It still doesn't excuse silly verbiage. Why couldn't he say in human-tongue, "With this money, we're going to make some awesome, interactive games, we're going to nail some key areas of our business, and we're going to do all of that faster than before."
He probably did and the PR folks changed it around to be more sellable. Having run my own business for a while now, being casual is nice, but it's not always appropriate for press releases.
You should know, first off, that I am an adventure gamer. Most other games don't pique my interest, but I've been a longtime Sierra Online & LucasArts adventure game fan, beginning way back with the Infocom text adventures and through all the Space Quest series and more.
So, when the folks who founded Telltale were let go from their projects at LucasArts, I was thrilled to see they were striking out on their own and made it a goal to be working on their new projects.
Last year, we did sound for Bone: Out from Boneville and a CSI game Telltale produced for Ubisoft (which will be shipping very shortly). The writing has been excellent all the way through. The actors we are using are all top-notch. And the company's goals really are on making adventure games that people want. Bone: The Great Cow Race has been in dialog production for about 2.5 weeks (and we wrap up tomorrow) and has, again, been very high quality.
The game is funny. It is clever. It is true to the comic book. And I think adventure gamers like me will love it. (I know that I'm eager to play it!)
A client of mine called me up the day after I installed her WiFi AP/router. She complained that she can "hear" it at night and that it drives her crazy. She asked if it was okay for her to unplug it at night and I told her yes.
Of course, the next day she called and complained that one of her machines couldn't get on the internet.
Mac users don't think their system is immune (at least not intelligent ones). They just know that because so much OSS software is included, the patches for vulnerabilities tend to come quickly.
And there's no point in paying Symantec for virus software that quarantines the swapfiles anyway.:-)
The article immediately takes the position that any data loss due to malware attack means the system isn't secure. However, the fact that you do not have to rebuild the system because only one user got nailed by the attack is never mentioned. Nor that other users were not affected and could continue using the system without disturbance (most likely).
So, in effect, the user who was attacked was quarantined, making things _more_ secure.
What Sancho did "is analogous to if I gave you the keys to my house and told you when I was gone," said David Bear, a Diebold spokesman. As Bear sees it, Sancho's experiment involved giving hackers "complete unfettered access" to the equipment, something a responsible elections administrator would never allow.
So, they're saying that a hacker without physical access would never have been able to get in and that it was only because they were allowed to touch the physical unit that they could make it do such things. That's great security. I guess we shouldn't worry about all those military computers tucked away in heavily-guarded military bases. Since no hacker could ever gain physical access to the boxes, they're totally secure!!
THX was the name of George Lucas' student film when he attended USC Film School. The film's title, as was mentioned by someone else, was THX 1138. That film was later turned into a full-length feature. The letters "THX" originally came from the license plates on Lucas' vehicle. (The term THX 1138 appears all across Lucas' work, such as prison block 1138 in Star Wars: A New Hope and the license plate 1T1H3X8 in American Graffiti.)
As for your acronym definition, you should know that rather than making fun of THX's efforts and blaming them for loudness issues in cinemas, you should be grateful to them. If it wasn't for THX, there wouldn't be any standard for sound reproduction in cinemas, let alone loudness. Because of THX's standards and certification process, theatres can be aligned in such a way that sound translates from listening environment to listening environment.
If you need someone to blame for loudness, blame the directors. They are the ones who insist that things continue to get louder and louder, which typically causes cinema managers to turn down the master level, meaning the rest of the film (and trailers) don't match up.
First off, the method being referred to of increasing loudness is called ultra-maximizing. There are many tools that do this now, including the pioneering software tool Waves L1.
The second thing you refer to is the loudness of trailers. Please do not mistake that with the level of the THX trailer. The THX trailer is a very precisely-engineered bit of audio that allows easy verification of the audio calibration of a surround listening environment. While people used to complain about the amplitude of the THX logo sound, the fact that the theatre vibrates at the end of the sound (at the "The Audience is Listening" portion) means that the theatre's sound system is in alignment.
The third topic you mention is trailer loudness, specifically in relation to the Trailer Loudness Standard. The Trailer Loudness Standard was created by the Trailer Audio Standards Association, which took on the task of standardizing the way trailers are mixed.
The idea is that they wouldn't want to steal a turd. But they wouldn't want to buy a movie and find out later that it IS a turd. So, D/Ling movies ensures they don't waste money on turds and allows spending dollars to be saved for good purchases.
(Incidentally, I'm definitely not defending movie pirates. I have never D/Led a copyrighted movie from the web (unless its owners were allowing that sort of distribution.)
I thought the best "technology" was to make a decent product. Then people would likely feel more inclined to actually pay for it, rather than waste their $$$ on a turd.
Slashdot Mirror
Personally, I loved Monkey 4, but I'm not exactly impartial, since I was one of the sound designers for it. :-)
Who said we didn't already record quiche-centric dialog for use as an easter egg?
hehe..well, the quiche bits are mainly in the first book.
Wouldn't it be more of a heresy for the game to not stay true to the story?
Don't sweat it. We'll get the voice acting right. :-)
That's what we did today. Only 3 Quiche lines in Bone 2. Oh well. :-)
It still doesn't excuse silly verbiage. Why couldn't he say in human-tongue, "With this money, we're going to make some awesome, interactive games, we're going to nail some key areas of our business, and we're going to do all of that faster than before."
He probably did and the PR folks changed it around to be more sellable. Having run my own business for a while now, being casual is nice, but it's not always appropriate for press releases.
