I have encoded all of the CD I own (and bought) and have shared the folder on Kazaa. Because there is a legal purpose for this (you can download tracks from a damaged CD that you bought) am I doing anything wrong? If we all did this, just share, and don't download what are we doing wrong? I will be happy to show the RIAA my copy of the bought CD.
Where did the code come from...
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· Score: 2, Interesting
Has anyone looked to see what code (if any) SCO, its subsidiaries, or any employees have contributed to the Linux kernel? For all we know they are attempting to sue based on code that they inserted... perhaps something Caldera did.
If the code that SCO found is the same code found in Unix, then they at least have a case.
It would be interesting if a Caldera employee gave Linux a "poison pill."
If I had been contacted I would have finially been able to use those discs that came with my computer. I would secure wipe the drive (many times) and reload to the original config. The problem is that would prove my guilt because no reasonable person would believe I would actually still be running Windows Me. (damn foiled by Microsoft again)
Most radio stations are automated. Some do not even have DJs on staff anymore, they use hired talent to read tag lines. There are a couple of systems out there that do automation. Prophet Radio makes a common system. Most of these systems use proprietary audio formats, but some do have transcoders to get from common formats.
Why not buy a TIVO (or two) and mod them to the max. Then put them up on a shelf. A TIVO has composite video outs and, while not the best, they probably will not be going anywhere for a while. Then when the "new vcr" arrives then dub to it. At 650 hours with an average of 1.5 hours per DVD I think that comes to average 400 DVDs. At $1.50 per (bulk price) that comes to $600. GET TWO TIVOS. You won't have to worry about scratching them.
I have a problem with re-compressing an already compressed source. MPEG-2 for DVD can run between 2Mb and 9Mb (8Mb realistically). I have always been a believer in the garbage in/out theory of compression (please don't make me explain). Each of these titles I am sure were encoded at diffrent bit-rates. I dare to say, the cleaner the source, the better the compression. In this instance I believe the best compressor is the one that can best smooth out the errors of MPEG2, not necessarily the best compressor. I would like to see how these do off of uncompressed source media.
Yes, most albums are produced on Pro-Tools, which is a very good piece of software. As a matter of fact, the company that makes it offers a free version (anything below win2k and OS9 only). But saying that Pro-Tools in inexpensive, therefore albums should be cheaper is like saying the a hammer builds a house, and hammers are cheap, so I should be able to build a house cheap. Pro-Tools is a tool. The most expensive parts of album creation are the musicians (yes, most artists still use actual musicians, and that includes rap artists), and the producers. A good producer will cost hundreds of dollars an hour, plus expenses. The producer will also get a piece on the backend. Also, there is the process of Mastering, which is done using a lot of outboard gear. Mastering can be very expensive.
But with that said, Pro-Tools is the Avid of audio editing (Avid is the most popular brand of professional video editing software and equipment). If you are interested in audio tracking, then definitely check it out.
I think the idea of the Panasonic camera is good, but much like the editcam, I don't think it will do anything but fill the needs of hobbyists. The Sony camera that records to discs scares me too. Recording to a disc, what happens when I shake the thing? Does it skip?
Most professionals want durability and reliability. Most of these types of cameras, and some of the lower-end DV cameras, are good for hobbyists but I know I demand more (and I am a professional). Cameras like DV5000
from JVC are inexpensive and are solid pieces of equipment, but may not be for the geek. Automatic focus is something you will not find on most professional cameras.
I know that there have been some successes in the profesional world with this type of camera, but that is the exception rather than the rule. Almost all movies are still shot on film and most television stations and production companies demand something more durable than a disc based camera... and something more standard than a PCMCIA rig. Most places are still using BetaSp, even though Sony quit development a couple of years ago (please don't think I mean BetaMax). I believe this PCMCIA based camera will come and go much like the EditCam. Hopefully venders will realize that people like standards and that they get upset when "left out in the cold" with a product that no one else will support (see Digital
8mm). I think this not only holds true for professionals but hobbyists as well.
As a linux newbie, I have found that the hardest thing about moving to linux is finding drivers for my devices. Some are too old, some are too new, but I don't have this problem with Windows. Besides constant hounding, what can be done to encourage venders to create Linux drivers in-house? Is this in you opinion, better than have drivers hacked together by users? Am I crazy to think that I should not have to check a list of Linux drivers before buying a new wireless network card or trying to install an old scsi device?
