Le planning 2010 blu ray de Fox est déjà bien chargé.

En janvier

Mash

Tora ! Tora ! Tora !

Le peuple migrateur

Mai-juin

Les sentiers de la perdition

Minority report

Décembre

Abyss

Roméo et Juliette & Moulin rouge (versions Luhrmann)

Quadrilogie Alien (remasterisé en 4k)

La mélodie du bonheur (remasterisé en 4k)

Here’s three designs that are going to go on the merchandise at The Movie Industry stores.   You know you a Body of Art thong is exactly what you need! Check the stuff out at Cafepress and Printfection.

Here’s the video from the Salton Sea, shot with the Red camera for the Body of Art webisode.  The inner monologue of a writer suffering from writer’s block.   18 + for nudity.

HDMI ya da tam adıyla High Definition Multimedia Interface (Türkçe: Yüksek tanımlı çokluortam arayüzü). 2003 yılında ses (audio) ve görüntü (video) verilerini sıkıştırılmadan dijital olarak aktarmak için geliştirilmiş bir arabirimdir. HDMI; blu-ray disk çalar, HD-DVD disk çalar, bilgisayar, oyun konsolu, dijital uydu alıcısı gibi cihazları uyumlu ses ve görüntü cihazlarına (ör. “HD Ready” LCD televizyon) bağlar. 2006 yılında HDTV kameralar ve dijital fotoğraf makinelerinde de görülmeye başlamıştır.

RF(koaksiyel kablo), composite video, component video, S-Video, SCART, VGA gibi analog görüntü arayüz standartları ile DVI gibi dijital arayüz standartlarına alternatif olarak telif haklarını güvence altına almayı amaçlayan ve erişim kontrolü sağlayan DRM (Digital Rights Management) teknolojisini beraberinde getirmektedir. DVI ile geri uyumlu olup, ek olarak ses de taşımaktadır.

Piyasaya sürülen ilk HDMI bilesenli cihazı Pioneer üretildi. Örnek Modeller Pioneer DV-668AV DVD Oynatıcı ve Pioneer PDP-434HDE plasma televizyon.

HDMI standart, gelişmiş ve yüksek tanımlı video ile çok kanallı ses sinyallerinin tek kablo üzerinden taşınmasını destekler. DVB (-T,-S,-C) ve ATSC gibi MPEG sıkıştırma yapılmış video verisinin akışını tanımlayan dijital TV standartlardan bağımsızdır. Bu tür veriler bir dekoder ile tamamen çözülmüş (sıkıştırılmamış video) olarak HDMI çıkışına yönlendirilir.

Cihazlar farklı sürümlere (ör. 1.0 veya 1.3) göre üretilmektedirler. Tüm sürümler aynı kabloları kullanmakla beraber veri aktarım kabiliyetleri farklılık gösterir. Örneğin ilk sürüm 1080p60 desteğine sahipken 1.3 sürümü 340MHz band genişliği ile WQXGA(2560×1600) desteğine sahiptir.

HDMI aynı zamanda 8-kanal, 192KHz, 24-bit sıkıştırılmamış ses desteği ile beraber Dolby Digital ve DTS desteğine de sahiptir. Sürüm 1.3 ile beraber Dolby TrueHD ve DTS-HD Master Audio gibi kayıpsız sıkıştırma yöntemleri de desteklenmeye başlamıştır.HDMI dijital video (DVI-D veya DVI-I) taşıyan DVI arayüzü ile uyumludur. Bu arayüz (DVI) birçok bilgisayar ve ekran kartında kullanılmaktadır. Yani DVI-D çıkışı olan bir cihaz uygun adaptör veya kablo ile HDMI girişi olan bir monitöre bağlanabilir. Ancak ses bağlantısı veya uzaktan kumanda fonksiyonları mümkün olmayacaktır.

Hitachi, Matsushita Electric Industrial (Panasonic/National/Quasar), Philips, Sony, Thomson (RCA), Toshiba, ve Silicon Image gibi üretici firmalar HDMI için destek vermektedirler.

Özellikleri

Standart ile beraber protokol, elektriksel karakteristik, kablo ve konnektör için mekanik ve elektriksel özellikler tanımlanmıştır.

Konnektör

Her biri farklı alanlara hitap eden 3 farklı konnektör tanımlanmıştır.

