if trump pulls some shit this election.. enough to get more everyday type people angry enough to go into the streets that could happen. would be nice to see a million people around the white house shaking fences. unless he preemptively surrounds the whitehouse with tanks or osmething. which could also happen.
Idk... at what point is the military like "fuck this jackass"?
I think you're saying that it's the social media performative aspect that appeals more. Is that right?
I think that's about right.
FWIW when I mentioned Carlos I had this in mind - IDM AF
@dingformung you are absolutely right, it's just something that seems particularly true for the (very connected) 18-25 crowd as of late. I don't remember that being such a big deal when I was college age but it could just be that I'm getting old.
i dont really see how it applies to any of the music posted in this thread, it seems like a contrived response meant to fit a narrative
Low-effort, otherwise unremarkable art made by someone who uses her identity to explain and perhaps boost its relevance.
There's plenty of excellent art made by folks, who happen to be non-cis, that stands on its own without subtext. See Wendy Carlos, Catherine Christer-Hennix, Émilie Gillet, the aforementioned Genesis Porridge, some folks on this forum, etc.
I'm suspicous of art that requires so much exposition. I'm also afraid that many younger audiences expect this, and in fact appreciate art more for the exposition and social cachet it suggests than the art itself.
I'm not sure about this thrash stuff but I love Disco Volante and the self-titled album. And California is a fucking beast, if you haven't heard it you're missing out.
A nightmarish surrealistic bad trip in a land of dreams... Pretty bonkers and open to many interpretations... Despite the fact that a movie like this is almost impossible to put togheter, somehow this team did it... its technical flaws (that are completely justified given the guerilla filmmaking style used), are completely overflown by mesmerizing black and white photography for most part of the movie... Some of the acting/screenwriting is a bit off sometimes but I think it's worth ignoring it... Also lots of controversy around it cause it was filmed in Disneyworld and Disneyland without permission from The Walt Disney Company... It's a bit Lynchian in the 3rd and final act but luckily it's not spoiled by unnecessary explanations... I'm gonna put the production notes from wiki in spolier tags just cause it's too big but don't worry you can read it, it doesn't spoil the movie...
Reveal hidden contents
Production
To me this is the future. Cameras in your hand. Cameras in your glasses. Anyone can be shooting at any time.
And I think it will explode.
—Randy Moore[3]
"There was nowhere else to do it," Moore says of his decision to use Disney World as a setting and shoot at the parks. Disney, which has a reputation for aggressively protecting its intellectual property, has been tolerant of visitors uploading videos of their visits to YouTube and elsewhere since most of those user-created videos project a positive image of the parks. But Moore did not expect to get permission from Disney to shoot there given his negative, surrealistic portrayal of the park.[13]
Instead he used guerrilla filmmaking techniques, which sometimes call for using locations without getting permission. Escape from Tomorrow is not the first film made in whole, or part, this way at the Disney parks. In 2010, the British street artist Banksy shot a scene for Exit Through the Gift Shop in one of the parks with his collaborator Mr. Brainwash. They managed to smuggle the footage out after being detained and questioned by park security. The following year, a viral found footage short, Missing in the Mansion,[14] filmed in the Haunted Mansion, was distributed online without interference from Disney.[15]
Extensive pre-production was necessary. The unique nature of the film shoot dictated steps not normally taken in filmmaking, such as charting the position of the sun weeks in advance since they could not use lighting equipment. Scenes were rehearsed and blocked in hotel rooms, rather than the actual locations.[15] "We must have walked through the entire movie at least eight or nine times during multiple scouting trips before we ever rolled camera," Moore says.[12]
Before principal photography, the cast and crew bought season passes to both the Disneyland and Walt Disney World resorts. They spent ten days in Florida, then returned to California for two weeks at Disneyland, making the parks depicted in the film a combination of both resorts.[15] Actors and crew entered the parks in small groups to avoid attracting attention.[13] "At one point, I even made the camera department shave off their facial hair and dress in tourist attire, which almost provoked a mutiny," says Moore.[12] Despite the actors wearing the same clothes for days on end, Moore told the Los Angeles Times, park personnel never appeared to notice them,[3] save for one day near the end of filming when Disneyland security thought they were paparazzi harassing a celebrity family.[15]
A black camera with a short lens barrel and large hand grip on the left. "Canon" is visible above the lens, and "EOS 5D" on the right.
