voltaireodactyl

Certainly true, but boredom is also the foundation of creativity so there is some middle ground worth seeking out.

How does that work in practice? Are you just paying them to lease it so you don’t have to?

In theory I agree with your argument, but in practice I find it’s very often the AI and other dominant companies — often tech — that are at the root of the risk averse landscape you observe. To put it simply, major tech companies are among the greatest driving forces of that landscape because they would prefer to operate without any competition.

My point being “letting the risk adverse take risks” is not the same thing as “don’t rein in VC backed attempted monopolies”. You can do the latter without doing the former (theoretically of course; in practice doing the latter is impossible without a substantive change in the underlying incentive structure of current global society).

Stuff like specific terminals and parts can be used for insert shots and close ups (which are often shot by a 2nd Unit crew without the actual stars/main crew). So then you can build a simpler set and just shoot close ups for the fancy electronics.

But for anything larger, what generally happens is some sort of overall deal is worked out, which covers a large swath of props. Like “airplane set pieces” for $X and then the prop house just tracks what from that category is actually used. That also covers replacements or trades on the day of shooting. Much simpler for all involved, and it “feels” like a discount.

I hear where you’re coming from, but you will note that AHS, while being an anthology, pulls continuously from the same group of audience favorite actors — which goes back to the “people putting on a show” variant I described above. The audience has a relationship with those actors. Very meta, as befits a Ryan Murphy shindig.

That recurrence that wouldn’t be possible for a Foundation series without suggesting characters themselves are repeating through time, which would seem to lean even harder into woo, which I’m sensing is not your bag.

A book doesn’t, and Foundation makes excellent use of every inch of the novel as a medium to explore itself, but the commenter above was specifically referring to what made the book difficult to adapt into a television series. And while Malick et all can def do “rumination on a theme” as a feature film, an ongoing tv series requires the audience to invest and keep coming back week after week, episode after episode.

Generally that takes the form of characters who experience things — ideally growing or changing in response, although many genres and formats don’t require that part. It’s unnecessary since part of the medium of television, unlike the novel, is people putting on a show to entertain you which is different from reading, an inherently more-individual experience. Part of what TV is selling is a group of people to hang out with every week. Generally.

Which is not to say always — shows like Twilight Zone and Tales from the Crypt proved the anthology format has a wide audience. But they had the advantage of a brand new paradigm each week, which creates a relationship with the show itself (but even TZ allowed the audience Serling).

Foundation def be done as anthology style episodes with some crossovers/overlap, but again practical realities make it difficult to guarantee narratively-necessary access to actors due to contract and scheduling factors, and you have the issue of both too big for standard structure and “not big enough” for a true anthology at its core. Not saying it couldn’t work it’d just be more difficult, which is not a quality that makes studios likely to invest.

What is the privacy policy?

This assumes such a database is necessary in this first place, which in my mind would require serious justification to prove, given that it creates a situation where the customer’s security is degraded by default.

Truly one of the greatest pieces of art on the internet.

FWIW I don’t want my mind actively polluted by the media and materials derived by people who consider art “content” and all human output “training data” to support their own misguided gambles in the hopes of saving their personal portfolios from self-imposed disaster. And yet here we are. So. I hear you.

There are many paintings of stars and sky. Why is this one the archetype? Is it because they are the best painted stars?

Just to put this out in the universe: I hope it stays 1-time.

Even just an e ink alphasmart would be killer — the key feature for me was the Mac keyboard + shortcuts so I never had to think while using it.

I for one was not bothered — the film up to that point had exclusively portrayed Oppenheimer‘s subjective experience in life. To showcase the footage you’re talking about would have meant showing events Oppenheimer did not see, but was certainly able to imagine enough that they affected him deeply — which is what WAS depicted in place of the footage.

While I understand wanting that outside perspective included within Oppenheimer to more fully reflect the actual historic events, I recognize that Oppenheimer was a film telling the story of one man’s internal perspective on events, and so including scenes like you suggest would have diluted and weakened that central premise and through line.

That being said: I am biased in that I do not expect artistic works to reflect a complete reality, but just the reality they choose to explore — I can certainly understand different points of view, especially with regard to such a monumental and tragic real life event.

If you’re on Mac/iOS, contact journal may be exactly what you’re looking for — it adds tasks/reminder/attachments/etc to contacts.

As the purpose of communication is to communicate, language ends up being descriptive rather than prescriptive — as frustrating as that can be to the more precise among us (believe me I feel your pain).

