Yet another word game
- Thread starter Rafa.the.Magnificent
- Start date
stringertom
Bionic Poster
Recruiting for a college football coach requires going into the recruits’ living rooms and convincing parents you’re the right man to guide their sons for at least the next three years.
Rafa.the.Magnificent
G.O.A.T.
I never knew Rod Steiger was in Dr. Zhivago. In fact, I've never seen the whole of Dr. Zhivago which is just ridiculous! The Pawnbroker sounds very good too, I'll look out for it. I love In The Heat of the Night.
Recruiting and auditioning are not synonyms of any sort, at least not to my belief.
Rafa.the.Magnificent
G.O.A.T.
Years in medical school are said to be brutally sleep depriving.
stringertom
Bionic Poster
Deprivation of sleep is a common tool of torturous interrogation specialists.
Mike Bulgakov
G.O.A.T.
Interrogation specialists are often less effective than honey trap elicitation specialists, who also employ sleep deprivation, though their tactics are far from torturous.
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stringertom
Bionic Poster
Torturous memories of The Spanish Bush incident have induced Mike B to wear protective eyewear when diving for the elusive bearded clam.
Rafa.the.Magnificent
G.O.A.T.
Clambakes at the seashore are pretty common in Maine.
stringertom
Bionic Poster
Maine wasn’t where Jessica Fletcher pedaled her bicycle in the opening credits of Murder She Wrote.
Rafa.the.Magnificent
G.O.A.T.
Rehab (Amy Winehouse)
They tried to make me go to rehab
But I said no, no, no
Yes I've been black but when I come back
You'll know, know, know
I ain't got the time
And if my daddy thinks I'm fine
Just try to make me go to rehab
But I won't go, go, go
They tried to make me go to rehab
But I said no, no, no
Yes I've been black but when I come back
You'll know, know, know
I ain't got the time
And if my daddy thinks I'm fine
Just try to make me go to rehab
But I won't go, go, go
Mike Bulgakov
G.O.A.T.
Go to boarding school for rehab?
Lana Del Rey: ‘I was sent to boarding school age 14 to get sober’
While dispelling rumours of her past put to her by the interviewer, Del Rey revealed that her parents sent her to Kent school, a strict boarding school in Connecticut, at the age of 14 to help kick her drinking habit.
She said: “I was a big drinker at the time. I would drink every day. I would drink alone. I thought the whole concept was so fucking cool. A great deal of what I wrote on ‘Born To Die’ is about these wilderness years.
“My parents were worried, I was worried. I knew it was a problem when I liked it more than I liked doing anything else. I was like, ‘I’m fucked. I am totally fucked’.”
https://www.nme.com/news/music/lana-del-rey-149-1264690
Everyone from home
Says that you're so cool
Come on, everybody
To the boarding school
Everyone from town
Says that you're so cool
Come on, get down
To the boarding school
L-L-Let's do drugs
Make love with our teachers
Come on, baby, tell me
With his tattooed-ass feature
I'm a fan of pro-ana nation
I do them drugs to stop the f-food cravings
If you wanna get high with me
I'm in the back doin' crack, drinkin' p-p-pepsi
[Chorus]
Everyone from home
Says that you're so cool
Come on, everybody
To the boarding school
Everyone from town
Says that you're so cool
Come on, get down
To the boarding school
Cheap trailer trash and everyone knows it
But she got a great ass and she knows how to show it
With American flags on each little finger
You're crashing on Wall Street
While I'm blowing up as a singer
If you wanna get that scholarship
Yale's not a problem, let's solve it
Educated in the language of doin' it
Get down like your tutor taught you to
And do it
Lana Del Rey: ‘I was sent to boarding school age 14 to get sober’
While dispelling rumours of her past put to her by the interviewer, Del Rey revealed that her parents sent her to Kent school, a strict boarding school in Connecticut, at the age of 14 to help kick her drinking habit.
She said: “I was a big drinker at the time. I would drink every day. I would drink alone. I thought the whole concept was so fucking cool. A great deal of what I wrote on ‘Born To Die’ is about these wilderness years.
