See Children of Invention. Kathleen Kwan (who we killed yesterday -- twice, and who was the fabulous star of Solar Vengeance) is in it. It's playing in theaters in New York and LA.
Chance Shirley turned me on to this lighting company: Rostronics. They seem to be a Lowell competitor and they have some neat lights for not a whole lot of money. I'm kind of interested in their fluorescent soft boxes.
My friend writes a very well reasoned post on copyright (Jonathan Newman on copyright). In a virtual "roundtable" discussion he answers an interview with Nina Paley. (In short, she made a movie with a bunch of music that she was aware was copyrighted, but apparently -- from what I gather from her interview -- figured it would be easy to buy off the copyright holders). Referring to the publishers and the estates of the composers she says:
'It was just this dawning understanding that if no one gets to see my film, that’s fine with them. They don’t have anything to gain from my going forward. It’s not worth the trouble to them, but I could go to jail. I could go to fucking jail.'
To paraphrase the great John Mayer
If you're shocked that other people aren't first and foremost interested in helping you make your movie, life may continue to be hard for you.
And I don't know what the deal is with the GH1. Everyone complains about the lossy codec it uses. Yep, you get a LOT of time on a 16GB card (I've never exceeded shooting more than 8GB in a day). But when I use NeoScene and make ProRes "SQ" files the picture looks... good. I mean really good.
But when I export as a .png sequence the picture really skunks. Now I thought that once you got into ProRes you could export to a lossless compressed format like .png can be, and you're not going to take much more of a loss. But when I look at the footage on the Mac in Final Cut it looks pretty darn good -- wisps of hair are all clear and clean. When I look at the .png sequence on a PC it looks stair-steppy and lossy and crappity poo. Shouldn't .png sequences be lossless (if set to the highest quality)?
Does this mean we have to do all our composites using ProRes "SQ" (and therefore stay on the Mac)? I... just... don't... understand...