Or to put it in tech terms: language is a blockchain.

I absolutely agree — my statement was merely one of fact; to get to point B, one must first achieve point A.

Much like inventing the wheel (positive) is a necessary precursor to both ambulances/fire fighting (also positive), as well as DUIs (less positive).

The larger point being simply that I find it somewhat disingenuous for those of us who consider it our job to think through problems from many angles to pretend we’re somehow unable to imagine the potential unfortunate consequences arising from our work, given the existing Powers That Be (meaning both entities and trends).

If you haven’t seen it, Patriot is fabulous and clearly has little to no interest in portraying anything close to objective reality, but instead conveys a subjective experience with just enough jargon and cartoon-intuitively-correct techniques (eg “The Vantasner Danger Meridian”) to tether it down and give some genre structure to the real narrative (John’s emotional journey toward finding his own identity outside of his family and his work).

Even if one pressed play expecting Carre or The Wire, I imagine by the time the main character finds himself slow-motion dog-piled under 5 Brazilian jujitsu experts who are brothers and dress identically (after just such a scenario was lightly foreshadowed several scenes before), viewers might realize they’ve walked into something unexpected (and imo magical).

It’s not about the way things work — it’s about the way life feels.

As someone who lives more on the artistic side than the technical, but appreciates both, that’s honestly reassuring to hear.

And for what it’s worth: I think 24fps is partially why people of frankly similar talent and beauty look untouchable on film, but just like some dude on social media. My personal back-filled theory is that it’s something to do with the fact that 24fps creates more gaps for your imagination to fill in with whatever burns inside your personal subconscious — those “missing” frames let you “see” in Russell Crowe or whomever just a little bit more of yourself than is possible in gapless, real-time reality. Sort of like how old photos with lower resolution feel comforting and organic, because they’re cloudy like dreams, unlike the stark reality that can be achieved by modern lenses.

It would also somewhat explain why high FPS works better for things like sports (where most of the awe is that you’re watching real people do these amazing things) and video games (where the awe comes from actually embodying the figure on screen and existing in their full framerate surroundings).

The obvious response being that counting cars on the highway is a necessary first step on the road to identifying and then tracking their movements.

Similar to how insurance companies have offered voluntary, “anonymized” data dongles for discounts that are now being used (or at least revealed to be used) to collect data most often used to reject claims.

FWIW, I truly hope 24fps never goes away entirely. Something about it is the key to making movie stars look like legends and regular people look like a stars, imo.

(Edited: reconsidered exposing my own ignorance of history as soon as I pressed send)

Not out of the box I believe, but I use a package from their directory to do just that.

Exactly my experience with both Kagi and NotePlan — Obsidian is great and free, but NotePlan looks gorgeous, has native apps, and works exactly like my brain expects right outta the box. Huge fan.

The lead prosecutor at Nuremberg described evil as “lack of empathy” which I think is just about the best possible definition available to human beings.

FWIW AnyBox also will save SingleFile archives and make them searchable to spotlight. Big fan.

They are trying to wriggle out of providing insight into how that voice was derived at all (like Google with the 100% of damages check). It would really suck for OpenAI if, for example, Altman had at some point emailed his team to ensure the soundalike was “as indistinguishable from Scarlet’s performance in HER as possible.“

Public figures own their likeness and control its use. Not to mention that in this case OA is playing chicken with studios as well. Not a great time to do so, given their stated hopes of supplanting 99% of existing Hollywood creatives.

I actually believe that’s quite plausible. The trouble is, by requesting permission in the first place, they demonstrated intent, which is legally significant. I think a lot of your confusion is attempting to employ pure logic to a legal issue. They are not the same thing, and the latter relies heavily on existing precedent — of which you may, it seems, be unaware.

You seem to be misunderstanding the legalities at work here: reaching out to her multiple times beforehand, along with tweets intended to underline the similarity to her work on Her, demonstrates intention. If they didn’t think they needed permission, why ask for permission multiple times and then yank it when she noticed?

Answer: because they knew they needed permission, after working so hard to associate with Her, and they hoped that in traditional tech fashion that if they moved fast and broke things enough, everyone would have to reshape around OAs wants, rather than around the preexisting rights of the humans involved.

Excellent turnaround, thanks so much! As soon as the update drops I’ll dig back in — but it’s impressive thus far, can’t wait to see how it develops.

No pressure also, but FCPX support in addition to Adobe would be amazing.