29 Jul 2007
Hitachi US have produced a number of particularly spectacular “true stories” regarding their deployment of various technologies across the US. When I say spectacular, I’m not really referring to the plot of these stories, but just the production quality. It’s very well done. I think the target medium is exclusively the web, though I’m not certain — 5 minute packages are too long for TV by far, and marginally too long for cinema advertising. It’s quite good fun, though it’s difficult to identify a particular target. I clicked an ad to get there which was something to do with installing FTTN in some obscure US town (procrastinating), but… really… that was mostly because I didn’t know Hitachi were a service provider (turns out, I think, they’re not… but the ad seemed that way)
What I want to know is, why do infrastructure companies need lots of positive PR? Sure, they make CE products, too, but that’s absolutely nothing to do with this technology. We have a social conscience, buy our CE gear?
21 Jul 2007
I have been to New Zealand; learnt to snowboard; entered a country alone for the first time; updated Facebook as a matter of first priority — surprising Claudia by turning up a day early was second, I should have reversed the two!; presented CYIADA (the name is changing, I haven’t shared it here just yet) to a large number of internal stakeholders, with whom the idea went down fairly well; started to feel on top of work; decided I’ll be doing less uni this semester (and probably will be on my own in the course, which is sad); started research into a project I’ve been wanting to get off the ground for some time now, with moderate degrees of success; and not spending nearly enough time on freelance commitments, but knowing it will provide good experience for CYIADA’s imminent implementation of similar things (yes, the freelance clients in question are aware of this motivation!).
I’ve also hit a bit of a slump in bible reading which isn’t magically solving itself… I put it down to playing too much catchup when I got back and not prioritising God’s word anywhere near as highly as I should have done. But now it’s a matter of actually resolving that before all of a sudden I’ve been back a month and still haven’t! Prayer is welcomed, of course.
I have also been sleeping well (if anti-socially?) — New Zealand does good things to you like that. I think I could quite happily live there, though a few more warm clothes would need acquisition first. That said, I have no plans to run away. Quite enough is keeping me here for the next 2 years or so, methinks. This is the latest I’ve been up in nearly a month methinks, so I’d best be off. More regular updates may be forthcoming at some point in the future. Life gets in the way of blogging sometimes — it’s not all bad!
p.s. yes, Harry Potter comes out in about seven hours. No, that does not qualify as ‘life’. (Close, though)
02 Jul 2007
Our leaders were all fantastic, Andrew was used so powerfully by God to speak to people who follow Jesus and those who don’t alike, and there were more engaging discussions had than at… somewhere that would have a lot of them. So many people seeking something, and so many who seem close to finding, but that’s all outside of our power. To God alone be the glory.
21 Jun 2007
Geeking tonight was awesome. Never seen so many nerds in the one place. Need to get out (to nerd gatherings) more! Conductor was Arnie Roth, who was vaguely annoying but possibly only on account of his American-ness and the fact that someone gave him a microphone, and we all know giving conductors mics is invariably a BadIdeaâ„¢. Akira Yamaoka had some crazy part to play with an electric guitar (they only used one mic on his amp, I was appalled!)… he was dressed quite interestingly. I suggested I adopt his fashion sense (because, invariably, mine is lacking!) and was promptly shut down by Claudia.
Video was annoyingly bad in the entire first half, because the vision switching was rubbish, the cameras were inappropriate for the task, and the camera ops had not the foggiest idea how to pull focus, adjust iris, or obey cues. Alternatively, the person calling the show was just really bad at letting people know when they were clear to start moving. I’d say somewhere between the two. Given there were only four live vision sources by my count (centre at audio desk, centre right (stage left), stage right, organ loft) it’s not exactly as though it should’ve been too complicated. The first two were house cameras and generally pretty okay. The third was an XL-1 or -2, whilst the camera at the organ was probably a XM or maybe a compact Panasonic camera. Both cameras 3 and 4 had serious aperture issues. The third was often too dark (failing to compensate for dim lighting in the room), whilst the fourth was waaay too far open. Apparently someone must have set it up when house lights were on and the organ was not: accordingly, it was absurdly bright against the other 3 cameras (zebra bars, anyone?).
