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Red.com - Or you can find the full review on Studiodaily.com

Conventional wisdom said it couldn’t be done, starting from scratch to build an affordable motion picture camera with a true 4K Super 35 image sensor, and a new compression scheme to somehow make all that data manageable. It would never have been possible without the tremendous passion, determination and enthusiasm of a man named Jim Jannard. Jannard, a billionaire as a result of his success with designer sunglass and sports apparel company Oakley, definitely has the chops as a businessman. However, it’s probably his hobbies, more than his business acumen, that inspired the RED Digital Cinema project. He’s long been an avid photographer, and also has a keen interest in cinematography. He’s said to have amassed a working collection of top gear in just about every professional film and digital format, both motion picture and still. Yet, it seems, he never found the one camera that could serve all his needs, and this yearning was the genesis (no Panavision pun intended) for the RED camera. While some asked "Why," Jannard asked, "Why not?" Why not come up with a digital cinema camera that shoots in the kind of resolution and functionality he likes to work in for stills? Movies, after all, are just a collection of still images strung together, so why not figure out how to tap the RAW output for motion photography, just as digital still photographers had been doing for many years? The benefits of working in RAW are many, and I believe a familiarity with these techniques is key to understanding how to get the most out of RED. This may require a certain amount of "re-education" for some cinematographers, especially those who might have gotten comfortable shooting HD and believing that what you see on the monitor is what you get. I think cinematographers with film backgrounds might be more comfortable in thinking of their RED camera displays as being analogous with the video taps they’re used to. Like a tap on a film camera, it’s useful for framing reference, but the image available on the negative is not done justice. It provides some good information, but you wouldn’t make lighting or exposure choices solely based on viewing the tap. There is so much more flexibility and overall dynamic range after processing the RAW image file. In fact, RED ONE has ASA and white balance settings on the camera body that really control nothing more than the display output and are totally nondestructive to the RAW image. Basically, the iris and shutter speed, or any filters you shoot through, are the only things impacting how the image is exposed, and you will not truly see what you’ve got, and what information is available to you, until you download the material from the camera and run it through the RED Alert software on your Mac (Note: REDCINE will be available for both the Mac and PC). I might suggest that cinematographers wanting to get a head start on working with RED while they’re still in short supply get a hold of a digital still camera capable of acquiring RAW images, as many are now able, then take images into a program such as Adobe Photoshop and get familiar with these kinds of tools. As the worlds of production and post continue to meld, cinematographers will need to understand how the material they shoot is processed in order to maintain creative control and authorship of the image. The Software The RED software facilitates this with a process that’s really quick and easy to use. A full 8 GB/four-minute Compact Flash card (the only recording option now available) downloads in less than three minutes. With the aid of a required Mac with Intel processors, it’s then opened up in RED Alert, a condensed version of the full REDCINE software, which lets you view and do a rough grade on the image with controls similar to Photoshop, including contrast, brightness, saturation and hue; you can change gamma curve. You can then almost instantly create various sized QuickTime viewing copies, ranging from low-res DV and HD to 2K (although full 2K files will have trouble playing back at their full frame rate on your laptop). You might be looking at only 10 to 12 fps, but it’s still a great way to quickly see what your image is capable of. I should note here that these QuickTimes are really only look-up files that need to reference the RAW data, and will require a more time-consuming render in order to create files for export to your NLE for editing. However, they’re a terrific way for a cinematographer to establish his look and virtually time his own "dailies." The beauty is that when it comes time to conform, the 4K images have never been altered and retain the complete dynamic range and creative options of the camera original, or "negative." So, yes, I’m a big fan of the images produced and the available workflow options, but I wouldn’t be a beta tester if I didn’t find a few annoying things to report. A Work in Progress I was fairly warned by Jannard when I picked up my camera: "It’s not done, and may never be done." I was actually prepared for far worse and really have no big complaints. I was even given a $2,500 credit for any inconvenience. The truth is, it often feels like I’m a beta tester when buying any new gear, but it’s refreshing that RED acknowledges this and is willing to compensate us for our trouble. The problems have been minor, and the fixes have been coming quickly via firmware updates sent over the Internet. We simply copy the files onto the same Compact Flash cards we use for recording, then select upgrade. Having already performed several of these upgrades, I can tell you that it’s really very easy and seamless. At this time, however, the camera still lacks any audio recording capability, and only one viewing output can be enabled at a time (in other words, if the camera operator is using a viewfinder, there’s no monitor output available for the director or DP. There’s also no playback, but I have to believe it is coming, since there are VTR-like controls built into the camera body. With a background in film, the learning curve has been pretty short for me. It’s nice to be able to use the same lenses and depth of field I’m used to using when shooting 35mm. However, my guess is that the many filmmakers intending to move up from DV may have a little more challenging period of adjustment. With its shallow depth of field, and no auto focus or exposure mode, it may not be appropriate for the "run-and-gun" approach they might be used to. Although relatively inexpensive, the RED is a professional tool requiring a competent crew (i.e., a good focus puller) and quality support gear for best results. Jim Jannard has put the means to create very high-quality motion picture images within the grasp of almost any filmmaker, but this tool will need to be properly used to realize its full potential.

