Comment Re:You can almost see it comming: (Score 1) 108
1. Post video doing some pretty innocent action (watching tv, pouring coffee, sweeping the house) as having sex with a lamp post
Just don't let WALL-E see any Harmony Korine movies.
1. Post video doing some pretty innocent action (watching tv, pouring coffee, sweeping the house) as having sex with a lamp post
Just don't let WALL-E see any Harmony Korine movies.
Those telcos are forced to provide service to everybody at the same price, which means they make a profit on tightly packed businesses in the city and that offsets their losses on the more widespread customers out of town.
Even granting all of this is correct, this doesn't mean that municipal broadband should be forbidden, it simply means they're competing interests, between a city to offer broadband as a public amenity, versus a franchise to offer it commercially. Maybe it's up to the people of the city to decide which they'd prefer. The market is whatever we make it, even if the incumbent telco market is "free," that doesn't mean that it's "good" or "effective," or that it "does what we want" (perish the thought). Maybe they don't care if they make it hard for local telcos to compete -- municipal water makes it hard for Vivendi to sell water as a profitable enterprise, but no one in the US calls this socialism.
They don't claim their party has anything good about it - it's just "better than Republicans".
In the US we have first-past-the-post plurality voting, in single-seat winnner-take-all elections; "better than the alternative" is all that is required. You don't have to be faster than the bear, just the other guy.
The ability to brick phones without the consent of the one who possesses the phone inherently indicates that the user does not actually control their phone.
Any information a company possesses on your behalf, including any codes, messages, or instrumentality necessary to brick a brickable phone, must be disclosed if the government agent has a warrant. Your consent is absolutely not required by any known legal principle.
That's just bog-standard liberal-democratic law, consistent with the constitutional order of any modern western country, no need for secret spy agencies or black sites. You don't have allodial title to your cellphone.
Except it's not, because of scale. If your elevator sucks, you can just move to the next building over.
I admire how this crystalizes the contrary position. If a building's elevators stop working, telling families they can move out whenever they want is preferable to The State (evil music here) ensuring elevators are in working order.
The terminal libertarian solution to every problem: move. Your city too congested? Move to the suburbs. Too far from work? Get another job. Isolated from friends, family and culture? We have Internet now, and Internet (praise be upon it) replaces all forms of community interaction.
And just remember, you might not like living in the exurbs, 20 miles from a movie theater, making ends meet with freelance coding and Uber shifts, but the alternative was putting up kiosks where you could order a rideshare, you monster.
Yes, but it corrupted the malloc areola.
This is something I don't have enough information on -- I figure they're doing something like this, but Dolby is being somewhat vague with the branding and not really making a clear distinction.
I wonder how much this will complicate mixes though. As it is, we can spend a month doing the final mix on a big action movie, and then two months making all of the deliverables:
All of these mixes are slightly different, mixed on appropriate speakers, and then you do a second version of most of these for the 3D, to accentuate panning effects. I guess to this we'd add to that the Atmos home theater mix.
Again, you highlight the key argument here: how is the incremental cost justifying the incremental benefit? 3D did the same thing and I doubt the theater owners ever recovered their investment.
3D doesn't actually cost theaters that much. The business model is very slick for them-- all the projection hardware is leased from Real3D (or whatever) and paid for with some percentage/per-seat formula off the top of each ticket sold. Real3D handles all the glasses, the DCP and other delivery chain items are basically the same. The downside risk to offering 3D for an exhibitor is actually quite low, the upfront costs are marginal and they're effectively guaranteed a return as long as they get butts in seats.
Actually late update- a guy on the crew of Transformers tells me they'd pan music as objects occasionally. The choir would be panned to the ceiling, among other things.
I dunno, keep an eye out and see if titles are actually released in it. I haven't seen any studios or distributors making any pledges, it could all just turn into the next BD-Live.
Better for doing this is a wavefront system, where you capture the whole wavefront of the soundwaves approaching the listener.
There is a film wavefront synthesis system: IOSONO. There were a few screens at the Mann Chinese here in LA wired for it, it sounds amazing and you get real 3D depth through the screen, but it never really caught on for business reasons. These mixes didn't use live recording either, they were multitrack, but IOSONO had a panner algorithm that could position a sound source in depth by artificially synthesizing a wavefront for it.
Dolby isn't interested in this because the theaters aren't. Dolby didn't really want to make Atmos: AMC came to them and asked them to develop a sound system that would justify a $20 ticket in AMC's premium rooms. The Atmos speaker array is the "Fuck It, We're Going to Five Blades" approach, and the theater owners make sure that all the speaker emplacements are clearly visible to the audience, so they know that they're paying for all those speakers, and Moar is Better.
This really isn't how we do music recording. I had the opportunity to work with John Eargle before he passed on, he had a bunch of Grammys and had done hundreds of classical and jazz albums, and his standard rig for live-house music recording was an 8-track recorder, with maybe 2 of those tracks set aside for spot mics -- the rest were a Decca tree or other stereo array, plus room mics. We use more spot mics for film music recording, but we do that specifically so we can reposition and alter the relationship between the soloist and ensemble, not to preserve it.
Also, nobody uses the pannable objects for music, it's just not done. The composer's scoring engineer makes a 7.1 or 9.1 and this is what you end up hearing.
This is why I suspect Dolby Atmos will never be put on a consumer format.
"Paul" is my boss.
Sure you can. Your ear has asymmetrical geometry front-to-back, your pinna, outer ear, nose and head diffract sounds as they approach your ears and apply a transfer function to the sound that varies with regard to azimuth.
Three minute videos with terrible sound and multiple opportunities for ad insertion are definitely what Google wants you to watch...
If you want to put yourself on the map, publish your own map.