• Tip-A konnektör 19 pin’lidir. 13.9mm genişliğinde ve 4.45mm yüksekliğindedir. Elektriksel olarak tek-hatlı DVI-D ile uyumludur.

• Tip-B daha yüksek çözünürlükleri (ör. WQSXGA (3200×2048)) destekler ve 29 pin’lidir. Çift-hatlı DVI-D ile elektriksel olarak uyumludur. 21.2mm genişliğe sahiptir.

• Tip-C taşınabilir cihazlar için tasarlanmıştır. Tip-A gibi 19 pin’lidir ama boyutları daha küçüktür.

Kablo

HDMI teknolojisi standart bakır kabloları kullanmak üzere tasarlanmıştır. Standart gerekli performansı tanımlamakla beraber kablo uzunluğunda herhangi bir kısıtlama belirtmemiştir.

Karşılaştırmalı HDMI tarihçesi

Grafiğe tıklayarak büyütebilirsiniz.

HDMI 1.4 ile ilgili bilmeniz gerekenler

Yeni HDMI 1.4 standardıyla uyumlu cihazlar 2010 yılında geliyor. HDMI arabiriminin gelecek nesli HDMI Licensing Consortium’un onayını taşıyor ve hiç de küçük bir adım değil. Entegre veri bağlantısı ve 3D desteği başta olmak üzere işte HDMI 1.4…

HDMI 1.4 entegre Ethernet kanalına sahip

Bu yeni HDMI standardı iki yönlü IP veri kanalı ekleyerek cihazların 100Mbps yani tam hızlı Ethernet bağlantısı kurmasını sağlıyor. Ayrı bir Ethernet kablosuna gerek kalmıyor.Bu sayede HDMI kablosuyla internet bağlantısı da mümkün hale geliyor ve oturma odalarındaki kablo karmaşası azalıyor. Ev sinema sistemiyle internet üzerinden video izlemek, gelecekte standart hale gelecek.

Yüksek çözünürlük

Dual-stream 1080p 3D desteği
HDMI 1.4 birden fazla 3D formatı tanımlıyor. Bu sayede HDMI destekli cihazlar frame alternative, line alternative ve field alternative, side by side, 2D plus depth metotlarından faydalanabilecek ve uyumluluk sorunu yaşatmayacak. Bu yeni standart 1080p çözünürlüğe kadar 3D görüntüyü dual-stream olarak aktarabilecek. 3D TV geleceğin standardı olmayı başarırsa HDMI 1.4 standardı da daha en başından bunu destekleyerek iyi bir iş başarmış olacak.Sadece TV de değil, 3D bağlantı PC ve PS3′teki 3D oyunlar için de deneniyor ve HDMI 1.4 bilgisayarlarımızda da geçerli bir standart olabilir.

HDMI 1.4 uç noktada yüksek çözünürlük destekliyor
HDMI 1.4 4K ve 2K çözünürlük destekliyor. Bu da etkin olarak 1080p‘nin dört katı çözünürlük demek. Bu sayede HDMI 1.4 mevcut dijital sinema sistemleriyle aynı çözünürlüğü destekleyebiliyor.HDMI 1.4‘ün desteklediği standartlar arasında 3840 x 2160 piksel çözünürlükte 24Hz, 25Hz ve 30Hz; 4096 x 2160 piksel çözünürlükte 24Hz yer alıyor.

Yeni Audio Return Channel

HDMI.org’a göre “Televizyonun dahili bir içerik kaynağına sahip olduğu durumlarda” Türkçeye çevirirsek dahili uydu alıcı veya DVD oynatıcı takılıysa, “Audio Return Channel sayesinde televizyon A/V alıcıya HDMI kablosu ile ses yollayabilecek” yani ekstra bir kabloya gerek olmayacak.

Daha çok renk standardı desteği

HDMI 1.4′te yer alan renk standartları arasında sYCC601, Adobe RGB, Adobe YCC601 yer alıyor.Bu sayede renkler daha doğru gösterilebilecek. Hem televizyon izlerken, hem de televizyon ekranından fotoğraf albümlerine bakılırken yararlı bir özellik.

Micro Connector

HDMI 1.4 iki yeni bağlantı seçeneğine sahip
İlk yeni HDMI formatı Micro Connector, cep telefonları, dijital kameralar ve taşınabilir medya oynatıcılarla bağlantı sağlanması için tasarlanmış. Type D olarak belirlenen Micro Connector, orijinal HDMI bağlantısının 19 pinlik ara yüzüne sahip.HDMI 1.4 standardı aynı zamanda Type E otomatik bağlantı sistemini tanımıyor. Bu da bir araçta HD içerik paylaşımında kullanılmasına yarıyor.

