This past Saturday I went to see the Broadway production of Phantom of the Opera at the Durham Performing Arts Center with people from work.  I won two tickets and a limo ride to the show from drawing at work, which I thought was pretty awesome.  It was my first real limo ride.  I invited my friend Rachel Beth cause we got two tickets and she is obsessed with it (direct quote from her).  I had seen the show in NYC a couple years ago so it wasn’t that big of a thing for me to see it again.  I do remember thinking about half way through it the first time that I was a little bored so I thought I would give it another try (not sure why I wanted to do the same show.  It was free I guess).  So the limo picked Rachel Beth and I, as well as a couple of my co-workers, up in front of a store at the mall because it was a central location.  The limo was kinda packed so that definitely detracted from the overall experience of the ride but they were fun people so it was good.  When we got to the DPAC, we got to go in the “President’s Room” (a small, private room with snacks and drinks that most people probably have to pay a pretty penny to sit in) for a complimentary drink.  We grabbed our drinks and a few snacks and proceeded to our seats in the Orchestra section (we had really good seats too…this is how McKinney rolls).  As I said before, I had seen the show before so there was nothing really THAT special about it the second time around.  What I mean by that is that it was really well done, and they didn’t do anything to really change my view of it.  I like some of the songs in the show but some of them I have a hard time understanding cause there is so much going on and that sorta hinders me from really understanding those parts of the story outside of the visuals.  By a little after the Masquerade portion (the scene right after intermission) I was kinda bored.  That says nothing about the show itself but more about my love for Broadway.  I may need to see a more exciting show (like Spamalot).

Overall, I would say it was a really great night and a great experience with people from work.  I really do want to get to know them better so I think that was a good start.

I hope this makes sense.  I don’t really proofread ever and I am listening to the new Jay Sean album on Lala.com.  I always have a hard time multitasking when I am listening to new music.  Its surprisingly not bad…not really that great but not bad.

Leave some love!

Memperingati30 tahun perjalanan kariernya Addie MS menyuguhkan penampilan yang spektakuler. Suguhan orkestra berharmonisasi dengan kemerduan vocal dari para penyanyi bertalenta. Sungguh suatu konser penghujung tahun yang sayang untuk dilewatkan.Acara yang digelar 29 November 2009 di Plennary Hall ini ibarat album dokumentasi kesuksesan Addie MS sebagai pianis, musisi, arranger dan konduktor orkestra yang namanya melejit senusantara, Twilight Orchestra. Diawali dengan narasi oleh Nicholas Saputra disusul dengan penampilan Kevin, putra Addie, di salah satu karya David Foster.

Ternyata karier musik Addie berawal dari musik pop. Mulai dari mengaransemen “Nuansa Biru” Keenan Nasution yang dibawakan secara apik oleh Vidi Aldiano, pianis di Band Staff yang dimotori Ikang Fawzi hingga menciptakan lagu-lagu Vina Panduwinata yang melegenda. ‘’Banyak sekali karya-karya Aldi yang dinyanyikan ulang. Ada sekitar 12 lagu,’’ tutur Vina dengan gayanya yang khas sebelum menyuguhkan lagu yang melambungkan dirinya “September Ceria”. Lalu berturut-turut Afghan dan Memes membawakan karya Addie yang dipopulerkan si Burung Camar itu.

Addie bukan hanya jenius menciptakan lagu bergenre pop. Sudah berkali-kali ia didaulat menggarap original soundtrack seperti Cinta Pertama, Dealova dan Heart, juga theme song iklan dan mengaransemen lagu-lagu nasional.

Medley lagu-lagu soundtrack yang dibawakan secara instrumentalia ini mendapat tepuk tangan meriah dari penonton. Applaus juga mengiringi ketika Addie mengenalkan putra keduanya, Tristan yang baru berusia 12 tahun. Remaja pria ini dengan lincahnya memainkan jemarinya di atas grand piano membawakan nomor “Flight of The Bumble Bee”. Tak kalah cantiknya nomor The Phantom of The Opera yang dilejitkan Sarah Brightman. Duo soprano dan tenor asal Australia ini mendapat tepuk tangan bergemuruh dan decak kagum dari para penonton.

Una de mis técnicas de video favoritas es slow-motion. Combinar esta técnica con la música adecuada puede tener resultados espectaculares. Es el caso de este video en el que podemos escuchar “Black Bones”, a cargo de Teenagersintokyo mientras observamos una interesante (mini) historia.

Algunos detalles que el director proporciona sobre el video:

• Utiliza una cámara Phantom.
• La mayoría de las tomas son a 510 fps.
• La primera escena fue ralentizada un 50% más en postproducción.
• A los que dudan, asegura que el fuego es real.

Cuando tengan lista la versión HD, actualizo el post. Los créditos a continuación:

Director / Productor: Rhett Dashwood
Director de fotografía: Ari Wegner
Editor: The Butchery
Postproducción: Digital Pictures

Video: Black Bones en Vimeo.

A bit of zany from You Stink & I Don’t #8.  Right Click, View Image for full-size festivities.

Non ancora in uscita con un album, il trio londinese (Elsie Voce/Chitarra, Jonny Basso, Lyndsay Batteria/tastiere) con una manciata di singoli si è fatto notare in giro (suonando anche nelle “Peel Session”) ed è uscito alcuni giorni fa il nuovo singolo (su Rough trade) “The Great Pretender”: Sonorità crepuscolari e suadenti con la voce di Elsie, calda e morbida, che a tratti ricorda Siouxsie. Il video, un pò patinato, è girato in notturna (diretto da Alex Leach & Mike Kovacs).

