Ep. 1105: Where we light the future Video
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Post show discussion from episode 1105.
Ep. 1105: The New Testament of Torrents
I'm very pleased that LegalTorrents.com has come along to prove that I'm not crazy when I say there are plenty of legal reasons to use torrents. And they even have a torrent of Bible 2.0. Probably with new commandments from the MPAA. We also chat about AMD and Intel making nice, and how long that might last. And Microsoft tries to patent sudo. Yes, they said, "Sudo grant me a patent," I'm sure.
Quick Tips: Take better photos using existing light
Use the existing light to keep your subject from being overpowered by the flash.
CNET News.com's Amanda Termen was on hand for the official 'wire cutting' ceremony in Anaheim, California, on June 29. Hear from the mayor of Anaheim and EarthLink's CEO on the challenges they've faced so far, as well as the challenges yet to come.
CNET News.com's Amanda Termen was on hand for the official 'wire cutting' ceremony in Anaheim, Calif., on June 29. Hear from the mayor of Anaheim and EarthLink's CEO on the challenges they've faces so far, as well as the challenges yet to come.
Ep. 953: Where we cut the blue wire
Video game expert Russ Frushtick drops by The 404 studio to chat about Xbox Live Dashboard updates, the next Xbox console, Grooveshark floating in hot water, and a FaceDrink challenge!
At CES 2013, CNET's Seth Rosenblatt checks out a suite of home connectivity products from Lowe's like a light bulb you can control from your phone.
Lamborghini Aventador J Speedster
Where does Lamborghini go from fast? Light(ning) fast!
Donald and Jasmine throw out a few tasty leftovers from CES 2010, including an upcoming Slacker iPhone app update that will cache music offline. We check out some speaker light bulbs, an amplified helmet, and cross our fingers for XviD support on the Zune HD.
Panic Cell decided to re-release "Away From Here" as a follow up to Thousand Words. As the band's look had changed they needed a new video for this re-mixed version. Set in a club during Panic Cell's performance, the narrative follows a girl as she meets her apparent assailant. We had an industrial niteclub location in mind when writing the script but decided to recreate the club in a studio which was logistically beneficial and kept costs down. We hired the loading bay at Black Island Studios. The set for the narrative was built adjacent to the bay where the band were performing, enabling crew to jump between sets so the band's performance could be shot while the actors were going through make up changes. We achieved the look for the club by using long lenses and low key lighting, shooting on an Arri 435 from Panavision so we could easily adjust the shutter angle between shots. Robin Brigham had lit the original version and has a great gift for getting creative under pressure, managing to keep up with our tight shooting schedule. Our two production dynamos Carolyn and Isy sourced actors Jennifer Glyn and Danny George who's parts were pre-blocked and rehearsed enabling efficient shooting. The whole shoot was storyboarded and planned down to the last detail in order to accommodate the amount of set ups. We used Panic Cell's fans as extras to add to the realism of the club. A free bar as part of the set was unfortunately derogatory to their behaviour but despite alcohol induced issues the extras did a great job and we shot as planned with long lenses to create the illusion of a larger crowd. For practical reasons all the scenes with the extras were shot first. The flashbacks of Jennifer getting ready were filmed in a house in Wimbledon. Danny wasn't available so Yan body doubled during the exterior attack scenes which were shot in the back garden. Finally we dragged poor shivering Jennifer into a nearby alley to shoot her post attack scenes, covering her in a blanket between takes. Robin lit this sequence with one sungun maintaining the high contrast look of the club interiors, shooting everything wide open on the lens which gave us a very shallow depth of field. Dave at Framestore provided us with another superb grade and once we finished the cut, the final stage was the subtle CG sequence as Jen turns into a vampire. Chris Shaw created a rough transition, tracking vampire eyes and teeth onto Jen's face. He had planned to do a more detailed version but the first one worked really well as the sequence only lasts for a second, so we used this in the final cut. More information is available at www.visualabuse.com