HDMI 1.4 hali hazırda mevcut olan HDMI cihazlarda çalışmayacak
HDMI.org‘un resmi açıklamasına göre HDMI 1.4‘teki özelliklerin kullanılması yeni bir HDMI çip gerektirecek. Bu yüzden firmware güncellemesiyle HDMI 1.4′ün eski cihazlarda kullanıma açık hale getirilmesi imkansız. Mevcut 720p ve 1080p HD TV kullanılmaya uzun süre devam edecek be HDMI 1.3 standardı bunlar için yeterli olacak. 3D TV‘ye geçişe daha çok vakit var ve Ethernet bağlantısı da pek çok cihazda gelmeye başladı.

3D HDTV ve masraflar

Yeni bir HD TV satın almak gerekecek
HDMI 1.4, 4K ve 2K çözünürlüğe ve 3D‘ye destek sunsa da günümüzün 1080p HD televizyonları bu kadar yüksek çözünürlükte görüntü sunamıyor. İşte bu yüzden HDTV‘nin ve 3D TV‘nin yeni nimetlerinden faydalanmak için yeni bir televizyon gerekecek.

Yeni HDMI kablolar almak gerekecek
Yeni kablo türleri tüketicilerin kafasını karıştırabilir. Farklı amaçlar için farklı HDMI 1.4 kablolar gerekecek. Standart HDMI kablosu Ethernet dahil gelecek ve 720p/1080i destekleyecek, High Speed HDMI kablosu ise 1080p, Deep Color ve 3D destekleyecek, otomobiller için ise araç içi video dağıtan ayrı bir kablo olacak. Bu kablolar pek de ucuz olmayacak.

HDMI 1.4 kullanan cihazları 2010′un ortalarına kadar görmeyeceğiz
Gelecek yılın tüketici elektroniği fuarlarında yeni HDMI 1.4 destekli cihazlar görebileceğiz. Belki de Berlin’deki IFA‘da beklenenden daha çok HDMI 1.4 cihaz tanıtılır. NXG, Black Pearl Series HDMI 1.4 kablosunu tanıttı bile, ama bunu takacak uygun bir cihaz henüz ortada yok. Her halükarda gelecek yılın ortalarında ve daha sonrasında HDMI 1.4 yaygınlaşmaya başlayacak.

Derleme scotty kusra bakma;)

So I’m in a production meeting, something outside of uni. I’m brought in as a DoP, and for small-scale filming using RMIT gear, I do like to think that I know what I’m talking about most of the time. But every so often, I get a shock, a wake up call, a feeling that I’m out of my depth. And that’s good, because it generally spurs me on to further educate myself for next time. In this particular production meeting, I discovered that I’m not an amazing electrician. Hardly a surprise. But I’m used to indoor, daytime shoots where you’re setting up redheads and dedos.. the occasional kino. But that’s it. You don’t need to worry much about electrical circuit capacities when your largest light consumes just 800W. Now.. this particular production meeting involved something quite different. We were talking about lighting a large exterior scene at night. There’s nothing much for the light to reflect off, no white walls or low ceilings.. just the open Craigieburn sky. Hence a set of redhead’s not really going to cut it. We need to flood a scene.. we need 2ks. The blondie, effectively a giant redhead, has no lens to control the light. It’s a PAR lamp.. I’m reasonably sure that PAR stands for “parabolic aluminised reflector” (referring to the curved, metal, shiny surface behind the tungsten filament). While I’m sure a blondie’s got enough light output for our purpose, I think a 2k fresnel may be the better option. Being able to focus the light, from flood to spot, would be a great advantage since we may need to run the light a considerable distance away, and focus light across to the other side of the yard. Great. Still no problems.. a 2k requires 2000watts which is achievable on a household circuit. But.. will just one 2k be enough? This yard is big, and there are long, continuous shots involving large portions of the space at once. Here’s where it gets complicated. How do I know the electrical circuitry of this particular house in craigieburn? How many circuits do we have to work with, and which powerpoints draw from which circuits?

