shot in Paremata with Canon 5DmkIII and EF16-35L lens
shot in Paremata with Canon 5DmkIII and EF16-35L lens
▶ “Some feature animations consist of about 10,000 drawings, but Ghibli’s sometimes exceed 80,000!
this is pretty fantastic – thanks Simon!
▶ love these animated archival photos
▶ Scientists have captured the sound one atom makes
▶ Michael Moore’s 13 Rules for Making Documentary Film – and Rule #13? “Finally… Sound is more important than picture. Pay your sound woman or sound man the same as you pay the DP, especially now with documentaries. Sound carries the story. It’s true in a fiction film, too…..”
I just got my first prime: the Super Takumar 50mm f1.4 lens
The focus mechanism of this lens is beautiful – so much smoother & capable of subtle/fine adjustment than any of my Canon lenses!
the only downside to this lens is that it is radioactive!
“Radiation coming from an old lens from the early 1970s is measured with a simple geiger counter. This lens is the famous 50mm f/1.4 Super-Multicoated Takumar (S-M-C Takumar), well known for its radioactive thorium glass element near the rear of the lens. Some photographers claim this lens is one of the finest ever made, and use it as one of their favorites, despite the radioactivity.”
José Luis Díaz has a great series of video tutorials on dialogue editing, which along with the book “Dialogue Editing for Motion Pictures – A Guide to the Invisible Art” by John Purcell should be required reading/viewing for anyone working in film sound post production, but is especially useful to students and anyone new to sound post, or interested in expanding their knowledge beyond their own department or speciality.
I get emails occasionally asking me to outline the sound editing & design process for feature films, and usually it is apparent just from the question that the person doesnt actually realise the scope of their question i.e. they don’t know what they don’t know. I don’t mean they are ignorant, but by comparison I don’t anything about using a dark room for photography but I DO know the scope of how much I dont know & there is no way I would email someone asking how to do it, because I can well appreciate the complexity & acquired practical experience that would be necessary. These are huge, complex tasks and with sound post they involve many skilled people over a long period of time. Summing it up in a collection of ten books would be a challenge, but summing it up in an email? I think not. FWIW here is a small collection of books I have read, and below is a series of links to Joses video tutorials..
Dialogue Editing for Motion Pictures – Lesson 1: Organization
Dialogue Editing for Motion Pictures – Lesson 2: Basic Transitions
Dialogue Editing for Motion Pictures – Lesson 3: Using Reverse Room Tone
Dialogue Editing for Motion Pictures – Lesson 4: Aligning Shots
Dialogue Editing for Motion Pictures – Lesson 5: The Telephone Split
Dialogue Editing – Lesson 1
Dialogue Editing – Lesson 2
Dialogue Editing – Lesson 3
Dialogue Editing – Lesson 4
Dialogue Editing – Lesson 5
Dialogue Editing – Lesson 6
And thanks Olivier, for posting this list!
Having lived all my adult life in cities I have to say I love now living surrounded by bush, with all the wildlife that it supports. All of these photos were taken within about ten minutes yesterday…
As Spring is just starting there are lots of young Tui flitting about, learning to be birds
shot with Canon 5DmkIII and EF100-400L lens
My two sisters (and five of my nine nieces & nephews) live in Pukerua Bay, the next suburb over from my place in Plimmerton. And knowing me & my obsessions as they do, they always let me know when they are doing something I might be interested in, which is why this afternoon I got to go visit an audio museum by the name of…
The lovely elderly couple who own Melody Farm have done so for 50+ years, and in its heyday regularly had busloads of visitors… Nowadays they are nearing the age of making the inevitable/unenviable shift to a retirement village, but their enthusiasm has not diminished one iota… So this afternoon we got a grand tour of their fantastic collection!
Beautiful old turntables & acoustic amplifiers!
And the coolest jukebox I have ever seen!
They also had a formidable collection of player pianos!
Every time I see a player piano score my mind does a triple flip: am I looking at [a] a knitting machine pattern [b] an early 80s punch card computer program or [c] a musical score. I am less interested in the answer & more interested in the idea of a genius hacker/composer who can only be identified by the cut of their jersey…
I was impressed with this player piano external add on & started imagining lining up percussion instruments beneath its hammers…
While it wasn’t intentional, visiting this museum on the same day as Apples big little new product announcements had me thinking about user interfaces…
These archaic devices have far better user interfaces than any silly watch! (Is it not ironic that I stopped wearing a watch the day I started always carrying a cellphone?)