Mt. Eden

Dub FX

Live? It looks Austrian...Australian. In Youtube, to the right you'll see Dub FX Featuring Woodnote. That bassline and all the notes coming from the sax sound trip me the fuck out.

AK-69

I hung out with some buddies in Ageo last night, and OkonOmiyaki has never tasted better. The dudes voice in this track sounds wimpy, (try great) maybe a little homosexual.

A little something I found on - www.topline-2000.com

Growing Worms
Each species of earthworm has different requirements, habits, and needs. People who raise worms must be aware of these idiosyncrasies taking advantage of the worms nature where possible and staying one step ahead of them when their more feral traits, are less compatible with cultivation.
Those who try and fail, (whether with home vermicomposting or commercial) to keep a healthy worm population, probably have not done there homework or perhaps they have trouble with the concept of "enclosed ecosystems". The cure for the first of these problems is to get some books on the subject, read them, and apply the gleaned knowledge. The second is a tad more complex as it requires a rudimentary understanding of 'ecology' and the life sustaining interaction between the various plants, animals, and inorganics.
When one domesticates an animal, which worms are, the welfare of that animal becomes the moral, (if not financial), responsibility of the perpetrator. To properly care for any such animal, particularly those with feral habits, one must provide conditions which will be conducive to the animals well being. To be able to provide such an environnment, in a restricted area with highly concentrated populations, (abnormal but useful) without detrimental impact on the animals, requires extensive knowledge of the animal being raised. This knowledge allows one to stay a step ahead of potential problems, or to avoid those problems entirely by producing and maintaining, for the animal, an environment with which it is compatible. The handler/user is the one who put the worms in the box, bin, or pit...so that person is responsible for their welfare. Fotunately, it isn't really all that complicated...
In other words ya gotta be smarter than the worms to successfully raise them. I think it is safe to say that just about anyone willing to invest the time in learning about the worm variety they intend to raise and putting forth reasonable effort and dilligence in their care, should find that their worm populations will do very well indeed! It really isn't that big a deal.

API Lunchbox 5006B, cause Ima hungry gear junkie.

The API Model 500-6B Lunchbox is a six position rack designed to accept all API standard 5.25" X 1.5" modules. This allows an engineer the flexibility to bring along specialized EQ effects to any situation: 550A, 550B or 560. The Lunchbox is self-powered, with a rear panel selected AC voltage switch, and a removable power cord. The input/output jacks are XLR.

Features:

• Holds 6 API standard modules
• 48 Volt internal phantom power supply
• Self-Powered, 100 to 250 Volts, 47 to 63 Hz, Switchable
• Rubber feet & carrying handle for portability
• Rugged steel chassis
• Perfect for remote recording of Vocalist and Instruments
• FREE if you purchase any (4) NEW 500 Series modules.**

The Lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512C.

API makes several modules for the 500-6B, such as the 512C mic preamp, the 525 compressor, the 560 Graphic EQ, and the 550B four band EQ. Combinations of these modules make perfect stereo recording packages (two 512C's and two 550B's) or vocalist's box, (one 512C, two EQ's and one 525 compressor).

Other uses for the versatile Lunchbox include:

• Multitrack Recording of Acoustic and Electronic Audio Sources.
• Sound Reinforcement Systems and Recording Live to Multitrack formats.
• Multiple facility projects where portability is a plus.
• Broadcast and Audio for Video Production.
• Custom Channel Input Strips.

The Pros, cause theres no Cons.

The API 512C is a mic/line/instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Sonically, it is at the top of the "Mic Preamp List", regardless of price. Offering low noise (-129 EIN) and 65 dB of gain, the 512C includes phantom power, switchable polarity, -20 dB pad and Mic/Line or Instrument selector. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed in an API LunchBox, Six Pack, 10 position vertical rack, a 2 position horizontal rack, or an API console. What makes the API 512C unique is its long evolution from the original 1967 era 512, the first modular mic pre, to the current full featured 512C, while preserving the original sound character that made it so much a part of the early days of recording. Offering high headroom and a wide variety of inputs and input access ponts, it is ideal for unusual and demanding applications.
Imagine a situation where only a few preamps are needed, yet the smallest available console has a proportonally "small" mic preamp, making it useless for the demanding application, or conversely, imagine where you need a large number of preamps, and a console of sufficient inputs and quality would be too large to transport or rack mount. The 512C hits the spot with its quality and famous tone. Expand, combine or downsize at any time without trade-ins or product obsolescence. In addition, the 512C's sound and performance exceeds most "console mic pres" in every respect.
The beauty of the entire API 500 Series is its long term flexibility and lasting value when needs change over time. With a range of mounting frame options, the 512C will be a valuable asset to your performance critical applications.
The 512C Mic/Line Preamp makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products.