“My parents were worried, I was worried. I knew it was a problem when I liked it more than I liked doing anything else. I was like, ‘I’m fucked. I am totally fucked’.”
https://www.nme.com/news/music/lana-del-rey-149-1264690
Everyone from home
Says that you're so cool
Come on, everybody
To the boarding school
Everyone from town
Says that you're so cool
Come on, get down
To the boarding school
L-L-Let's do drugs
Make love with our teachers
Come on, baby, tell me
With his tattooed-ass feature
I'm a fan of pro-ana nation
I do them drugs to stop the f-food cravings
If you wanna get high with me
I'm in the back doin' crack, drinkin' p-p-pepsi
[Chorus]
Everyone from home
Says that you're so cool
Come on, everybody
To the boarding school
Everyone from town
Says that you're so cool
Come on, get down
To the boarding school
Cheap trailer trash and everyone knows it
But she got a great ass and she knows how to show it
With American flags on each little finger
You're crashing on Wall Street
While I'm blowing up as a singer
If you wanna get that scholarship
Yale's not a problem, let's solve it
Educated in the language of doin' it
Get down like your tutor taught you to
And do it
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stringertom
Bionic Poster
“Do It Yourself” usually refers to home improvement done by the owner but a mind in the gutter might twist the acronym DIY into a bit of autoeroticism. Woody Allen would fall into that latter group, if you ask me.
Rafa.the.Magnificent
G.O.A.T.
Does anyone, anywhere, actually dislike apple pie?
stringertom
Bionic Poster
Worlds of Harry Potter fans would know this man to be Uncle Vernon Dursley, husband of Petunia and father of Dudley.
Rafa.the.Magnificent
G.O.A.T.
Dudley Moore was born in England in 1935 to working class parents; his mother was an English secretary and his father a Scottish railway electrician.
Rafa.the.Magnificent
G.O.A.T.
Literati refers to the educated class, a great class to be part of without a doubt.
stringertom
Bionic Poster
“Without a doubt” is the level of certainty a jury must reach before finding a defendant guilty in a court of law. Reasonable doubt requires a “not guilty” verdict.
Rafa.the.Magnificent
G.O.A.T.
Guilty verdict or not guilty verdict seems to depend on what station one is tuned into. (Terrible grammar structure).
stringertom
Bionic Poster
Into The Great Wide Open is the title of both a song and an album by Tom Petty, who shared not only a first name but the fact both of us grew up in Florida university cities about 150 miles away from each other. As a result, playing gigs in Tallahassee was a frequent occurrence for the Gainesville native.
Rafa.the.Magnificent
G.O.A.T.
Gainesville natives can actually hail from numerous states in America, including Florida, Georgia, Alabama, Missouri, Texas, Arkansas, New York, and Virginia.
stringertom
Bionic Poster
Virginia Is For Lovers was the breakthrough advertising slogan for the Virginia State Travel Service developed by a small advertising agency in Richmond more than 50 years ago.
stringertom
Bionic Poster
20th Century Fox was a prominent player in the rise of the motion picture industry in Southern California after the company was formed by the merger of Fox Pictures and 20th Century Pictures In 1935. A bit more than three decades later, 20th Century Fox became the title of a hit tune by The Doors.
Mike Bulgakov
G.O.A.T.
The Doors were quintessentially L.A. and born in the realms of cinema.
stringertom
Bionic Poster
Cinema in the 60s underwent massive transformation all over the world with directors Bergman, Fellini, Kurosawa, Truffaut, Bunuel and Godard churning out wonderful takes on life at 24 frames per second.
Mike Bulgakov
G.O.A.T.
At 24 frames per second, early filmmakers found a balance between achieving the illusion of motion and economics.
FILM INDEPENDENT MON 4.16.2018
Hacking Film: Why 24 Frames Per Second?
by ERIC ESCOBAR
EDITOR’S NOTE: The following blog originally ran in 2016. We’re republishing it here, with minor edits to the original text. Special thanks to blogger Eric Escobar.
***
Why 24 frames per second, why not 23 or 25? Or for that matter, why not 10 or 100? What’s so special about seeing images 24 times per second? The short answer: Not much, the film speed standard was a hack.
The longer answer: the entire history of filmmaking technology is a series of hacks, workarounds and duct-taped temporary-fixes that were codified, edified and institutionalized into the concrete of daily practice. Filmmaking is one big last-minute hack, designed to get through the impossibility of a shot list in the fading light of the day.