Part of the issue also stemmed from having two different classes of projector in use in a configuration where the primary screen (called A) is ~18×9″ and two secondaries (collectively, B) are perhaps half the primary screen’s dimensions (that is, a quarter of its size). All three were rear-project and I’d imagine that projector A was vastly more powerful than projectors B. Accordingly, camera 4 appeared on B without losing details, while on A the sheet music was a vast white expanse. This is why it’s important for video nerds to look outside their little control booth sometimes — preview monitors lie. Also, the larger screen was one of the dirtier fast-folds I’ve seen used, with clearly visible lines three-by-two across it becoming especially apparent in bright, high-motion segments.
Somehow video redeemed itself in the second half (maybe different cameramen, maybe the person calling shots got a clue in intermission, or maybe my hypercriticalness subsided somewhat), but I wasn’t left amazingly impressed.
Lighting, on the other hand… delightful. Eight 5kW fresnels with Colourset scrollers gave a nice wash to the stage above and beyond what the (more) intelligent fixtures could provide. I couldn’t pick the movers on the back bar, but I’d venture a guess at MAC600′s for the sides. Also four per side, as with the fresnels. Five along the back bar, though I’m quite sure they were a different kind of fixture. Lighting didn’t help out the cheap Canon video cameras, though the house cameras dealt with it admirably… there were a few really beautiful shots in there from those two.
Audio worked. The 6.1 (which I read about somewhere but now can’t find, and for which there were puncy little speakers about the size of SX100′s set up in their appropriate positions) was useful for drowning out the organ at one point and making percussion come from weird directions, but other than that I didn’t particularly notice it. Which is good. Either they weren’t using it, or the sound was just swallowed by the room. Quite a lot of mics and those sound partitiony things (they surely have a name, but I don’t know it), which would tend to indicate they were being quite ambitious about either recording the concert or mixing to surround and didn’t want audio leaking between microphones. Hence (in part) my frustration at the single mic on Yamaoka’s amp… redundancy is important where one instrument is that important, especially in a high-traffic area like that (conductor walks around more than anyone else on stage). There’s always the possibility to re-set mics in intermission, but if either Yamaoka or the conductor were to knock it on entering after the intermission? Stuffed. It was a decent sized amp, but it’d hardly carry throughout the building very well. Aside from that… well, I don’t really know what I’m talking about with audio, anyway. It sounded good.
I shocked myself by remembering large swathes of Zelda. This makes me think I must’ve had Butterfly-Effect-esque blackouts in my childhood, but oh well. I’ve also decided I want to buy a Dreamcast, difficult though that may prove, because I really wanted one when they first came out (on account of that whole Linux thing, Internet connectivity, the brand’s relative innocence — hey, maybe that’s why it’s gone now –, and a handful of delicious looking screenshots from games which got great reviews) and never got around to it before they stopped making them.
Konami are morons. Everyone else gives their game footage gratis, quite reasonably understanding that such coverage is only going to boost the value of their brand, yet Konami apparently insisted on a watermark on some footage provided. I’ve never been a fan of many of their games anyway, but that watermark pissed me off enough that I’m exceedingly glad they’re mostly stuck in arcades with aging picture tube consoles, anyway. About the same decade as their marketing saaviness.
As much as I will always whine about anything visual (I “enjoy” or “dislike” regular concerts without too much analysis, because I can’t), it was a good night. It made me miss productions enormously (live vision especially), which is funny because I think the desired effect was to make people miss video games instead. Claud had fun laughing at the geeks getting all dressed up. We both laughed as certain members of the audience were baffled by performance conventions! All in good fun.