Features

• Mic Preamp with 65 dB of gain
• Front and Back Panel Mic Input Access
• Line/Instrument Preamp with 50 dB of gain
• Front and Back Panel Line/Instrument Input
• LED VU meter for monitoring output level
• 20 dB pad switch, applies to mic/line/instrument
• 48v Phantom switchable power
• Traditional API fully discrete circuit design
• Uses the famous API 2520 Op-Amp
• Beautiful Colors

Dear Mama,

 You are appreciated.<3

Politics?

A little awkward? Well, if I was wearing that yellow dress...or talking out of my ass.

Japan Today? Haha, wheres Flipper?

Dolphins caught, not killed, in Taiji cove: Sea Sheperd

Friday 03rd September, 02:15 PM JST

TOKYO —

Dolphins have been herded into a cove as part of an annual hunt in the Japanese seaside town made famous by an Oscar-winning documentary about their slaughter, conservationist group Sea Shepherd said Friday. A town official said none were killed.
 
The dolphin hunt at Taiji, documented in “The Cove,” begins Sept 1 every year. The boats returned empty Wednesday. But on Thursday, some dolphins were corralled into the inlet, according to anti-whaling group Sea Shepherd and a fishing official in Taiji.
 
The official in charge of media queries at the Taiji fishing organization said a handful of dolphins were kept for aquariums, but the rest were set free Friday morning. He declined to give details.
 
He said the criticism the town has received from the West was unfair because residents were merely trying to make a living, and the rocky landscape made it difficult to go into farming or livestock.
 
Sea Shepherd said it has been monitoring Taiji with a small crew of Australians, New Zealanders, Americans and Japanese this week.
 
Ric O’Barry, who stars in “The Cove,” has gathered about 100 people in Tokyo, including supporters from abroad, to protest the dolphin slaughter. He took a petition with 1.7 million signatures from 155 nations to the U.S. Embassy on Thursday.
 
“The dolphins need defenders at the cove today and tomorrow,” said Michael Dalton of Sea Shepherd in a statement from Taiji. “If you came to Japan to save dolphins, the place to be is Taiji and the time to be here is now.”
 
O’Barry, 70, the former dolphin trainer for the 1960s “Flipper” TV show, has received threats from a violent nationalist group and skipped going to Taiji this year, a trip he makes every year to try to save the dolphins.
 
He said he had been advised by Japanese authorities not to go to Taiji, and repeatedly stressed that he does not want confrontation.
 
He was flanked by police, as well as supporters, when he went to the U.S. Embassy. But some of his supporters said they are headed to Taiji.
 
Nationalist groups say criticism of dolphin hunting is a denigration of Japanese culture.
 
The Japanese government allows a hunt of about 20,000 dolphins a year, and argues that killing them—and whales—is no different from raising cows or pigs for slaughter. Most Japanese have never eaten dolphin meat and, even in Taiji, it is not consumed regularly.
 
The government is also critical of Sea Shepherd, which has harrassed Japanese whaling ships. In July, a Tokyo court convicted New Zealander Peter Bethune, a former Sea Shepherd activist, of obstructing a Japanese whaling mission in the Antarctic Ocean, assault, trespassing and other charges. He was not sent to prison and was deported.
 
“The Cove,” which won this year’s Academy Award for best documentary, depicts a handful of fishermen from the town of Taiji who scare dolphins into a cove and kill them slowly, piercing them repeatedly until the waters turn red with blood. Other Japanese towns that hunt dolphins kill them at sea.
 
Taiji, which has a population of 3,500 people, defends the dolphin killing as tradition and a livelihood. Most of the dolphins are generally eaten as meat after a handful of the best looking are sold off to aquariums.
 
“I’m not losing hope. Our voice is being heard in Taiji,” said O’Barry, who has campaigned for four decades to save dolphins not only from slaughter but also from captivity.
 
The film’s Japanese debut became a free-speech fight. It opened in some theaters in June after earlier screenings were canceled when cinemas received a flood of angry phone calls and threats by far-right nationalists.
 
Louie Psihoyos, the director of “The Cove,” said he doesn’t agree with blindly sticking with tradition.
 
“In America we had a much longer tradition of slavery, but that was banned,” Psihoyos told The Associated Press. “My message to Japan is to see the movie for yourself with an open mind.”

10/21/2009

Three days of non-stop sitting-ona-fold-up-chair, playing this little fucker till weeee, after much effort, played it right and caught it. 9:00AM, three days of fullon fishing and the end result was so worth it. THIS picture will live on.

Gin no Sara

I stumbled across this CM while surfing YouTube with a friend. Cracked me up, and I had a good laugh.



The END part of this AD was so unexpected.

R.I.P Dad

It has been one year today, and this Blog is for you.

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Maiki Ito, this is for you. One day I will buy you a Fullon Avid System. Promote Avid...Because yea, I have a Protools Based system. Now you say it. If you read the link man you'll see that Avid and Protools really go hand in hand. So why do we like Avid?? Because it's fullon.

Amen Brothers

So, I made a blog to hopefully show everybody what kind of promotion I'm promoting. I was at a good friends House. He showed me this video which I will post for you to see. This video Changed my life, so have a look. Haha. 18 minutes of, why do I get the feeling that was way-way-way too much knowledge.