The current explosion in distribution platforms (internet, phones, VR googles) means that the bedrock standard of 24 frames per second is under attack. The race towards new standards, in both frame rate and resolution, means a whole new era in experimentation and innovation.
YOU ARE NOT A CAMERA
Truth is, cameras are a terrible metaphor for understanding how people see things. The human optic nerve is not a machine. Our retina is nothing like film or a digital sensor. Human vision is a cognitive process. We “see” with our brains, not our eyes. You even see when you’re asleep—remember the last dream you had?
Motion in film is an optical illusion, a hack of the eye and the brain. Our ability to detect motion is the end result of complex sensory processing in the eye and certain regions in the brain. In fact, there’s an incredibly rare disorder called “Akinetopsia” in which the afflicted has the ability to see static objects, but not moving ones.
Like I said, how we see things is complicated.
SO WHY 24 FPS?
Early animators and filmmakers discovered how to create the perception of motion through trial and error, initially pegging the trick somewhere between 12 and 16 frames per second. Fall below that threshold and your brain perceives a series of discrete images displayed one after the other. Go above it, and boom motion pictures.
While the illusion of motion works at 16 fps, it works better at higher frame rates. Thomas Edison, to whom we owe a lot of debt to for this whole operation (light bulbs, motion picture film, Direct Current, etc.) believed that the optimal frame rate was 46 frames per second. Anything lower than that resulted in discomfort and eventual exhaustion in audience. So Edison built a camera and film projection system that operated at at a high frame rate.
But with the slowness of film stocks and high cost of film, this was a non-starter. Economics dictated shooting closer to the threshold of the illusion, and most silent films were filmed around 16-18 frames per second (fps), then projected closer to 20-24 fps. This is why motion in those old silent films is so comical, the film is sped up: Charlie Chaplin.
A 14% temporal difference in picture is acceptable to audiences (people just move faster), in sound it’s far more noticeable and annoying. With the advent of sync sound, there was a sudden need for a standard frame rate that all filmmakers adhered to from production to exhibition.
THE SHUTTER
Like any illusion, there is always something there that reminds us it’s not real. For motion picture, it’s the issue of a flickering shutter.
For a really interesting techie deep-dove of how this works, and how the three-bladed shutter was developed, take a look at Bill Hammack’s (aka “engineerguy”) break down of how a 16mm film projector works:
FLICKER REMINDS US THAT WHAT WE’RE WATCHING ISN’T REAL
I love the flicker. I think this flicker is a constant reminder, on some level, that what you’re seeing is not real. Film projected in movie theaters hasn’t changed much since the widespread acceptance of color and sound in the early 1930s. Due to technical and cost constraints, we have a standard: 24 frames per second, a three bladed shutter and some dreamy motion blur, all projected as shadow and light on the side of a wall. We watch movies the way our great-grandparents did, it connects us with a shared ritual.
While there have been fads like stereoscopic 3D, extra wide-framing and eardrum-shattering sound systems, most films are still shown the same, simple way. That is, until recently.
NOT CINEMA ANYMORE
Digital cinema, decoupled from the pricey mechanical world of celluloid film stock, has allowed frame rates to explode into a crazy collection of use cases. High speed (meaning slow motion) used to mean shooting film at 120 frames per second and playing them back at 24. Now it means using an array of digital cameras working together to shoot a trillion frames per second and record light beams bouncing off of surfaces. That’s right—with digital motion picture cameras, you can literally film at the speed of light.
ALPHABET SOUP
In the last decade, all of the different technical innovations in digital filmmaking coalesced into one massive chemical-sounding acronym, “S3D HFR”. That means, Stereoscopic (a separate picture for each eye) 3D (creating the illusion of 3 dimensions) HFR (high frame rate, like 120 frames per second). Peter Jackson did this on the Hobbit films, the reviews were mixed.
Stepping into a movie, which is what S3D HFR is trying to emulate, is not what we do at movie theaters. This new format throws so much information at your brain, while simultaneously removing the 2D depth cues (limited depth of field) and temporal artifacts (motion blur and flicker) that we are all accustomed to seeing. It confuses us because it’s not the ritual we’re used to.
But there is a medium where high frame rates are desired and chased after: the modern video game.