You should know, first off, that I am an adventure gamer. Most other games don't pique my interest, but I've been a longtime Sierra Online & LucasArts adventure game fan, beginning way back with the Infocom text adventures and through all the Space Quest series and more.
So, when the folks who founded Telltale were let go from their projects at LucasArts, I was thrilled to see they were striking out on their own and made it a goal to be working on their new projects.
Last year, we did sound for Bone: Out from Boneville and a CSI game Telltale produced for Ubisoft (which will be shipping very shortly). The writing has been excellent all the way through. The actors we are using are all top-notch. And the company's goals really are on making adventure games that people want. Bone: The Great Cow Race has been in dialog production for about 2.5 weeks (and we wrap up tomorrow) and has, again, been very high quality.
The game is funny. It is clever. It is true to the comic book. And I think adventure gamers like me will love it. (I know that I'm eager to play it!)
I'm guessing you've never worked for a small developer. This isn't exactly EA.
Funny, I'm recording the dialog for Bone 2 right as I read this!
Jory
http://studio.jory.org/
A client of mine called me up the day after I installed her WiFi AP/router. She complained that she can "hear" it at night and that it drives her crazy. She asked if it was okay for her to unplug it at night and I told her yes.
Of course, the next day she called and complained that one of her machines couldn't get on the internet.
And it had the butterfly drives, too!
I did RTFA. And I know he's talking about single-user systems. That still doesn't negate the importance of quarantining the user from the OS.
And one more thing:
:-)
Mac users don't think their system is immune (at least not intelligent ones). They just know that because so much OSS software is included, the patches for vulnerabilities tend to come quickly.
And there's no point in paying Symantec for virus software that quarantines the swapfiles anyway.
The article immediately takes the position that any data loss due to malware attack means the system isn't secure. However, the fact that you do not have to rebuild the system because only one user got nailed by the attack is never mentioned. Nor that other users were not affected and could continue using the system without disturbance (most likely).
So, in effect, the user who was attacked was quarantined, making things _more_ secure.
What Sancho did "is analogous to if I gave you the keys to my house and told you when I was gone," said David Bear, a Diebold spokesman. As Bear sees it, Sancho's experiment involved giving hackers "complete unfettered access" to the equipment, something a responsible elections administrator would never allow.
So, they're saying that a hacker without physical access would never have been able to get in and that it was only because they were allowed to touch the physical unit that they could make it do such things. That's great security. I guess we shouldn't worry about all those military computers tucked away in heavily-guarded military bases. Since no hacker could ever gain physical access to the boxes, they're totally secure!!
THX was the name of George Lucas' student film when he attended USC Film School. The film's title, as was mentioned by someone else, was THX 1138. That film was later turned into a full-length feature. The letters "THX" originally came from the license plates on Lucas' vehicle. (The term THX 1138 appears all across Lucas' work, such as prison block 1138 in Star Wars: A New Hope and the license plate 1T1H3X8 in American Graffiti.)
As for your acronym definition, you should know that rather than making fun of THX's efforts and blaming them for loudness issues in cinemas, you should be grateful to them. If it wasn't for THX, there wouldn't be any standard for sound reproduction in cinemas, let alone loudness. Because of THX's standards and certification process, theatres can be aligned in such a way that sound translates from listening environment to listening environment.
If you need someone to blame for loudness, blame the directors. They are the ones who insist that things continue to get louder and louder, which typically causes cinema managers to turn down the master level, meaning the rest of the film (and trailers) don't match up.
First off, the method being referred to of increasing loudness is called ultra-maximizing. There are many tools that do this now, including the pioneering software tool Waves L1.
The second thing you refer to is the loudness of trailers. Please do not mistake that with the level of the THX trailer. The THX trailer is a very precisely-engineered bit of audio that allows easy verification of the audio calibration of a surround listening environment. While people used to complain about the amplitude of the THX logo sound, the fact that the theatre vibrates at the end of the sound (at the "The Audience is Listening" portion) means that the theatre's sound system is in alignment.
The third topic you mention is trailer loudness, specifically in relation to the Trailer Loudness Standard. The Trailer Loudness Standard was created by the Trailer Audio Standards Association, which took on the task of standardizing the way trailers are mixed.
Yeah right.
Long live Safari and Firefox!
Good news: within about 5 years your hearing will degrade won't hear them anymore!
Bad news: within about 5 years your hearing will degrade and you may have to find another job!
I'm not looking forward to that.
You can actually calculate what the audible frequency is of a TV.
For NTSC in North America:
For PAL in the UK:
And yes, the sound drives me crazy, too. I'm 30 and an audio engineer. And I'm the only one in my household who can hear the damn TVs whining. :-)
It's always lovely to hear Dvorak's extremely biased voice saying shit like this.
After all, the Newton was just a rehash of...well...um...er...Oh yeah! Apple actually DEFINED the term PDA.
Once again, Dvorak is to be ignored. Why do people read his slanted crap anyway?
My post was really meant to be light-hearted. Of course, the second after I pushed "Submit" I realized that some might not read that. :-)
I hope it has a good early-warning fuel gauge system so you don't plummet out of the sky when gas runs out!
Any hybrids coming?
The idea is that they wouldn't want to steal a turd. But they wouldn't want to buy a movie and find out later that it IS a turd. So, D/Ling movies ensures they don't waste money on turds and allows spending dollars to be saved for good purchases.
(Incidentally, I'm definitely not defending movie pirates. I have never D/Led a copyrighted movie from the web (unless its owners were allowing that sort of distribution.)
I thought the best "technology" was to make a decent product. Then people would likely feel more inclined to actually pay for it, rather than waste their $$$ on a turd.