September 17, 2008

Fringe: Why I Won’t Be Watching

Last week, J.J. Abrams' latest television show, Fringe, premiered. At first, I was excited to see another serial sci-fi on network television. Unfortunately, it did not take long for my excitement to wane. And (mostly) not due to the content of the show, rather it is the artistic choices that have me disappointed.

On the surface, Fringe is about an FBI agent who is assigned to a special group to investigate strange happenings that are collectively dubbed "the pattern." It is believed that these events are the result of some one (or group) using the world as their laboratory. The general premise is interesting, though the details are a bit infuriating.

Granted, the show is about fringe science, but a "pulse camera" that when aimed and flashed at a dead woman's optic nerve (after the eyeball has been removed from her socket, though while it is still atached) produces images on a monitor that she saw before she died. Not the moment before she died, mind you, but rather hours before when she was conveniently looking out a window to see a bridge that tipped the investigator off as to the location of the killer. Normally, I'm all for suspended reality, but there were so many times I would audibly say to my self "oh, come on!"

However, like i said, it is not really the content or premise of the show that pushes me away. It is the uncanny artistic resemblance one of Abrams' other shows that does it for me. The soundtrack could be lifted directly from Lost. The stingers and transitions are just too identical. Then there's the mysterious, possibly evil, Massive Dynamic, which provides a plot convention so similar to The Dharma Initiative that I was expecting to see Dr. Pierre Chang from the training videos walking around somewhere. Not to mention that there was a Massive Dynamic commercial at the end of the premiere pointing to their website for yet another ARG.

Lastly, while each episode can stand on its own, there are still so many questions posed which you just know aren't going to be answered until season 3 (or will all be answered in one fell swoop in the season finale, only to ask 20 more). I get it Mr. Abrams, you like to keep people guessing and have a story arch spanning entire seasons. I just hope you learned from Lost that you have to actually answer those questions as you go along and not piss off your viewers.

I want to like Fringe, I really do. In fact, I might catch an episode here and there. I like Joshua Jackson, Anna Torv is okay as Olivia, and Josh Noble plays the cliché mad scientist well. But there just isn't enough to keep me hooked, and there's too much to push me away. It felt too formulaic, granted it is an Abrams formula, but formulaic still. It's a shame.

September 17, 2008

New Sony 4k Projectors

While not ready for the home yet, Sony's new 4k projectors look impressive. Each projects touts a 4,096x2,160 resolution with the T105 at 5,500 lumens and the T110 at 11,000. But at roughly $78,000 for the former and $120,000 for the latter, these are aimed squarely at large cinemas and museums (not to mention the fact that they're being released in Japan in November). I'd still love to see some RED projects projected on one of these. I just might have to wait a bit.

September 12, 2008

Apple and Code Signing

By this point, most of us are familiar with the App Store and the controversy: why do apps have to be vetted by Apple before being deemed acceptable to install on our own devices? This is not a post specifically about that, but rather the extension of that practice.

Several months ago, I ran across a post on Rogue Amoeba's Under the Microscope blog about code signing in Leopard. At the heart of the discussion was the following quote in an Apple mailing list:

In order to achieve the nirvana of only running valid code, the system must completely refuse to run unsigned code. Since that would really have ruined third party developers’ Leopard experience, we don’t do that in Leopard (except for the Parental Controls and firewall cases, where we surreptitiously sign unsigned programs when they are “enabled” to run).
Eventually you will all have signed your recent releases, and we’ll have fixed all the (important) bugs and closed all the (important) holes, and a switch will materialize to this effect - to refuse (at the kernel level) to run any code that isn’t valid.

Posted to apple-cdsa on March 3, 2008 ((It should be noted that I commented on that post as to who, exactly, "Perry the Cynic" was. He is an employee of Apple as past posts of his in the mailing lists will clearly indicate.))

At that time, I said that no one would accept such measures. How could people possibly use a system where all the code is signed in such a manor? The iPhone App store is certainly such a system, but it's a closed device with the expectations of a closed device. ((Except, perhaps, for the Jailbreak community.))

However, with the apparent success of the App Store, Apple's history of using smaller projects as test-beds for OS X, the inclusion of the Trusted Platform Module on Intel chip sets when Apple made the x86 transition ((Even though the TPM is not enabled on Intel Macs, its presence just adds fuel to the fire.)), and the support for signed code in Leopard, I have to wonder.

If Apple does indeed move to a closed system with all applications requiring signing in order to run, it will be a troubling time for those who run on Macs. Take, for example, the recent rejection of a podcasting application from the App Store:

Today I finally got a reply from Apple about the status of Podcaster.

Apple Rep says: Since Podcaster assists in the distribution of podcasts, it duplicates the functionality of the Podcast section of iTunes.

This bears repeating: an application was rejected because it duplicates the functionality of iTunes, an Apple app.

Now, I'm usually an advocate for Apple when it comes to "the whole solution." I believe that by having control of the hardware and the OS which runs on that hardware enables them to provide a solid experience. That, however, is as far as my advocacy for a controlled system will go.

Yes, I use iCal, Mail, Final Cut Pro, and many other Apple apps, but I do so as a choice. The minute I lose that choice is when I jump ship. No user experience, regardless of polish and ease, can justify that. Imagine if I was forced to use iChat instead of Adium, Safari instead of Firefox... Motion instead of After Effects.