GAMERS WANT REALITY, THEY BUILT REALITY ENGINES
From photorealistic, real-time rendering pipelines to supremely high frame rates, digital gaming systems are pushing the envelope for performance. Game engineers build systems utilizing massive parallel processing graphics engines (GPUs)—computers within the computer that exist purely to push pixels onto the screen.
Modern video games are a non-stop visual assault of objects moving at high speed, and a gaming POV that can be pointed anywhere at will by the player. All this kinetic, frenetic action requires high frame rates (60, 90, 100 fps) to keep up. As a side effect, GPU based computing also works as the processing engines for Artificial Intelligence and Machine Learning systems. A technology pioneered to let you mow down digital zombies at 120 frames per second is also why Siri answers your questions a little better.
IMMERSION: WHERE WE’RE GOING NEXT
Helium VR Rig, cable of shooting 8K resolution at 60fps with a 360 degree field of view. (image from Jason Diamond/Supersphere)
As new digital display technologies replace film projection, higher frame rates suddenly become practical and economical. And as monitors move off of walls and on to your face (because smartphones), all the cues that tell our brains that motion is an illusion will begin to break down. Moving pictures no longer appear as shadows and light on a flat wall.
The telltale flicker that reminds our unconscious mind that the picture is not real will disappear, as the very frame separating “constructed image” from “the real world” disappears into a virtual world of 360-degree immersion. Frame rate becomes a showstopper when wearing a Vive or Oculus Rift: at 30 fps you’re queasy, at 24fps you’re vomiting. The minimum frame rate for Virtual Reality systems is 60ps, with many developers aiming for 90 to 120.
The inverse of VR is Augmented Reality, when the pictures appear to run loose in the real world. Systems like Magic Leap (which has yet to come to market) and Microsoft Hololens are bringing the images off the frame and into the real world. These systems use sophisticated, real-time positional data of the users’ head, eyes and body, as well as the IDing of real world objects to blend virtual characters into our everyday lives.
The goal of these augmented reality systems is to create an experience that is indistinguishable from the real world. That some day, very soon, the illusions we used to watch on screens, flickering in the darkness, will run into our living room and tell us that we have an email.
Certainly this new medium will entertain us, tell us stories, but in entirely new ways. Blending the ephemeral digital elements into our everyday surroundings is a technology of interaction, not passive viewing. How will we watch movies? Will we watch them?
https://www.filmindependent.org/blog/hacking-film-24-frames-per-second/
FILM INDEPENDENT MON 4.16.2018
Hacking Film: Why 24 Frames Per Second?
by ERIC ESCOBAR
EDITOR’S NOTE: The following blog originally ran in 2016. We’re republishing it here, with minor edits to the original text. Special thanks to blogger Eric Escobar.
***
Why 24 frames per second, why not 23 or 25? Or for that matter, why not 10 or 100? What’s so special about seeing images 24 times per second? The short answer: Not much, the film speed standard was a hack.
The longer answer: the entire history of filmmaking technology is a series of hacks, workarounds and duct-taped temporary-fixes that were codified, edified and institutionalized into the concrete of daily practice. Filmmaking is one big last-minute hack, designed to get through the impossibility of a shot list in the fading light of the day.
The current explosion in distribution platforms (internet, phones, VR googles) means that the bedrock standard of 24 frames per second is under attack. The race towards new standards, in both frame rate and resolution, means a whole new era in experimentation and innovation.
YOU ARE NOT A CAMERA
Truth is, cameras are a terrible metaphor for understanding how people see things. The human optic nerve is not a machine. Our retina is nothing like film or a digital sensor. Human vision is a cognitive process. We “see” with our brains, not our eyes. You even see when you’re asleep—remember the last dream you had?
Motion in film is an optical illusion, a hack of the eye and the brain. Our ability to detect motion is the end result of complex sensory processing in the eye and certain regions in the brain. In fact, there’s an incredibly rare disorder called “Akinetopsia” in which the afflicted has the ability to see static objects, but not moving ones.
Like I said, how we see things is complicated.
SO WHY 24 FPS?
Early animators and filmmakers discovered how to create the perception of motion through trial and error, initially pegging the trick somewhere between 12 and 16 frames per second. Fall below that threshold and your brain perceives a series of discrete images displayed one after the other. Go above it, and boom motion pictures.
