At least so far. Nothing's tripping up, no "Shock and Awe"-worthy problems. And most importantly, my Ti-book (10.3.5) still doesn't work like a windows machine.
I doubt it, but I have to ask. Since they mentioned the Bermuda Triangle; any possible linkage w/ planes flying through these methane-bubble infested waters? *shrug*
IANAL, neither is Card. I'm not positive but I think you're right on this. In fact I believe that/technically/ playing music that you bought on a physical media on a boom box (think 80's, big shiny things) in public violates the copyright as well, any one can hear it and they did not pay for the honor of being able to hear it. 'Course that means half the tricked out cars in suburbia are mobile violation centers...
He was talking a bit fast and loose with the specific details, but he did make a point that, at least amongst people I consort with, many people are saying 'Thank [insert deity or force of choice here], someone said it, and they have name recognition!' He didnt end the war, nor will he most likely be the Jimmy Carter of this whole thing either; but he firmly stated his position, publicly no less, and should be applauded for that if nothing else.
Now this may be merely corrolary to the discussion, but there are less advanced techniques for viewing something from multiple angles in cinema.
For example, in XXX (stop groaning I didnt say it was an example of fine cinema, bear with me) the scene where he uses an old barn as an impromptu ramp for his newly aquirred dirt bike, while in the air, with the explosions all around, the bike and rider were simultaneously filmed from several (not sure how many) cameras from different heights, positions etc. When seen in the movie this stunt begins fluidly with one camera tracking but then one perspective of the jump is shown, then going back in time a bit, if not all the way, a good bit, to give you another perspective and is repeated a few times. It's all very quick because Cohen didnt want to do the stunt in slow mo to grab attention, so it's all filmed at regular speed. So in the movie the "ramp scene" takes considerably longer than the actual jump, but you're given considerably more information while seeing it in real time. FYI, this can all be gleaned from listening to the making of featurrette on the dvd. In point of fact, he actually refers to it as a cubist style of filming. Be it presumptuous or not, it is interesting to my mind at least
Just remember, The Studios, back in the day when they were The Studios, swore an audience couldn't sit thru more than one reel (~30 minutes) or two...and longer and longer, until we now have the entire LotR Extended Edition being shown back to back 'For the fans.' The basic/expected visual lexicon of the viewer continues to grow since it has since the beginning. Cutting to continuity anyone? The point is that, first a new technique is odd/jarring/info overload, but over time viewers adapt until it is almost expected in a major motion picture. (Indies can get away with anything)
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At least so far. Nothing's tripping up, no "Shock and Awe"-worthy problems. And most importantly, my Ti-book (10.3.5) still doesn't work like a windows machine.
I doubt it, but I have to ask. Since they mentioned the Bermuda Triangle; any possible linkage w/ planes flying through these methane-bubble infested waters? *shrug*
IANAL, neither is Card. I'm not positive but I think you're right on this. In fact I believe that /technically/ playing music that you bought on a physical media on a boom box (think 80's, big shiny things) in public violates the copyright as well, any one can hear it and they did not pay for the honor of being able to hear it. 'Course that means half the tricked out cars in suburbia are mobile violation centers...
He was talking a bit fast and loose with the specific details, but he did make a point that, at least amongst people I consort with, many people are saying 'Thank [insert deity or force of choice here], someone said it, and they have name recognition!' He didnt end the war, nor will he most likely be the Jimmy Carter of this whole thing either; but he firmly stated his position, publicly no less, and should be applauded for that if nothing else.
Now this may be merely corrolary to the discussion, but there are less advanced techniques for viewing something from multiple angles in cinema. For example, in XXX (stop groaning I didnt say it was an example of fine cinema, bear with me) the scene where he uses an old barn as an impromptu ramp for his newly aquirred dirt bike, while in the air, with the explosions all around, the bike and rider were simultaneously filmed from several (not sure how many) cameras from different heights, positions etc. When seen in the movie this stunt begins fluidly with one camera tracking but then one perspective of the jump is shown, then going back in time a bit, if not all the way, a good bit, to give you another perspective and is repeated a few times. It's all very quick because Cohen didnt want to do the stunt in slow mo to grab attention, so it's all filmed at regular speed. So in the movie the "ramp scene" takes considerably longer than the actual jump, but you're given considerably more information while seeing it in real time. FYI, this can all be gleaned from listening to the making of featurrette on the dvd. In point of fact, he actually refers to it as a cubist style of filming. Be it presumptuous or not, it is interesting to my mind at least
Just remember, The Studios, back in the day when they were The Studios, swore an audience couldn't sit thru more than one reel (~30 minutes) or two...and longer and longer, until we now have the entire LotR Extended Edition being shown back to back 'For the fans.' The basic/expected visual lexicon of the viewer continues to grow since it has since the beginning. Cutting to continuity anyone? The point is that, first a new technique is odd/jarring/info overload, but over time viewers adapt until it is almost expected in a major motion picture. (Indies can get away with anything)