Als großer Fan Andrew Lloyd Webbers Musicals „Phantom of the Opera“ habe ich das Stück mit den unterschiedlichsten Besetzungen auf der Bühne gesehen und unzählige weitere Aufnahmen gehört. Deshalb ist meine Rezension der Leinwandfassung des Musicals von Joel Schumacher längst überfällig.

1986 feierte die Vertonung der Geschichte um das entstellte Phantom und das Chormädchen Christine Premiere im West End und wird seit dem mit ungebrochenem Erfolg fast überall auf der Welt gespielt. „Phantom of the Opera“ ist mit seinen bezaubernden Ariel, großen Chören und sehr klassischer Orchestrierung kein typisches Webber-Musical, ja nicht einmal ein typisches Musical generell, aber meiner Meinung nach das Beste, was der „Gott des modernen Musicals“ je auf die Bühne brachte, vielleicht das beste Musical schlechthin. Das Ergebnis dieser Komposition ist auch Webbers damaliger Ehefrau Sarah Brightman zu verdanken, für die er – angeblich – damals die Rolle der Christine maßschneiderte.

Sieben Monate vor Drehbeginn, im Februar 2003 begann die Suche nach geeigneten Schauspielern, die die schwierige Partitur auch gesanglich meistern konnten. Lange spukte das Gerücht über Antonio Banderas für die Titelrolle durch die deutsche Presse, was sich zum Glück als nicht mehr als eben das herausstellte: ein Gerücht. Dann schließlich der Schreck über die deutschen Synchronstimmen: Uwe Kröger in der Titelrolle! Wie gut, dass es DVDs mit Sprachwahl gibt. Mein persönlicher Tipp an alle: Finger und Ohren weg von der deutschen Synchronisierung!

Das Endergebnis des Castings kann sich blicken und hören lassen: Die damals gerade erst 17-jährige (!) Emmy Rossum (Day after tomorrow) ist eine bezaubernde Christine mit einem klaren und weichen Sopran; sie singt diese schwierige Rolle mit unglaublicher Leichtigkeit und viel Gefühl, so dass ich nicht müde werde, diese Stimme zu hören. Gesanglich kann man allenfalls kritisieren, dass sie die Töne des Öfteren recht deutlich von oben oder unten ansingt und dann in die richtige Lage „zieht“. Sie ist ausgesprochen hübsch anzusehen, vielleicht ein wenig zu sexy, um das naive und unschuldige Chormädchen glaubhaft darzustellen, was aber mitunter auch an den Kostümen liegen kann. Leider kann es ihre schauspielerische Leistung nicht ganz mit ihrem Gesang aufnehmen. Von wenigen Szenen wie zum Beispiel „Point of no return“ abgesehen, ist ihr Gesichtsausdruck entweder eher weinerlich-verzweifelt oder sie sieht wie ein hypnotisiertes Kaninchen aus (was in einigen wenigen Szenen durchaus angebracht ist). Dem Ausdruck ihres Gesangs tut dies jedoch keinen Abbruch, stimmlich glaubt man ihr jedes Wort, das sie singt.

Patrik Wilson singt Christines Liebhaber Raoul mit netter, klarer – und kurzweiliger Stimme, hat aber nicht den warmen und klassischen Bariton, den ich für diese Rolle gewohnt bin. Schauspielerisch bleibt seine Darstellung bis kurz vor Schluss ein wenig blass, sein Gesichtsausdruck größtenteils recht eingefroren. Andererseits spielt er nicht die dankbarste Rolle, die er aber trotz leichter Schwächen ordentlich ausfüllt. Er bleibt nicht unbedingt lange im Gedächtnis, aber das soll Raoul vielleicht auch gar nicht.

Als spanische Operndiva Charlotta singt Minni Driver (Circle of friends) zwar nicht selbst, ist aber wunderbar, komisch und ekelhaft, ohne dabei zu sehr zu übertreiben. Sie ist einfach perfekt für diese Rolle. Ihr Gesangsdoubel Margaret Preece hat eine großartige klassische Stimme, die die schwierige Rolle grandios meistert, dabei immer das divenhafte und den Kontrast zu Christines weichem Sopran beibehält. Im Abspann des Films geht ihr Name leider fast unter.

Herauszuheben ist sonst vor allem die tolle schauspielerische Leistung Miranda Richarssons (Harry Potter) als strenge Ballettlehrerin Madame Giry. Leider sind einige ihrer bekannten Gesangsszenen herausgeschnitten worden, ansonsten ist die Bedeutung ihrer Rolle erweitert worden. Im Film wird viel mehr als auf der Bühne deutlich, wie viel Madame Giry tatsächlich über die Vorgänge in der Oper und über das Phantom und dessen Handeln und Fühlen weiß. Sie erkennt genau, wo alles hinführen wird, greift dennoch bis zum Schluss nicht ein. Miranda braucht nicht viele Worte – oder Töne, ihre Blicke und ihre Körperhaltung sprechen für sich.