While the illusion of motion works at 16 fps, it works better at higher frame rates. Thomas Edison, to whom we owe a lot of debt to for this whole operation (light bulbs, motion picture film, Direct Current, etc.) believed that the optimal frame rate was 46 frames per second. Anything lower than that resulted in discomfort and eventual exhaustion in audience. So Edison built a camera and film projection system that operated at at a high frame rate.
But with the slowness of film stocks and high cost of film, this was a non-starter. Economics dictated shooting closer to the threshold of the illusion, and most silent films were filmed around 16-18 frames per second (fps), then projected closer to 20-24 fps. This is why motion in those old silent films is so comical, the film is sped up: Charlie Chaplin.
A 14% temporal difference in picture is acceptable to audiences (people just move faster), in sound it’s far more noticeable and annoying. With the advent of sync sound, there was a sudden need for a standard frame rate that all filmmakers adhered to from production to exhibition.
THE SHUTTER
Like any illusion, there is always something there that reminds us it’s not real. For motion picture, it’s the issue of a flickering shutter.
For a really interesting techie deep-dove of how this works, and how the three-bladed shutter was developed, take a look at Bill Hammack’s (aka “engineerguy”) break down of how a 16mm film projector works:
FLICKER REMINDS US THAT WHAT WE’RE WATCHING ISN’T REAL
I love the flicker. I think this flicker is a constant reminder, on some level, that what you’re seeing is not real. Film projected in movie theaters hasn’t changed much since the widespread acceptance of color and sound in the early 1930s. Due to technical and cost constraints, we have a standard: 24 frames per second, a three bladed shutter and some dreamy motion blur, all projected as shadow and light on the side of a wall. We watch movies the way our great-grandparents did, it connects us with a shared ritual.
While there have been fads like stereoscopic 3D, extra wide-framing and eardrum-shattering sound systems, most films are still shown the same, simple way. That is, until recently.
NOT CINEMA ANYMORE
Digital cinema, decoupled from the pricey mechanical world of celluloid film stock, has allowed frame rates to explode into a crazy collection of use cases. High speed (meaning slow motion) used to mean shooting film at 120 frames per second and playing them back at 24. Now it means using an array of digital cameras working together to shoot a trillion frames per second and record light beams bouncing off of surfaces. That’s right—with digital motion picture cameras, you can literally film at the speed of light.
ALPHABET SOUP
In the last decade, all of the different technical innovations in digital filmmaking coalesced into one massive chemical-sounding acronym, “S3D HFR”. That means, Stereoscopic (a separate picture for each eye) 3D (creating the illusion of 3 dimensions) HFR (high frame rate, like 120 frames per second). Peter Jackson did this on the Hobbit films, the reviews were mixed.
Stepping into a movie, which is what S3D HFR is trying to emulate, is not what we do at movie theaters. This new format throws so much information at your brain, while simultaneously removing the 2D depth cues (limited depth of field) and temporal artifacts (motion blur and flicker) that we are all accustomed to seeing. It confuses us because it’s not the ritual we’re used to.
But there is a medium where high frame rates are desired and chased after: the modern video game.
GAMERS WANT REALITY, THEY BUILT REALITY ENGINES
From photorealistic, real-time rendering pipelines to supremely high frame rates, digital gaming systems are pushing the envelope for performance. Game engineers build systems utilizing massive parallel processing graphics engines (GPUs)—computers within the computer that exist purely to push pixels onto the screen.
Modern video games are a non-stop visual assault of objects moving at high speed, and a gaming POV that can be pointed anywhere at will by the player. All this kinetic, frenetic action requires high frame rates (60, 90, 100 fps) to keep up. As a side effect, GPU based computing also works as the processing engines for Artificial Intelligence and Machine Learning systems. A technology pioneered to let you mow down digital zombies at 120 frames per second is also why Siri answers your questions a little better.
IMMERSION: WHERE WE’RE GOING NEXT
Helium VR Rig, cable of shooting 8K resolution at 60fps with a 360 degree field of view. (image from Jason Diamond/Supersphere)
As new digital display technologies replace film projection, higher frame rates suddenly become practical and economical. And as monitors move off of walls and on to your face (because smartphones), all the cues that tell our brains that motion is an illusion will begin to break down. Moving pictures no longer appear as shadows and light on a flat wall.