Alright. So according to RMIT Media, we’ve got 2400W to work with per circuit. 2400 watts divided by 240 volts equals 10 amps.. which means that RMIT assumes we’re working with 10-amp circuits. Or.. that our powerboards will cut out at 2400W, regardless of the household circuit. It’s probably a safety-conscious assumption to make, in any case. According to “Producing Videos — A Complete Guide” (a massive tome by Martha Mollison purchased from RMIT bookshop), normal household circuits have a 15 or 16amp capacity. 15 amps x 240 volts = 3600 watts to work with. hmm. This means that if you turned off everything else running on that circuit, you could run a 2k and 1k fresnel on the same circuit simultaneously (though probably on different power boards, since most seem to cut out at 2400W). Ok.. that’s an interesting idea. But still I do not know how to find the number of household circuits to work with.) Again, according to Mollison’s monstrous book, to do this you head out to the power box and switch off the mains power. Then you’ve got to systematically switch on one circuit at a time, and test which power points are connected to each (and label them ‘A’ and ‘B’ or whatever). hmm. sounds like an extremely irritating process.

Further into this meeting, Jasper (the director) tells me that we probably don’t have access to 3-phase power. Shit.. 3-phase.. that sounds familiar and I’m sure I’ve read about it but any relevant knowledge eludes me, I look clueless. I don’t know my electrics. I’ve seen a 3-phase socket before, something like

that.
But yes, the reference to 3-phase threw me a bit. So for next time, 3-phase power is used to send an electrical current over a long distance. The power lines running down your street are going to be 3-phase. It’s inevitably AC (alternating current), because the fluctuating voltage is essential to sending power over distance. You’ve basically got 3 separate AC currents in the one cable, each functioning as a wave, going down below zero, coming up above zero. The three waves are out of sync.. staggered by 1/3 and 2/3 of a wave, respectively, which means that at all times, the total sum of the three waves is zero. The phases cancel each other out, neutralise each other, and this allows more efficient transmission of current at high voltages.
Since a house is going to be powered by single phase current, I’m guessing that 3-phase current allows you to draw more power, bypassing the 10, 15 or 16amp limit on household circuits. Not sure how easy it is to access 3-phase, perhaps that’s a way of powering a 4k without resorting to getting a generator. Not really sure. It doesn’t sound like something you want to mess with. But at least I have a vague idea, for now.

**edit:
I can’t stand blog-mistakes, so I have to correct my former self. I’ve been talking to Chris, a Gaffer working on this ABC comedy series, and apparently, 3-phase does not allow for electric current to travel long distances.. for that, you need “power lock”.. whatever that is. The fact is, whether it’s 3-phase or single phase, your voltage drops 6V for every 100m of cable. Pretty sure I’ve remembered that right. But yea. That means that if you’re drawing power from a noisy generator and need it to be a long distance away, your power drops and your lights may become slightly warmer in colour. (if they’re tungsten, at least).

Also, I should be going for the blondie for this Cragieburn shoot, as it’s a PAR lamp. PARs generally throw out about 3 times the light of a fresnel of the same wattage.. damn. So to match the output of a blondie, you’d need about a 6k fresnel.. that’s massive.

Enough for now.

I shot an episode titled Safe (tentative title) for the webisode that will launch soon at mypersonology.com yesterday. Here’s a few frames from the Red 4k footage.  Directed by James Larson.

A very interesting article on the Myth of 4K digital cameras. Now admitadly this guy works for Panavision and so has his own biases. But he does make some interesting point about frame rate versus resolution (pixel not optical)

http://magazine.creativecow.net/article/the-truth-about-2k-4k-the-future-of-pixels

Ahh….sunset at the Salton Sea…there’s nothing like the smell of dead fish carcasses that line the shoreline….

More frames from the Red camera footage taken at the  Salton Sea with Heather Feather.

We’re currently working with cameras that are designed for broadcast TV, or documentary production, or advertising.. applications where flexibility and economy come first over aesthetics. And that’s fine, it’s good to be familiar with these sorts of cameras because you see them everywhere. Whenever I see TV news camera people, I see the same fundamental camera body.. it’s not a DSR, but it’s certainly set up like one. Small-scale ads, docos, short films, and anything “HD” seems to be shot on something like a Z1, so it’s good to know how all that works.
But then there’s the other side of the scale.. digital cameras specifically designed for motion picture production. Obviously, I’ve never shot on one. I’ve looked at a few in late 2007, as part of a digital cinematography lecture, that’s about it. Point is, I want to become more familiar with these sorts of cameras.. knowledge is power and all.