A Canon EOS 5D Mark II
The film was shot using the video mode of two Canon EOS 5D Mark II and one Canon EOS 1D Mark IV digital single-lens reflex cameras, which helped the filmmakers look more like typical park visitors.[15] To compensate for their inability to control the lighting, the film was shot in monochrome mode. "[W]e were shooting with really fast lenses wide open, so our depth of field was razor thin. Black and white helped us enormously with focus and composition, since we were doing almost everything in camera and didn't use a focus puller," Moore recalled. It was an irreversible choice. "ecause the 5D doesn't shoot RAW, we customized settings in its monochromatic mode and couldn't go back to color, even if we had wanted to."[12] Moore was comfortable with the result because of the surrealistic, dreamlike quality it created, forcing viewers to see the familiar sights of the Disney parks in a new way.[15]
Actors and crew used their iPhones to communicate and store information such as the script—that way, they looked like guests casually using their phones.[3] The phones were also used to record sound, in addition to digital recorders taped to each actor's body that were left running all day.[15] For day scenes, Moore felt comfortable risking only three or four takes of each scene, but found he could do more at night.[12]
A black-and-white image of a young girl on the left and a middle-aged man sitting on a bench with a patterned background and others doing the same behind them. She is looking at him while he appears to grimace
Sara (left) and Jim (right) riding It's a Small World
Scenes involved riding on eight recognizable attractions in the parks. One required waiting in a long line for the Buzz Lightyear ride at Disneyland, and the actors rode It's a Small World at least 12 times to get the scene right. "I was surprised the ride operators weren't a little more savvy," Moore told The New York Times. For a scene where two characters pass on the People Mover, Moore had the actors ride it for hours while he worked out the timing.[13]
After the location filming, production went back to soundstages for interiors. Some scenes were shot against a green screen background for second unit footage of other locations to be substituted, allowing the use of crane shots.[10] With the photography done, Moore took the film to South Korea to edit to prevent Disney from finding out; he also refused to tell most of his close friends what he was doing.[3] Visual effects were done by the same company there that had done them for the 2006 South Korean monster film, The Host.[15]
The post-production tasks were as challenging as the production itself. Sound editors had to listen to the entire uncut tracks from the recorders taped to the actors' bodies in order to find the dialogue. Content proprietary to Disney, such as the lyrics to "It's a Small World" and footage from Soarin', was removed from the film to avoid copyright infringement.[15] Composer Abel Korzeniowski contributed a light, airy score similar to those used in Hollywood's Golden Age.[3]
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I saw this years ago but aside from some pacing issues I really enjoyed it. The more surreal parts (which probably weren't filmed on location) were what made it work for me.
There are matrix mixers, and Matrix Mixers of course. Some are passive, (noisy as hell) and some are active which gives you a clean blend of signals and phase correction.
Check this bad boy:
Yeah, I've got one of those discontinued Xiwi passive matrix mixers (basically 8 jacks and an array of pots and resistors) and I have to say that the uses are limited without external, noise-introducing (and setup-complicating) amplification. This thing looks tasty, and the phase inversion would be brilliant for feedback loops. 285 USD is maybe a touch steep, but it's in the ballpark of reason.
This is the best part imo. When people think AE they usually think of fucked up alien sounds, but I think their biggest strength is making a simple part like this that somehow evokes many complex emotions.
Damn. I thought I'd filtered out anything political in my ad preferences, but somehow they still get through.
Nothing like lagging poll numbers to send him on a rampage I guess.
It's not just Trump, it's the whole right-wing mindshare machine from Fox News to Ben Shapiro to fucking Falun Gong firing the low-quality, high-volume ad budget on all cylinders.
Specifically for YouTube, I recommend the Enhancer for YouTube plugin. Not only does it nuke ALL the ads, it has some cool extras like picture-in-picture, resizing, looping, etc. I also recommend using it in Firefox - there is a Chrome version available, but Google nerfed it. I cannot stand using YouTube any other way these days with the insane volume of ads - it's worse than I remember TV ever being.
How many people on here have caught covid? There's gotta be some cases by now.
My stepdad caught it but was asymptomatic and recovered in a matter of days without issue. I heard some former coworkers had it, but I'm not exactly sure who.
my GAS is telling me I need a model:cycles. I've never used any elektron gear and cycles seems like a pretty good (read: cheap) place to start. @modey I assume you're the guy to ask...recommend or no?
My local jam buddy is not an Elektron guy but he picked up a Cycles and really likes it. It sounds huge and they did a good job fine-tuning the parameters for sweet spots.
lol yup basically. Just thinking of standard American breakfasts. I like real Schnitzel (pounded flat, with pepper, with kraut, no silly gravy) better than CFS.
The only things I miss about the US are biscuits and sausage gravy. You give the world McMing, but keep the good shit for yourselves. Very selfish behaviour.
I thought you liked our hoagies/subs/grinders too?
For what it's worth, chicken fried steak beats B&G every time for this American.
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Now That Trump's President... (not any more!)
in General Banter
Posted
Personal responsibility tho