The telltale flicker that reminds our unconscious mind that the picture is not real will disappear, as the very frame separating “constructed image” from “the real world” disappears into a virtual world of 360-degree immersion. Frame rate becomes a showstopper when wearing a Vive or Oculus Rift: at 30 fps you’re queasy, at 24fps you’re vomiting. The minimum frame rate for Virtual Reality systems is 60ps, with many developers aiming for 90 to 120.
The inverse of VR is Augmented Reality, when the pictures appear to run loose in the real world. Systems like Magic Leap (which has yet to come to market) and Microsoft Hololens are bringing the images off the frame and into the real world. These systems use sophisticated, real-time positional data of the users’ head, eyes and body, as well as the IDing of real world objects to blend virtual characters into our everyday lives.
The goal of these augmented reality systems is to create an experience that is indistinguishable from the real world. That some day, very soon, the illusions we used to watch on screens, flickering in the darkness, will run into our living room and tell us that we have an email.
Certainly this new medium will entertain us, tell us stories, but in entirely new ways. Blending the ephemeral digital elements into our everyday surroundings is a technology of interaction, not passive viewing. How will we watch movies? Will we watch them?
https://www.filmindependent.org/blog/hacking-film-24-frames-per-second/
Rafa.the.Magnificent
G.O.A.T.
Economics experts try to tell us why some countries are rich and others are poor.
stringertom
Bionic Poster
Poor @Mike Bulgakov imbedded a very informative treatise on viewer technology that you passed by in favor of his intro paragraph.
Rafa.the.Magnificent
G.O.A.T.
Paragraphs proffered by @Mike Bulgakov nearly always yield information galore, not to mention facts that amuse and delight.
Mike Bulgakov
G.O.A.T.
Light is sometimes spelled "lite" as is the case with my go to burrito at Roberto's in Del Mar.
Lite Burrito
Pinto beans, rice, sautéed onions & bell peppers, guacamole, salsa fresca
Lite Burrito
Pinto beans, rice, sautéed onions & bell peppers, guacamole, salsa fresca
stringertom
Bionic Poster
Marvelous and delightful habitual use of alcohol in the afternoon has been the subject of a SoBad thread for many weeks now. Sadly, our correspondent developed mobility issues from his daily friendly soirées with Uncle Vonya’s Life Juice and has disappeared on us again.
Rafa.the.Magnificent
G.O.A.T.
Again and again, I have to marvel at people’s good intentions.
stringertom
Bionic Poster
Intentional walks used to require the pitcher to throw four pitches outside the strike zone. To speed up the game, the only requirement is for the pitcher’s manager to hold up four fingers.
Rafa.the.Magnificent
G.O.A.T.
Finger sandwiches, especially the pimento cheese variety, always put a smile on my face.
stringertom
Bionic Poster
Face offs in ice hockey pit opposing centers trying to gain control of a puck dropped from waist level by an official after a stoppage in play.
Mike Bulgakov
G.O.A.T.
"The Player" is a Robert Altman spoof on the film industry.
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stringertom
Bionic Poster
Industrial Light & Magic is a pretty important player in the film production world.
Mike Bulgakov
G.O.A.T.
Worldwide Pants needs Craig back.
Rafa.the.Magnificent
G.O.A.T.
World Series games whip diehard baseball fans into an annual frenzy.
Rafa.the.Magnificent
G.O.A.T.
Back in time I’d gladly go to fix a regret or two.Worldwide Pants needs Craig back.
Mike Bulgakov
G.O.A.T.
"The Messenger" stars Milla Jovovich and was directed by her then husband Luc Besson. She met him while working on Besson's "The Fifth Element."
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stringertom
Bionic Poster
Lucy was the “lu” part of the Desilu portmanteau name of the production company formed by husband and wife Desi Arnaz and Lucille Ball. Many Star Trek fans may not be aware that Desilu were the producers of the original television series that rebounded from originally sluggish ratings to become the classic science fiction airwaves hit.
Rafa.the.Magnificent
G.O.A.T.
In just one short paragraph, @stringertom has taught me two interesting and cool facts plus a word I didn’t know! Thanks!
And now back to our regularly scheduled programming!
And now back to our regularly scheduled programming!