RED ONE

So first there’s RED ONE. No one can shut up about RED, partly because it’s so price-competitive. You can buy a RED ONE body, outright, for something like $18,000. You can rent one for $850 per day. And for that price, you’re getting a 35mm CMOS sensor. This makes for shallow depth of field, and compatibility with all sorts of 35mm lenses, because the single CMOS sensor is of comparable size. The camera shoots in 4K resolution (massive), and compresses the data using a wavelet codec, meaning that the usual blocky compression artefacts of MPEG or whatever are absent. But it also means that to decode the wavelet, you need about 8 Mac Pro towers wired together.. some extreme processing power. So you generally take your hard drive to Lemac, they process the REDCODE for you and give you lower quality offline footage to edit. Once you’re finished, you go back and make the full quality online.. output it to film or whatever. I’m not sure how much it costs for them to decompress the REDCODE RAW into something usable.. should look into that.

Phantom 65

Moving on.. this one’s crazy.
The Phantom 65.. world’s first 65mm digital cine camera. Like RED, it shoots in 4K resolution, but the sensor’s a massive 65mm. The shallowness of this depth of field must be fairly incredible.. god help the focus puller. But the madness continues — at full resolution, this camera can record at up to 140fps, 313fps at 2K, 479fps at 720p… 34,482 frames per second, if you reduce image size to 16 pixels by 8. You wouldn’t, obviously.. but it’s impressive. Not sure how easy it is to get 65mm lenses, but if you’ve got the money for a Phantom, I guess you’ve got enough to get the corresponding glass as well. If not, there’s also a 35mm sensor version (Phantom HD) that outputs 1920 x 1080.. capable of 1000fps, full resolution. Jesus.

Thomson Viper

The Thomson Viper doesn’t seem quite as impressive, right after discussing RED and Phantom, but it has definite advantages. Its got a mechanical shutter, just like a film camera — meaning that bright light sources will not produce a ‘vertical smear’ like they would with an electronic shutter. Its sensor captures 1920 x 4320 pixels, and much of this is colour information. Whereas other cameras, such as RED, use a bayer pattern sensor to interpolate (mathematically predict) colour information, the Viper combines colour information from each of its three 2/3″ sensors, so there’s a separate Red, Blue, Green value for each pixel… which is why the vertical resolution is 4320. While the sensors capture in 1920 x 4320, the camera then creates a regular full HD image from this wealth of data (or you can output in ‘filmstream mode’… full uncompressed 4:4:4 RGB signal.. if you’ve got the hard drive space). The 3CCD setup, while providing a more accurate rendition of colours, also prevents you from using conventional 35mm film lenses.. that and the fact that it’s got 2/3″ sensors. So in terms of depth of field, it’s not going to be as shallow as RED or Phantom. It’s going to be comparable to 16mm cameras, or a DSR-450, etc.

Panavision Genesis

The Panavision Genesis takes a very different approach to the viper. There’s just one 35mm CCD sensor, capable of capturing full 4:4:4 colour data. The single 35mm chip allows for the use of 35mm lenses with shallow depth of field. Usually single CCDs are unable to capture colours accurately, hence the 3CCDs in the Viper, and the use of a CMOS chip in RED.. but apparently, Genesis makes use of a single CCD without compromising colour fidelity.. not that I’d know. The final image resolution comes out at 1920×1080 in native 16:9 aspect ratio. It’s good, but RED wins in terms of resolution output, and most likely price as well.

Sony F23

Finally, I want to quickly look at the Sony F23, because I hear it mentioned a lot without knowing anything about it. Right. So it’s another HD camera, 1080p output, with 10-bit 4:4:4 colour.. no interpolation. It uses three 2/3″ CCDs, like the Viper, and it can run at up to 60fps (pretend the Phantom doesn’t exist and you’ll be ok). Again, the depth of field’s not as shallow, and your choice in lens is limited by the prism system. Still. If someone knocked on my door and handed me an F23, I think I’d cope.

Obviously, this is a sweeping summation of some incredibly complex camera technologies. But it’s a start.

I love shooting at the Salton Sea.  I was shooting a viral video for the Body of Art vlog. Here’s a couple of frames grabs from the Red footage. More to come…….

A couple of frame grabs from the TV commercial shoot yesterday shot with the Red 4k camera..