Der Höhepunkt des ganzen Films jedoch ist meiner Meinung nach Gerard Butler (PS I love you) in der Titelrolle. Viele Kritiker bemängelten vor allem seine gesangliche Leistung, denn seine Stimme mag vielleicht technisch nicht 100 Prozent perfekt und weniger klassisch ausgebildet sein, und in den tieferen Lagen an ihre Grenzen stoßen. Soviel zu den Fakten… Aber von keinem anderen Sänger/ Musicaldarsteller habe ich eine solch gefühlvolle und leidenschaftliche Interpretation des Phantoms gehört und gesehen. Gerry stürzt sich mit einer unglaublichen Intensität in die Rolle, zeigt die volle Palette der Emotionen; ist verführerisch, sanft, einsam und todunglücklich, aber auch verzweifelt, bedrohlich, kaltblütig und rachsüchtig. Sein „All I ask of you“ und „Masquerade (reprise)“ sind herzzerreißend gesungen und gespielt, im „Down once more“ zeigt er absolut keine Gnade – weder mit seinen Stimmbändern noch mit Raoul oder Christine – und man nimmt ihm den Hass, die Verzweiflung und den Wahnsinn sofort ab. „Music of the night“ wird durch seine warme Stimme zu einem musikalischen Highlight, bei dem man schwer glauben kann, dass der Schotte zuvor kaum Gesangserfahrung hatte. Obwohl ich schon tolle Sänger in der Rolle gesehen und gehört habe, haute Gerry mich als Phantom völlig um, liebend gerne würde ich ihn einmal auf der Bühne sehen können.

Während die Regie ohnehin unabhängig von der Bühnenfassung war, hat Webber extra für den Film vor allem im zweiten Akt einige kompositorische Veränderungen und Kürzungen vorgenommen: Da „Notes II“ gestrichen wurde, bringt das Phantom seine Operninstruktionen in einer sehr schönen Szene direkt im „Why so silent“ persönlich vor, die Empörung seitens der Künstler und Direktion über seine Partitur und seine Anweisungen geht jedoch unter. Madame Girys Erzählungen über die Vergangenheit des Phantoms wurde dagegen erweitert. Christines Fahrt zum Friedhof ihres Vaters bekam eine wunderschöne neue Melodie, die Begegnung zwischen Raoul und dem Phantom auf dem Friedhof resultiert in einem spektakulären Schwertkampf. Doch wie kann man Raoul über das Phantom gewinnen lassen?! Ausgerechnet Raoul, der zuverlässig in jede Falle des Phantoms tappt. Realistischer und intensiver wäre die umgekehrte Variante. Eine sehr gelungene Veränderung ist in der Regie des „Point of no return“ vorgenommen worden. Hier ist sich Christine von Anfang an darüber bewusst, dass sie das Phantom selbst vor sich hat, verfällt ihm aber dennoch erneut. Auch das Phantom durchschaut die Falle von Anfang an, erkennt aber, dass es tatsächlich kein Zurück mehr gibt. Das macht die ganze Szene glaubwürdige und spannungsgeladener. Eine kleine, aber sehr rührende Szene wurde ganz zum Schluss hinzugefügt, in der man den alten Raoul ans Grab seiner Christine begleitet, der ihr die im Prolog erstandene Spieluhr bringt. Dort findet er neben dem Grabstein eine frische rote Rose mit einer schwarzen Schleife – ein Geschenk des ihr noch immer treuen Phantoms!

Im Abspann singt Minnie Driver das neukomponierte „Learn to be lonely“, ein nettes Liedchen, dass zwar nur bedingt zu der restlichen Partitur passt, aber doch einen schönen Text hat. Leider nur auf der Blue Ray Special Edition – und auf youtube – lässt sich noch ein besonderes Highlight finden: das komplett mit Kostüm und Bühnenbild gedrehte „No one would listen“ gesungen von Gerry Butler. Schade, dass dieses wundervolle Lied mit der gleichen Melodie des bereits erwähnten „Learn to be lonely“ anderen Zuschauern vorenthalten bleibt.

Die Sets und Kostüme sind pompös und viel gelobt, die großen Ensembleszenen wie „Masquerade“ und „Primadonna“ werden so zu einem optischen Feuerwerk. In vielen anderen Szenen wäre weniger jedoch manchmal mehr gewesen. In Anlehnung an die Bühnenfassung hätte ich mir eine stärkere Konzentration auf die Hauptcharaktere, auf die Beziehung zwischen Christine und dem Phantom gewünscht. Vor allem in dem sehr intensiven „Point of no return“ wird sie Kamera viel zu oft auf die Nebencharaktere bis hin zu dem hier eher störenden Flamenco-Ballett gerichtet. Dadurch wird der Bann der Szene leider immer wieder gebrochen. Zudem wirken manche Szenen ausgesprochen unruhig im Vergleich zur Bühnenfassung, das die Schauspieler fast immer in Bewegungen sind und sich teils recht unmotiviert durch das Opernhaus bewegen.

Zwei Mängel hat die CD zum Film. Zumindest auf der Gesamtaufnahme sind fast alle – als CD störende – Nebengeräusche des Films zu hören, als würde die DVD im CD-Spieler abgespielt werden. Ich hatte auf eine reine Musikaufnahme gehofft. Zudem lässt die Titelaufteilung arg zu wünschen übrig. Viele Lieder sind unter einem Track zusammengefasst oder sehr unpassend geteilt.

Trotz der genannten Kritikpunkte kann ich sowohl die DVD als auch die CD wärmstens empfehlen – nicht nur für eingefleischte Musicalfans!

This is video of my 52 Schwinn Phantom I bought for my wife.
This was the first day that I took it home.
It was full rust all over the bike, tires were shot, and flat, all the bearings were shot, and it had no chain.
So I couldent even ride the bike.
Now it is fully restored, and looking good. …

Shopping store: buy cheap Munchkin & discount

1952 Schwinn Phantom First Day

by rhsxo (Category: Sports)

The dark cold sea always makes me shiver.

