Nameless Gangster: Rules of the Time” (2012), “Hwayi: A Monster Boy” (2013), “A Taxi Driver” (2017) ou encore “The Spy Gone North” (2018).

En conclusion, “Shadows in the Palace” est un thriller historique passionnant dans sa grande première partie qui devient singulièrement inintelligible dans sa seconde partie. L’intrigue est captivante, mais le développement est désorientant. L’histoire est attractive, le récit perd en fluidité dès lors qu’on bascule dans le mystérieux et la narration fait appel à de nombreux flashbacks. La photographie est très belle, la bande originale est sympathique et l’édition est bien travaillée. La distribution, quasiment à 100% féminine, offre de très bonnes prestations. Park Jin-hee offre une performance très réussie d’une femme dangereusement rebelle pour l’époque. Un film qui remplit très bien sa fonction de divertissement. À découvrir…

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SHADOWS IN THE PALACE (2007) ★★★☆☆ Une servante de la Cour est retrouvée pendue. Lors de l'autopsie, la médecin du palais soupçonne un meurtre et commence à enquêter sur l'affaire.

#Chu Kwi-jung #Go Seo-hee #Han Ye-rin #Im Jung-eun #Jeon Hye-jin #Kim Hak-seon #Kim Mee-jung #Kim Mi-kyung #Kim Nam-jin #Kim Sung-ryung #Lee Yong-yi #Moon Ga-young #Nam Jeong-hee #Park Jin-hee #Park Soo-young #Seo Young-hee #Son Young-soon #Ye Soo-jung #Yoon Se-ah

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