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Friends In Your Head | Forums → Posts by Dorkman
I don't think any of these would belong in the DIF commentary feed. We'd probably want to have a secondary stream that you can choose to subscribe to or not separately.
Yeah, I'm pretty bummed to have missed an apparently magical commentary, but I was given the chance to stick around for SHAWSHANK and I declined, so I've got no one to blame but myself. But now I have something to look forward to hearing. ![]()
It's worth noting that alchemy is, in fact, completely plausible. You could conceivably turn lead atoms into gold atoms by knocking protons out of the nuclei.
Only trouble is, the amount of energy required to do so (and the economic cost of producing that energy) far exceeds the value of the gold you could produce. Not to mention that producing more makes it less scarce, and therefore less valuable.
We don't know what unobtanium is but it may well be that it is, in fact, more economically sensible to travel to another star than to attempt to manufacture it in any quantity, let alone large quantities, on Earth. It may well be that such a thing would require more energy than anything less than a star could produce. It's also worth noting that part of Earth's problem in AVATAR is that the planet's resources have been pillaged and are running out. They may not have the capacity even theoretically to produce such alchemical energy.
By the way, the elements above 92 are, as I understand it, mostly unstable, existing only experimentally in the form of a handful of atoms which disintegrate shortly after forming. Hardly anything to build empires upon.
In short, we don't know the economic or scientific resources of planet Earth when AVATAR takes place, nor their mechanisms of interstellar travel, nor do we know the chemical properties of unobtanium or what it would take to synthesize it. We have almost nothing on which to hang assumptions or assertions regarding what is more economically reasonable for that society in those circumstances.
Yeah, it's on Mac.
They actually did stop selling Premiere on the Mac for a time, when they first started calling it "Premiere Pro," and tried to carve out a niche in the Windows market. But they got through their heads exactly what you pointed out, that most of the pro community was Mac entrenched and unwilling to switch, and they came back to the platform as of CS3.
It's mostly going to go back to Avid. I'm certain I'm not the only person who has a knee-jerk scoffing reaction to the idea of working in Premiere, regardless of the fact that they've appended "Pro" to it. Most such people won't even bother to investigate Premiere's contemporary feature set to discover that maybe the designation is actually earned.
I do, however, follow a number of professionals on Twitter who are scratching their chins thoughtfully about it. I think the smaller companies and individual artists will be looking very closely at Premiere, especially folks like me who wind up doing a lot of round tripping to AE on various projects (and probably own Premiere already, since it's actually cheaper to buy the CS5 Production Suite than After Effects and Photoshop a la carte); whereas larger companies are most likely going to go with the reputation and multi-user stability of Avid.
Well that's just ridiculous. The Asylum website clearly states it was directed by Travis Fort.
I decided not to do the big Avid crossgrade when it was offered and take my chances with FCPx. Annnd, here we are.
Aside from FCP7 still being around for a little while, I'm thinking maybe it's time to stop turning my nose up at Premiere. We cut RVD on Premiere, but then switched to Final Cut and never really looked back. Premiere was cute and all but it wouldn't really behave properly (couldn't make it not interlace on export, no matter what we did, for one example). But now that there's dynamic linking between the Production Premium apps (i.e. easy AE roundtripping) and Premiere seems to actually be pretty decked out with pro features, I think I'm gonna finally go ahead and bother to install it on my machine.
MEAN GIRLS and SORORITY BOYS are both very funny, despite the way the posters make them both look like seat-filler pablum. MEAN GIRLS is a no-brainer now that Tina Fey's a thing, but I remember at the time being very surprised by how smart it was -- it's got a clear proto-30 ROCK sensibility.
I'm gonna go on record with an opinion that releasing commentaries early but prohibiting discussion kind of defeats the purpose of having a discussion board, and of releasing them to our most dedicated discussion participants. Maybe that's just me.
V4V is a fantastic movie in its own right. If there were no source material, I can think of few problems in the film. It's just not a faithful adaptation.
Interestingly, it's unfaithful in the opposite way that CHILDREN OF MEN is -- COM is completely unfaithful to the plot of the source material but remains completely faithful to the themes and therefore essentially tells the same story. Whereas V4V is generally very faithful to the plot of the source material (though it adds the 9/11 Truther allegory of the epidemic) but the thematic underpinning is completely different and as a result the movie tells an entirely different -- even diametrically opposite -- story. But, I maintain, it tells that story quite well in and of itself.
Yeah, because continuity from one film to the next really seems to be a big concern for them.
Friends In Your Head | Forums → Posts by Dorkman
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