We had a great time playing the Lower Deck for Ballroom of Romance last night- thanks again to Allen, and to all the other acts (who were fantastic!).

Things keep on moving in Clockworkland- this week sees us heading in to Phantom FM to record a session with Cathal Funge’s I-Con, something we’re really excited about. The session should be broadcast before Christmas, so we’ll keep everyone posted when we find out exactly when. In the meantime you can request tracks from ‘Yes and No and Everything In Between’ on Phantom by texting 51052.

We’re continuing the build-up to our Twisted Pepper Headliner on December 17th by playing a DLIADT fundraiser in Crawdaddy on December 10th with Little Xs for Eyes, Forward More and Neon Stars.

There’s also word on new recording coming down the pipeline, so more info on that should be coming very soon. The new writing is coming along very well, and there should be some new additions to the setlist for the Twisted Pepper show.

We can’t wait!

Rob

by Willow Murton, Assistant Producer, Jungles/Oceans team

My journey as a “soundie” began in the hot, Sahara desert of Algeria. (For those of you who may be wondering a “soundie”  is the job of a sound recordist – on this shoot Willow – who is our assistant producer on Oceans and Jungles stepped in to help the Deserts team who on this occasion were not able to take a professional recordist on location – from Dale Templar – Series Producer) In a melting frustration of entangled cables, dying batteries and conflicting noises, I remembered the words of a soundman from another trip some years ago.  Pete was, he admitted, on a perpetual quest for silence.  I understand now as I had not before.  Pete, I have joined you on your quest for silence: pure, empty silence. Even the quietest moments in the Sahara have been full of sound.

I have had to learn quickly on this journey. Firstly, as you might expect, the world of sound has nothing to do with the look of things – I am all about the noise. So there I stand, like some style-less parody of a desert cowboy with my cable lassoes, gun mic on hip, dark rim of a fading sun hat and the closest thing to a trusty steed being a stubborn donkey.  He looks at me with discernible mirth, flicks his long ears and lets out a bellow.  I re-set my levels.

The other lessons follow: that the boldest person on screen may not speak with the most confident or eloquent voice; the quietest voice may give the most melodious song and the softest whisper can echo noisily.  I learnt the hard way that children can scream very loud on a football pitch when a goal is scored -  my mixer and I are still recovering.  I wouldn’t say I’ve come to love my cables but I appreciate velcro and cable ties more than I would ever have thought.  I’ve developed sympathy for the soundman’s plight of always being in the wrong place at the wrong time as I dodge my own shadow, the cameraman, my trailing cables and the football back on that pitch. The look is still not a good one but I have rediscovered headscarves – headphones bulge under that hat and I hold my boom at jaunty angles. I redefine myself – at times I am On Speed and dynamic and at the flip of a switch, I transform to Off Speed and phantom powered.

My soundie guise lends me a proximity and a pass into another world with the tune of water flowing freely from wells and the rasping breath of the wind on sand.  At times, you wish for greater distance. Roads many miles away rumble into uninhabited landscapes and people’s voices appear over an empty horizon.  There is also definitely something rather uncomfortable in the intimate sound of a stranger heavily breathing into your ears.

There may be times when I wish for silence but with my headphones on, I have discovered a secret world of unimaginable sound – the orchestra of the garden with its palm percussion and insect chatter, the varying pitches of a simple stringed instrument, waterfalls of pouring tea and the subtleties of the dawn song.

And by the way, whoever burped during morning prayers, you know who you are and so do I.

Este viernes me acerco para transmitir e intentar contagiar la gran sensación que tuve al ver un video musical hace unos días. Muy pocas veces nos adentramos en los detalles relevantes de una creación audiovisual, es casi nulo el interés que algunos tienen por la cantidad de símbolos y significados que puede mostrar cualquier obra. Yo soy de los que creen que las generaciones actuales son completamente superficiales, la enajenación y la falta de profundidad en la mayoría de los contenidos visuales que hemos recibido en los últimos años, nos ha acostumbrado a mantener esa distancia y a privarnos de muchas cosas que valen la pena. RHETT DASHWOOD es un buen representante como director creativo de proyectos, realmente le gusta hacer de todo: cine, video, foto, arte digital, imprenta, marcas, animación interactiva, etc. Cuando yo me encontré con el videoclip Black Bones de Teenagersintokyo, dirigido y producido por Rhett, recibí inmediatamente el mensaje, llevarla con más calma y relajarme casi que a la fuerza con los planos en cámara lenta, corriendo a miles de cuadros por segundo. Estoy seguro que muy pocas veces nos llegan videos como este, en los que tenemos una experiencia narrativa en la que podemos ver las cosas con más claridad y darle más importancia a los significados contenidos. A mi sí me late tomármela con más calma en estas cosas, échenle un ojo, o dos.

Golf is an obsession for millions and now an Olympic sport. The intricacies, delicacies and finer details of the game are what set it apart to makes it one of the most loved and hated sports in the world. Golf is a rough sea of changing hope and fortune, a game of highs and lows, altercations and frustrations. At the centre of this sporting mosaic lies the swing. The way the club moves through the air determines everything from whether the ball feels like a rock or marshmallow on impact to its resulting trajectory and indeed, its destination. Every golfer dreams of the perfect swing, of hitting that monster drive, of playing that perfect approach. Coaching is essential for improvement; and even the best players in the world receive regular support. However, lessons can be expensive and sometimes self-analysis can be an easier and more rewarding option. Recording and watching your swing is a crucial first step and seeing it properly for the first time is akin to hearing the sound of your own voice. The next step is to compare your swing to one that works and who better to look to for guidance than the Pro’s? For years I have compared my swing to that of a certain Mr Eldrick Woods, believed by many to have the greatest golf swing of all time.