Price $599.95

www.sonycreativesoftware.com/vegaspro

System Requirements
* Microsoft Windows XP 32-bit SP2 (SP3 recommended) or Windows Vista 32-bit or 64-bit * 1 GHz processor (multicore or multiprocessor CPU recommended for HD)
* 200 MB hard-disk space for program installation
* 1 GB RAM (2 GB recommended)
* OHCI-compatible i.LINK connector/IEEE-1394DV card (for DV and HDV capture and print-to-tape)
* USB 2.0 connection (for importing from AVCHD, XDCAM EX, or DVD camcorders)
* Windows-compatible sound card
* DVD-ROM drive (for installation from a DVD only)
* Supported CD-recordable drive (for CD burning only)
* Supported Blu-ray-recordable drive (for Blu-ray Disc burning only)
* Microsoft .NET Framework 3.0 (included on application disc)
* Apple QuickTime 7.1.6 or later

New Features

• Native XDCAM EX file read support
• Browse XDCAM EX files directly on camera with Device Explorer
• Support for all XDCAM EX resolutions and frame rates
• Vegas Pro 9 software natively supports frame sizes up to 4096×4096. Vegas Pro 9 software also natively supports RED ONE™ files. You can open and edit .r3d files directly on the timeline as you would any other video file.

It’s now a week since this year’s Assembly, the demo one. I’m all but excited about the huge lan-party thing, but still went there to see what’s there to be seen. Of course, masses of un-fit teenagers with clumsy motoric skills and other stereotypic nerds almost to comical extent. Also, I have never seen so many blue leds at the same time.

Man and his Pong

Lego robot I beat (I'm playing the squares)

These aside, there were also something interesting to see and experience. For example, while visiting the many sponsor areas, I lost 2 – 15 to this one guy who could be challenged in his ‘74 Pong. That didn’t feel too bad, as he had lost only a few games during the weekend. A little more embarrassing was my lost to a booth girl in Wii Motion Plus table tennis. Luckily I was able to regain some of my lost dignity by beating a Lego Mindstorms robot in tic-tac-toe. I was a little surprised when the creator of that robot told me that I was one of the few who had actually won the robot.

I attented the event during Friday and Saturday evenings, as the interesting compos and seminars were held then. Some of the ARTtech seminars were very good. Indie games were held in key-focus this year. One of my favourite seminars was The Mystery Seminar held by Petri Purho, the creator of Crayon Physics Deluxe. The seminar was a mystery because Petri hadn’t prepared any topic because he had been too busy playing Spelunky, another indie game, as he told the audience. The seminar was nothing but Petri playing different indie games on the projected screen and explaining the audience why the games he presented were so great. Sounds a bit off, but the whole presentation was very interesting and entertaining. The whole audience broke off laughing when Petri was playing the Enviro-Bear 2000.

The most interesting of the seminars I saw was the Fighting Organized Online Crime, held by Mikko Hyppönen from F-Secure. I was amazed to realize the extent and resources behind the business of creating viruses and malware.

Most of the seminars can be watched from Vimeo: http://vimeo.com/channels/asmsummer2009seminars

The main motivator for me to go to Assembly is to see the compos. Fast compos started the competitions on Friday, but did not offer anything special. During Friday were also Extreme music and graphics, 4k intro and oldskool demo. Extreme music had some very nice chip-tunes, at least the top three are worth checking out (results and prods). Extreme graphics wasn’t very good.

Then came the 4k intro compo. It was without any doupt the most high-class compo of them all! 14 entries were shown in pre-judged order (best last) and after the first few the intros were awesome! It’s simply amazing what can be done with four kilobytes today. The best intros are of quality that you would have been expecting from a 64k intro several years back. Manyof the entries in the compo had a decent music or ambient audio and some even had a concepts of story telling.

Muon Baryon, the winning 4k

The oldskool compo was a dissappointment, only two entries. Both of them were good, though.

Saturday had music, graphics, real wild, short movie, 64k intro and demo compos. Music compo was mostly bad, too many generic and non-memorable pieces and the dreadful wannabe-metal songs. Even the winner fell into this category and won only because of the “funny” vocals. Songs that came second and third were good. Graphics compo had some nice pictures, but overall wasn’t that memorable. Real wild demo competiton wasn’t very memorable either. Short film compo offered some cheap laughs but nothing more.