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I have encoded all of the CD I own (and bought) and have shared the folder on Kazaa. Because there is a legal purpose for this (you can download tracks from a damaged CD that you bought) am I doing anything wrong? If we all did this, just share, and don't download what are we doing wrong? I will be happy to show the RIAA my copy of the bought CD.
Has anyone looked to see what code (if any) SCO, its subsidiaries, or any employees have contributed to the Linux kernel? For all we know they are attempting to sue based on code that they inserted... perhaps something Caldera did.
If the code that SCO found is the same code found in Unix, then they at least have a case.
It would be interesting if a Caldera employee gave Linux a "poison pill."
If I had been contacted I would have finially been able to use those discs that came with my computer. I would secure wipe the drive (many times) and reload to the original config. The problem is that would prove my guilt because no reasonable person would believe I would actually still be running Windows Me. (damn foiled by Microsoft again)
Most radio stations are automated. Some do not even have DJs on staff anymore, they use hired talent to read tag lines. There are a couple of systems out there that do automation. Prophet Radio makes a common system. Most of these systems use proprietary audio formats, but some do have transcoders to get from common formats.
Why not buy a TIVO (or two) and mod them to the max. Then put them up on a shelf. A TIVO has composite video outs and, while not the best, they probably will not be going anywhere for a while. Then when the "new vcr" arrives then dub to it. At 650 hours with an average of 1.5 hours per DVD I think that comes to average 400 DVDs. At $1.50 per (bulk price) that comes to $600. GET TWO TIVOS. You won't have to worry about scratching them.
I have a problem with re-compressing an already compressed source. MPEG-2 for DVD can run between 2Mb and 9Mb (8Mb realistically). I have always been a believer in the garbage in/out theory of compression (please don't make me explain). Each of these titles I am sure were encoded at diffrent bit-rates. I dare to say, the cleaner the source, the better the compression. In this instance I believe the best compressor is the one that can best smooth out the errors of MPEG2, not necessarily the best compressor. I would like to see how these do off of uncompressed source media.
Can it communicate with my car ?
Michael: Kitt, Kitt, I'm in trouble!!1
Car: I'm coming Michael.
Yes, most albums are produced on Pro-Tools, which is a very good piece of software. As a matter of fact, the company that makes it offers a free version (anything below win2k and OS9 only). But saying that Pro-Tools in inexpensive, therefore albums should be cheaper is like saying the a hammer builds a house, and hammers are cheap, so I should be able to build a house cheap. Pro-Tools is a tool. The most expensive parts of album creation are the musicians (yes, most artists still use actual musicians, and that includes rap artists), and the producers. A good producer will cost hundreds of dollars an hour, plus expenses. The producer will also get a piece on the backend. Also, there is the process of Mastering, which is done using a lot of outboard gear. Mastering can be very expensive.
But with that said, Pro-Tools is the Avid of audio editing (Avid is the most popular brand of professional video editing software and equipment). If you are interested in audio tracking, then definitely check it out.
I think the idea of the Panasonic camera is good, but much like the editcam, I don't think it will do anything but fill the needs of hobbyists. The Sony camera that records to discs scares me too. Recording to a disc, what happens when I shake the thing? Does it skip?
Most professionals want durability and reliability. Most of these types of cameras, and some of the lower-end DV cameras, are good for hobbyists but I know I demand more (and I am a professional). Cameras like DV5000 from JVC are inexpensive and are solid pieces of equipment, but may not be for the geek. Automatic focus is something you will not find on most professional cameras.
I know that there have been some successes in the profesional world with this type of camera, but that is the exception rather than the rule. Almost all movies are still shot on film and most television stations and production companies demand something more durable than a disc based camera... and something more standard than a PCMCIA rig. Most places are still using BetaSp, even though Sony quit development a couple of years ago (please don't think I mean BetaMax). I believe this PCMCIA based camera will come and go much like the EditCam. Hopefully venders will realize that people like standards and that they get upset when "left out in the cold" with a product that no one else will support (see Digital 8mm). I think this not only holds true for professionals but hobbyists as well.
God bless this rant... and my karma.
As a linux newbie, I have found that the hardest thing about moving to linux is finding drivers for my devices. Some are too old, some are too new, but I don't have this problem with Windows. Besides constant hounding, what can be done to encourage venders to create Linux drivers in-house? Is this in you opinion, better than have drivers hacked together by users? Am I crazy to think that I should not have to check a list of Linux drivers before buying a new wireless network card or trying to install an old scsi device?