Before the days of high speed Internet, when classic dial up was the pinnacle of technology, I subscribed to the Golf digest website. There, amongst the plethora of help articles, were frame-by-frame visual maps of all of the top golfer’s swings. It was basic, but strangely rewarding despite having to wait 15 minutes for the pictures to load. Since the advent of high speed Internet and video upload sites, it has become relatively easy to find clips of almost any professional golfer on-line. In seconds you can access fast loading, high quality streams of your favourite player on youtube. To add to this, advances in camera technology have meant golf swings can be captured at extremely high frame rates. For instance, BBC golf coverage now makes regular use of its ARRI Tornado camera, which operates at 1000 frames per second (fps). The combination of high-speed cameras and broadband means that professional golfer’s swings can be analysed online and in detail by almost anyone. Below is some stunning high-speed camera footage of Tiger captured by Nike with a Phantom V5:

Armed with Tiger’s footage, it should be relatively easy to compare the differences in his technique with my own. Unfortunately for amateur golfers like myself, capturing my swing in such detail is a rather expensive affair. High-speed cameras such as the Phantom typically cost in excess of $10,000. Not exactly a small time investment and a factor that has kept high-speed filming firmly planted on the professional side of the line. However, that could be all about to change. No longer will high-speed footage be a privilege reserved only for those who get special passes at tour events and wear funny green caps. A new Casio range of cameras delivers rapid frame exchange at a price that doesn’t require you to sell your Pings and get a second mortgage.

The EXILM High speed range delivers high-speed filming to the masses. The new EX FS-10, EX FH-20 and EX-F1 are all capable of shooting slow-motion (which is really high-speed) video at at least 1000 fps, putting them on par with much larger, pricier commercial systems such as the Phantom. No tripod is needed and they work well in a variety of light conditions so you can leave the high-powered halogens at home. Casio’s flagship high-speed camera, the EX-F1 can shoot 1200 fps at a resolution of 336 x 96 and 300 fps (an industry standard for high speed golf analysis), at a respectable 512 x 384. This particular camera is already being employed in commercial applications such as crash dummy design due to its relative low cost to performance ratio.

The cameras are already available for purchase in the US. However, most interesting is the recent announcement of the addition of some virtual golf pro firmware to a new version of the EX FS-10. Casio clearly understand the impact their cameras are going to have on the golfing market. The firmware will allow the posture and swing plane of the player to be analysed in tandem with the high-speed video modes. In video review, corrective positions for key body parts such as the head and elbow as well as adjustments in spine angle are suggested in an attempt to improve general swing technique. This means that as well as being able to see what your swing looks like in glorious slow motion and compare it to Tiger’s; you can get advice on how to improve it, straight from the camera.

How exactly the feedback is given will be an essential component to the success of the product. As the general population is being targeted the information needs to be easy to understand and interpret without requiring expert knowledge on the golf swing. However, the system could also potentially be an affordable way for professional golf  coaches to implement high-speed camera analysis into lessons.

But how effective is the camera at capturing high-speed footage? A crucial aspect is the resolution as this is typically what is most affected by an increase in frame rate. According to Casio, at 1000fps the resolution of the EX-FS10 is 224 x 56. To put this in perspective an image of the same size is shown (below right):

The Resolution of the EX-FS10 at 1000 fps

It is clear that at this resolution, it is not really possible to capture the entire swing, rendering the accompanying software somewhat useless at the maximum frame rate. Having said that, at 210 fps, which is still quite high, the resolution is 480 x 360, which is actually not too bad. This is most likely the frame rate for which the firmware update is intended and at which it will be most effective.

The high-speed capability paired with the virtual pro feature comes as a surprise, and a very pleasant one. It is important to note that this technology has been implemented in a consumer product rather than at the top end of the EX line, meaning it is going to be available to the average golfer. Sadly the firmware will initially only be made available in Japan. Possibly to test the waters before the all-important US golf market is targeted. Not that the firmware itself is essential. You can download a whole host of swing analysis software online, with features exceeding those to be implemented in the EX-FS10. What sets the Casio firmware apart is the ability to analyse on the go, which makes it ideal for swing tweaks on the course or at the driving range. The release of cameras with such high-speed capabilities highlights the sharp rise we are seeing in imaging technology. For instance, at the top end of the scale, the latest Phantom V710 allows for a 7520 fps capture at full resolution (1280x 800). At an equivalent resolution to the 1000 fps on the Casio Ex-FX10, the Phantom can capture an astonishing 288,800 fps. It is only a matter of time before some of this high-speed filming prowess further trickles down to the consumer market.

The new Casio EX-FS10 with Virtual pro firmware will be released in Japan on November 26th 2009, with an RRP of around $350. I have a feeling we are going to be seeing a lot more slow motion golf swings on youtube very soon.

JXPUFWHA5DJX

This is just A tip of the iceberg.  We’ve already seen several other tips of the Obama iceberg sticking out of the water waiting to gash the hull of America’s Titanic.

Proven and documented:

• American taxpayer dollars from bailout used to prop up FOREIGN banks.
• American taxpayer dollars from bailout used to prop up FOREIGN car companies and “save or create” jobs in foreign countries.
• Bailout money has been used for THOUSANDS of pork barrel projects and political payoffs as documented prior to passage of the TARP.