Sadly, also 64k intro and demo compos were a bit let down. 64k had few nice intros, namely the winner Transform, a Flash intro Proof of Concept and a textmode intro Beefjerky. And the demo compo had a clear winner.

Rumours told that the demo winner was almost too unfinished to be released – even still, a clear winner.

Based on this year’s experience, I hope that the overall quality of the competitions would improve – after all, Assembly has the reputation of one of the major demo parties worldwide. Otherwise the Assembly is about to become an oversized lan-party where geeks gather to do exactly the same that they could do at home – gazing at the laptop screen ignoring the real-life people around them. Only that at Assembly they are interrupted by some competitions they don’t care the slightest bit.

Noa Studios in Holland wanted to use my video blog, The Golden Dance to promote their graphic design services. So I did a few custom shots for them to stick at the beginning and ending of the video to make it their “promo” video.

The top photo is a frame grab from the Red camera footage,  the bottom one was taken with a Nikon camera.

there was a 4K mass convo today at 11.

i would love to post up the stuff we talked about, from Nat Day video filming to Hernwei to Nuns in Curry, but i can’t. mainly because of how messed up our convos normally are.

i was laughing a lot. in real life.

but i miss all of you guys so much.

and well this made my day (fine, night)

edit: and of course life has to go on, but sometimes it’s just so cruel to people. i wish it’ll all be alright again soon.

Pese a la nota de prensa de Vircas que publiqué hace unos días, la copia digital de Pelham 123 que se exhibe en los dos cines de Girona (Albéniz Plaça y Palamós) no es a 4K, ya que por error, la distribuidora de la película les comunicó que se entregaría un master a 4K pero el que ha llegado finalmente a los servidores de los cines es un master a 2K.
En breve os informaré de cuándo se podrá ver material a 4K en estas salas y en otras que están a punto de inaugurarse con estos proyectores SONY que tienen ya, de forma nativa, esta resolución.

Apple has updated its Final Cut Studio suite of professional creative applications with more than 100 new features, as well as new versions of its Final Cut Pro, Motion, Soundtrack Pro, Color and Compressor applications.

Final Cut Pro 7 now supports most any workflow from any camera, and has an Easy Export feature that that is supposed to offer one step output to a wide range of formats as well as the capability to simultaneously work on a project as encoding is done in the background. Sequences can now be exported to YouTube, as well as Apple products such as Mobile Me, iPhone, iPod, and Apple TV, as well as DVD and now Blu-ray. It also has iChat Theater support so editors can collaborate with others on the project, sharing the same Final Cut Timeline and/or source clips; ProRes Proxy editing that offers offline and low bandwidth mobile editing support; ProRes LT for general purpose editing; and ProRes 444, which enables editing and visual effects creation at the highest qualities. Other features include a new clip speed tool that enables you to change the speed of a clip, alpha transitions for creating effects with moving mattes, and full, native support for Panasonic’s AVC-Intra cameras.

Motion 4 has been updated with support for 3D shadows, reflections and depth of field, the addition of point and spot lights for realistic shadow creation and reflective surfacing, and the capability to highlight a single object or utilizing multiple objects to create a racking focus effect.

Soundtrack Pro 3 features a voice level match tool that extracts vocal volume information from one clip and applies it to another without the need to change other audio content. According to Apple, this gives editors the capability to fine tune volume adjustments by targeting certain frequencies without affecting dialog. A new Time Stretch feature can stretch and compress audio using Apple designed algorithms or third party algorithms.

Color 1.5 is now compatible with a larger number of Final Cut Pro sequences and effects; offers support for 4K cameras such as the RED One, and can output directly to ProRes for HD or DPX. It now offers enhanced support for AVC-Intra, XDCAM 422 and ProRes 4444 formats.
Compressor 3.5 offers autodetect capabilities of QuickTime settings and enables you to create an Easy Export template or a mini “droplet” enabling you to automate Compressor actions so you don’t have to reinvent the wheel each time you have a Compressor job. Also new is a sharing option that enables you to publish your videos to YouTube and Mobile Me, and export to Ipod, iPhone, non-Apple phones, and Apple TV, or burn to DVD or Blu Ray disc.

Final Cut Server has also been updated with new features such as offline editing with ProRes Proxy, media organization capabilities, and support for still sequences for viewing and managing image sequences. It now features unlimited client licenses and is priced at $999 ($299 for existing users).

Final Cut Studio is priced at $999. Upgrades are priced at $299. For more information, visit www.apple.com