There is simply no denying the physical, emotional and acoustic character of analogue equipment.
..seeing this beautiful little valve amp made my imagination kick in & wonder what it would sound like, with my SH101 plugged in & cranked up to 11….
or the melancholic anthropomorphism of this radio: its almost pleading to be turned on, and listened to…
I’m old enough to remember when MIDI was steam powered, well practically! My first MIDI experiences were using Studio Vision Pro with my trusty Mac Quadra 700 and a Juno 106… While digital audio has made quantum leaps in fidelity, methodology, UI and processing, it feels not that much has changed with MIDI. Recording and editing MIDI in ableton LIVE or ProTools doesn’t feel different enough to warrant the decades since I was doing the same in StudioVision but at last I feel a bit like the hardware has made a development worth mentioning…
Someone mentioned this on MW Forum a few months back and after being on a waiting list with the Australian distributor for 2 months (who couldn’t give me an actual ship date but required prepay for product + freight!?!) I finally requested a refund & bought one off eBay & had it here a week later! So what exactly is it – another MIDI interface? Well yes and no… It is an iConnect MIDI4+ and it expands MIDI connectivity in a number of unique ways – unique enough that it made me order one!
First of all, it is a multi-host interface. So for example I have a Mac Pro Tower running alongside a MacBookPro and I use both Macs all the time. Both have ProTools, ableton LIVE, Numerology and a bunch of other apps installed, but ideally I want to share all my controllers and keyboards between both computers and this new interface can handle not only that, but it also connects to my ethernet network and can wrangle MIDI over ethernet from/to any device from/to either Mac. Excellent! But wait, theres more!
It also has a dedicated iPad USB port so I can incorporate my iPad as a controller… It also does some things I am not sure I need eg “Audio passThru™ technology which routes audio between devices, simply appearing as an audio interface to the operating systems.”
Expansion-wise if 4×4 isn’t enough MIDI/USB connections, you can also hang a powered USB hub off it and add another 8 MIDI devices..
So I am sold on the idea of what it represents, what I remain to be sold on (and will soon find out) is how its all configured. But over the next few days I am going to find out… So I’ll post a few screenshots once I have my studio set up and functioning…. here is what I am juggling:
Korg SV1 88 key
Yamaha SK1XG mini keyboard
novation LaunchPad x2
Korg SV1 88 key
Doepfer A190 MIDI to CV
Analogue Solutions MT16 MIDI to Trigger
Sequential Circuits SixTrak
Oberheim Matrix 6
Roland Juno 106
Akai Z8 Sampler
& no doubt some other stuff I’ve forgotten…
the iConnect MIDI 4 plus costs US$249 which actually seems a fair price, presuming it all works & I don’t lose days of my life configuring it all
“Created for the Saint Sauveur chapel in Caen, Caten is a levitating sculpture, determined by gravity and guiding the evolution of a sound composition. 300 fine wires suspended from two ropes, connected themselves at each end to a slowly rotating arm, form an evanescent surface which interacts with the architecture… The sound composition is inspired by the medieval solmisation prayers, especially the first verse of “Ut Queant Laxis”, also known as the “hymn to St John the Baptist”, used in the eleventh century to determine the names of the notes of the scale used in latin countries. At each turn, the engines emit one of the first 4 notes of the scale (Ut, Re, Mi, Fa), creating a sequence of intervals, constantly reconfigured. Low frequencies resonate in the space and emphazise the transcendental character of a place once dedicated to faith.” – more info here
▶ re my newfound interest in getting a tent – here is the perfect one for field recording, up trees at least! thanks Tom
▶ the shape of ideas by grant snider
▶ the colour pallets of films
wait for it…
▶ beautifully surreal gifs
▶ beautifully surreal anthropomorphic/inter-species art
(would love some of these new wireless mics!)
▶ walking and thinking and walking
looks more like an internet cafe than a concert, but thankfully is fairly restrained…
look at those little minds expanding!