All of this is being done at your expense while taking away your freedom and liberty.

Recovery.gov Shows Taxpayer Money Going to Congressional Districts That Don’t Exist

Wednesday, November 18, 2009
By Fred Lucas, Staff Writer

(CNSNews.com) – The 86th congressional district of Rhode Island received $10.2 million in federal economic stimulus funds to save 57.9 jobs, according to Recovery.gov. In neighboring Connecticut, the state’s 42nd congressional district did not receive any stimulus money yet 25 jobs were still saved or created.

The problem with these federal financial data, however, is that Rhode Island has just two congressional districts, not 86, and Connecticut has just five U.S. House seats, not 42. Also, the Web site states that $6.4 billion in stimulus money went to 440 congressional districts that do not exist, according to an analysis first reported by Watchdog.org, a division of the Franklin Center for Government and Public Integrity.

The watchdog’s analysis showed that the money invested in the non-existent congressional districts saved or created 30,000 jobs, based on the government data currently available to the public.

Recovery.gov is the Obama administration’s Web site designed to track the funds dispersed through the $787 billion American Recovery and Reinvestment Act of 2009.

Concerning the non-existent congressional districts and other data on Recovery.org, the Obama administration responded on Tuesday that it was a matter of kinks in the system and that all stimulus funds are traceable and documented.

“These are not non-existent congressional districts, these are improperly identified congressional districts,” Ed Pound, spokesman for the Recovery Accountability and Transparency Board, told CNSNews.com Tuesday. “It’s human error. People filling out these forms might not know their district.”

Nonetheless, Recovery.gov shows that some of the smallest states have apparently grown immensely in terms of population.

While New Mexico has three representatives in the U.S. House, Recovery.gov shows money going to 13 different congressional districts, including, for example, the “00 congressional district,” which got $731,370, and a “40th congressional district,” which got $7.9 million.

Furthermore, if you click on the “certification” of the federal funds going to New Mexico, a letter from Gov. Benigno R. Fitial of the Commonwealth of the Northern Mariana Islands comes up.

Then there is the $2.1 million that went to save or create 30 jobs in the “99th congressional district” of North Dakota, one of the country’s most sparsely populated states with just one at-large U.S. House seat. Nevertheless, North Dakota had a total of 14 congressional districts, according to Recovery.gov.

This information is found by going to Recovery.gov and clicking on State/Territory. Once the next page comes up, find the state or territory you want to review. Then scroll down to congressional district, and click on “View All Congressional Districts.”

The government-run Web site, Recovery.gov, established to track money from the $787 billion economic stimulus bill that passed in February, has been scrutinized for problems in tracking jobs that were supposedly saved or created.

A provision of the stimulus bill established the Web site as an attempt to ensure transparency and accountability.

During his first primetime news conference on Feb. 9, days before signing the recovery bill, Obama said, “It also contains an unprecedented level of transparency and accountability, so that every American will be able to go online and see where and how we’re spending every dime.”

The Web site’s numerous errors were first exposed by Jim Scarantino, a reporter for Watchdog.org in Albuquerque, N.M., who was checking out the purported number of jobs saved or created in his home state.

“We’re a tiny state, so we only have enough room for three congressmen, so right away I knew I had something,” Scarantino told CNSNews.com on Tuesday. “I notified all my Watchdog counterparts around the country to the story. They did the same thing in their states and it took off.”

The White House responded, in a blog posting by G. Edward DeSeve, special adviser to the president, who said the mistakes are a matter of “typos and coding errors that don’t undermine the information at the heart of the data.”

“Yes, it is ‘silly’ that Recovery.gov shows that a project went to the 15th Congressional District in Arizona when there is no such district,” DeSeve wrote. “But a ‘click’ on the project details gives you the address and a check on the address shows it is Arizona’s 3rd District. All this shows is that when people sent 130,000 reports, some will have silly mistakes. But it doesn’t really undermine the ability of the public to track and follow the data – or the fact that real jobs have been created.”

But the federal government is responsible for presenting accurate information to the public, even if grant recipients who filed information got it wrong, Scarantino said, adding that he believes this indicates a much larger problem.

“There is no way to know from where we sit, as citizens, whether that money evaporated, whether it doesn’t exist, whether it fell through the cracks or whether it’s a data entry error,” Scarantino said.

Rep. Pete Hoekstra (R-Mich.) said in a Nov. 17 statement: “Even Democrats are outraged that the administration continues to rpesent false numbers to the American people. The president and vice rpesident continue to stress that they are creating jobs and now we know why, because they are working with inaccurate information.”

The state of Kentucky, with just six congressional districts in reality, apparently received $15,000 for its “90th congressional district” and $274,000 for its “30th congressional district.” On the upside, most of the jobs created or saved were in congressional districts that actually exist.

Also, $1.19 million went to save or create six jobs in the “99th congressional district” of Alaska, which is listed as having a total of 15 congressional districts, which is not true. Though geographically large, the scarcely populated state has just one at-large congressional district.

Iowa’s non-existent “24th congressional district” got two jobs for $113,000 in stimulus funds. Maine’s non-existent 92nd district got zero jobs from its $28,000. For its part, South Dakota’s non-existent 46th congressional district got just two jobs for the $603,000 it received in stimulus money. Utah’s non-existent 68th district got no jobs for the $29,180 it received in stimulus money. Vermont’s pseudo-5th district got 2.5 jobs for the $1.9 million federal investment.

That is according to Recovery.gov. In reality, Iowa actually has five House seats, Maine two, South Dakota one, Utah three and Vermont one.

Vice President Joe Biden acknowledged there were accountability problems when he spoke about the reporting of funds last month.

“We know that it’s not 100 percent accurate — this has never been attempted before — and that further updates and corrections are going to be needed,” Biden said. “But we’re pleased to make this information available.”

House Appropriations Committee Chairman David Obey (D-Wisc.) called the inaccuracies on the Web site “outrageous.”

“Credibility counts in government and stupid mistakes like this undermine it,” he said in a statement. “We’ve got too many serious problems in this country to let that happen.We designed the Recovery Act to be open and transparent and I expect the Recovery Accountability and Transparency Board, who oversees the Recovery Act Web site and data to have information that is accurate, reliable and understandable to the American public. Whether the numbers are good news or bad news, I want the honest numbers and I want them now.”

The information on the site should have a warning sign next to it, said Rep. Darrell Issa of California, the ranking Republican on the House Oversight and Government Reform Committee, in a letter to the Recovery Act Transparency and Accountability Board.

“Are you able to certify personally that the number of jobs reported as ‘created/saved’ on www.recovery.gov is accurate and auditable?” the Issa letter asks. “If you are unable to do so, will you commit to incorporating some kind of qualifying information such as an asterisk or footnote to accompany the presentation of this information, warning visitors to the Web site that the information is not accurate and auditable?”

Said Congressman Hoekstra in his statement: “People only need to talk to their neighbors and read the monthly unemployment data to know that the ‘economic stimulus’ plan isn’t stimulating any type of job creation. The administration and those in Congress who supported the original $787 billion bill need to understand job creation does not flow through Washington, especially as they consider a second economic stimulus bill.”

So, Mariah shows up to a promotional event to promote her album in a Phantom decorated with decals of her album images. Of course, people start hating. When a “diva” promotes her album, she must be an egomaniac. Hmm…

Golf is an obsession for millions and now an Olympic sport. The intricacies, delicacies and finer details of the game is what sets it apart and makes it one of the most loved and hated sports in the world. Golf is a rough sea of changing hope and fortune, a game of highs and lows, alterations and frustrations. At the centre of this sporting mosaic lies the swing. The way the club moves through the air determines everything from whether or not the ball feels like a rock or marshmallow on impact to its resulting trajectory and indeed, its destination. Every golfer dreams of the perfect swing, of hitting that monster drive, of playing that perfect approach. Coaching is essential for improvement; and even the best players in the world receive regular support. However, lessons can be expensive and sometimes self-analysis can be an easier and more rewarding option. Recording and watching your swing is a crucial first step and seeing it properly for the first time is akin to hearing to the sound of your own voice. The next step is to compare your swing to one that works and who better to look to for guidance than those that swing a club for a living? For years I have compared my swing to that of a certain Mr Eldrick Woods, believed by many to have the greatest golf swing of all time.

Before the days of high speed Internet, when classic dial up was the pinnacle of technology, I subscribed to the Golf digest website. There, amongst the plethora of help articles, were frame-by-frame visual maps of all of the top golfer’s swings. It was basic, but strangely rewarding despite having to wait 15 minutes for the pictures to load. Since the advent of high speed Internet and video upload sites, it has become relatively easy to find clips of almost any professional golfer online. In seconds you can access fast loading, high quality streams of your favourite player on youtube. To add to this, advances in camera technology have meant golf swings can be captured at extremely high frame rates. For instance, BBC golf coverage now makes regular use of its ARRI Tornado camera, which operates at 1000 frames per second (fps). The combination of this technology and broadband means that professional golfer’s swings can be analysed online and in detail by anyone. Below is some stunning high-speed camera footage of Tiger captured by Nike with a Phantom V5:

Armed with Tiger’s footage, it should be easy to compare the differences with my own. Unfortunately for amateur golfers like me, capturing my own swing in such detail is a rather expensive affair. High-speed cameras such as the Phantom typically cost in excess of $10,000. Not exactly a small time investment and a factor that has kept high-speed filming firmly planted on the professional side of the line. However, that could be all about to change. No longer will high-speed footage be a privilege reserved only for those who get special passes at tour events and wear funny green caps. A new Casio range of cameras delivers rapid frame exchange at a price that doesn’t require you to sell your Pings and get a second mortgage.

The EXILM High speed range delivers high-speed filming to the masses. The new EX FS-10, EX FH-20 and EX-F1 are all capable of shooting slow-motion (which is really high-speed) video at at least 1000 fps, putting them on par with much larger, pricier commercial systems such as the Phantom. No tripod is needed and they work well in a variety of light conditions so you can leave the high-powered halogens at home. Casio’s flagship high-speed camera, the EX-F1 can shoot 1200 fps at a resolution of 336 x 96 and 300 fps (an industry standard for high speed golf analysis), at a respectable 512 x 384. This particular camera is already being employed in commercial applications such as crash dummy design due to its relative low cost to performance ratio.

The cameras are already available for purchase in the US. However, most interesting is the recent announcement of the addition of some virtual golf pro firmware to a new version of the EX FS-10. Casio clearly understand the impact their cameras are going to have on the golfing market. The firmware will allow the posture and swing plane of the player to be analysed in tandem with the high-speed video modes. In video review, corrective positions for key body parts such as the head and elbow as well as adjustments in spine angle are suggested in an attempt to improve general swing technique. This means that as well as being able to see what your swing looks like in glorious slow motion and compare it to Tiger’s; you can get advice on how to improve it, straight from the camera.

How exactly the feedback is given will be an essential component to the success of the product. As the general population is being targeted the information needs to be easy to understand and interpret without requiring expert knowledge on the golf swing. However, the system could also potentially be an affordable way for golf professionals to implement high-speed camera analysis into lessons.

But how effective is the camera at capturing high-speed footage? A crucial aspect is the resolution as this is typically what is most affected by an increase in frame rate. According to Casio, at 1000fps the resolution of the EX-FS10 is 224 x 56. To put this is perspective here is an image of the same size:

The Resolution of the EX-FS10 at 1000 fps

It is clear that at this resolution, it is not really possible to capture the entire swing, rendering the accompanying software somewhat useless at the maximum frame rate. Having said that, at 210 fps, which is still quite high, the resolution is 480 x 360, which is not terrible considering the camera does not require a tripod or any additional specialist equipment. This is most likely the frame rate for which the firmware update is intended and at which it will be most effective.

It is interesting this technology has been implemented by Casio, not generally considered one of the front runners and more known for their retro digital watches and school calculators than innovative digital cameras. I would have thought this technology would have come from Sony or Canon. One of the big boys. The high-speed capability paired with the virtual pro feature comes as a surprise, and a very pleasant one. It is important to note that this technology has been implemented in a consumer product rather than at the top end of the EX line, meaning it is going to be available to the average golfer. Sadly the firmware will initially only be made available in Japan. This is possibly to test the waters before the all-important US golf market is targeted. Not that the firmware itself is essential. You can download a whole host of swing analysis software online, with features exceeding those to be implemented in the EX-FS10. What sets the Casio firmware apart is the ability to analyse on the go, which makes it ideal for swing tweaks on the course or at the driving range. The release of cameras with such high-speed capabilities highlights the sharp rise we are seeing in imaging technology. For instance, at the top end of the scale, the latest Phantom V710 allows for a 7520fps capture at full resolution (1280x 800). At an equivalent resolution to the 1000fps on the Casio Ex-FX10, the Phantom can capture an astonishing 288,800 fps. It is only a matter of time before some of this high speed filming prowess further trickles down to the consumer market.

The new Casio EX-FS10 with Virtual pro firmware will be released in Japan on November 26th 2009, with an RRP of around $350. I have a feeling we are going to be seeing a lot more slow motion golf swings on youtube very soon.

For Imagine Nation Photography (http://www.imaginenationphoto.com), shot with Erron Ocampo and Marie Rimmer.

Okay, sue me, I’m pathetic. I’ve been Imagine Nation for so long already, but this was my first debut with the studio. XD I’ve been to debuts, sure, but the last time was way back in 2003/2004, so well… let’s just say it’s been a while. And yes, no doubt you’re wondering why it took me a long time to post this. Well… just because.

This debut was cool, it had a Broadway theme. Ms. Pooh and her amazing team of coordinators were in charge of the whole event, so let’s just say there was no stress whatsoever. Jesy Alto was Angela’s make-up artist, so it can be said that she just looked gorgeous. And of course, Imagine Nation was covering the event. Need I say more about the quality of the coverage? I didn’t think so. XD

That’s just a sneak peek. Want to see more? Click the link: Noel Salazar | Philippine Wedding Photographer | Imagine Nation.

The E-cars are coming. Once the dominion of entrepreneurs tinkering in their garages. Now car companies we already know are jumping into the mix.

Rumors are swirling uptown, that an E-Rolls is in the works. Who knew the Upper Crust was so eco-friendly?

But if you prefer something a little more discreet, don’t feel left out. Since Smartcar already looks like a golf cart, the makers at Daimler decided an electric car was the next logical step.

On another note…

One if the most appealing things for me about Twitter is that I can be myself. I don’t expect that from everyone because of the element of anonymity (like me, no matter what you think, my name is not actually Bunny, and as for being a phantom – sorry about that) However apart from my name the rest is all the kuk in my head. It’s honest. And that is refreshing for me.

Of course the reason for enjoying this is because I am quite repressed in real life. I have not one, but many persona’s to project. Those that ‘know’ me will say that’s rubbish. They would. They think they know me. It’s bizarre.

So Twitter and blogging are good for me, keeps me from buying into my own bullshit really. That’s important, you can’t allow yourself to get caught up in your masks otherwise you will go nuts. I used to write on paper, in books and then tear them up so nobody would find these little bits of my soul. I wish I’d been able to keep them but it was always terrifying to think that someone would get into my head.

So today’s little bullet for those who don’t yet follow me was that my boss, new to Twitter, wanted my Twitter name so he could follow my tweats! Is he fucking nuts? In his defense he really is a newbie to this so doesn’t yet realise how personal you can get. He is only interested from a business point of view. However I don’t want him to know what goes on in my mind in and out of work hours. That would just make things awkward.

Anyway I dodged that one and had to run off to a meeting which didn’t exist and commandeered an Aussie workmate for some aimless chatter (thankfully he takes his job as seriously as I don’t so that worked out well) and chaos was averted at least until tomorrow when I know good old boss with the brain of an elephant will ask again.

What do you get from a camera that costs as much as a house? The ability to shoot at insane frames per second! The average video, TV show or Movie is shot anywhere between 24-60fps. These cameras (SprintCam v3 and Phantom) can shoot up to 1000fps which means that you can capture great slow motion. I mean really, really slooooowwww motion. You are going to want to watch these ones all the way through.