This single tweet from Steven Frank illustrates the worst-case-scenario:

Scenario: Apple makes code-signing mandatory for desktop Mac applications. You can now only buy them through iTunes. Think it can't happen?

I think it can, I just hope against hope that it doesn't. If it does? I'll stick with Leopard (or in some cases Tiger) until I can no longer install those systems on new hardware. Once that happens? Well, I just hope Linux will have matured enough to get the support from the software I need to use on a daily basis.

[thanks to Daring Fireball for inspiring the conversation]

September 10, 2008

iTunes 8: Initial Thoughts

iTunes 8 landed yesterday after Apple's "Let's Rock" special event. With new features like the Genius Sidebar/Playlists, Grid View, and a revamped visualizer, it might actually warrant a full version bump. However, iTunes has never had the most consistent version numbering. After playing with the new features and interface, these are my first impressions:

Genius Recommendation Engine

Genius SidebarPerhaps the most notable feature in version 8 is the Genius feature. There are two ways to utilize this feature. The first is the Sidebar. This will recommend songs and albums for you to purchase from the iTunes store based on your current selection. This is actually a more personalized replacement for the MiniStore.

The other way to access this feature is the playlist option. This will comb through your library and select 25, 50, 75, or 100 songs from your library that presumably go well with the song you have selected. While it is a nice way to listen to music, it seems better suited for some genres and not others. For example, I had iTunes build a playlist of 75 songs based on "Paper Planes" by M.I.A. It pulled songs like "Six Underground" by Sneaker Pimps and "The Salmon Dance" by The Chemical Brothers, it also chose songs like "Pump Up the Jam" by Technotronic (don't judge). I decided to try it again, this time with "Sabotage" by Beastie Boys. This time it performed much better and gave me a nice hip hop-ish mix.

I'm not really sure what algorithms the Genius feature uses, but it definitely is interesting. It should be noted that this feature only works on one song at a time (so you can't build a Genius playlist using three songs), and it only seems to work with songs that the iTunes Store recognizes. It will, however, pull from the entirety of your library to build playlists, regardless of whether or not those songs appear in the iTunes Store. I was glad to see this as I was worried it would be limited only to what they carry.

Grid View

Grid View presents an iPhoto-like view of all your albums, artists, genres, or composers. While an interesting way to view your music, I'm not entirely convinced of its usefulness, though I'm sure many will love it. I have two primary complaints with the implementation of this feature. First is that it does not handle "albumless" songs gracefully. It continues the problem with the album grouping view from iTunes 7 that puts each albumless song in its own "album." So if I have 10 songs from VNV nation that don't have albums tagged, they show up as ten different blank album covers. This could be easily solved by treating all songs with no album as belonging to the same "album." Second is that the increasingly cluttered UI of iTunes is made even more cluttered and inconsistent when in this view:

iTunes UI

Looking at it again, it is reminiscent of the movies view in previous versions. The most baffling part of all this is the apparent need to darken everything, from the tabs/selectors at the top to the scroll bar, which turns to a dark gray. Even the scroll indicator is darker than normal when the iTunes windows is in the background. This just seems to be another example of Apple ignoring its own Human Interface Guidelines.

Visualizer

I'll only touch on this briefly, as I rarely use visualizers anymore. The default visualizer in iTunes 8 is pretty. There's nothing else to really say about it.

Other Tweaks

Artwork Grouping - With Grid View replacing the "Artwork Grouping" in the view buttons, I thought that it that view was lost. It is actually now built into the list view as an artwork column selectable by either "Show Artwork Column" in the View menu, or clicking the small arrow in the far left of the column labels. Unfortunately, you cannot reposition this column

Revised Preference Window - Apple simplified the preference window as well. Many things are more logically grouped, for example AirTunes and iPhone/iPod Touch Remote settings are now under a tab labeled "Devices" along with iPhone and iPod backups. This replaces the "Syncing" tab from iTunes 7. Also, certain features seem to have been removed, such as the "Smart Shuffle" slider which would change the likelihood of hearing two or more songs by the same artist  in a row.

Closing Thoughts

While some of the new features are interesting, I think the Genius Playlist is the only feature I'll be regularly using. Grid View just doesn't do it for me, visualizers aren't my thing, and I rarely spend time in the preferences window (though I greatly appreciate slimming it down).

What really bothers me about iTunes is that it is becoming a behemoth of an app. When it first started, it was a music organizer. Now it syncs my iPhone, holds TV shows and movies, purchase apps... One of the original goals of the NeXT system (and by extension OS X) is one app for one function; hence Address Book, Mail, and iCal all being separate apps, and not combined like other PIMs. I think it's time for Apple to really take a look at what iTunes is becoming and rethink its function and organization.

September 9, 2008

Indie Film Distribution Through iTunes

According to Ars Technica, TuneCore, a service which has made it possible for pretty much anyone to sell songs on iTunes is now doing the same for indie film makers. Apparently, all it takes is a flat, upfront fee, you get to keep all the profit from the stores which you choose to sell your film through. Albums range from $20-30, while film fees depend on the length; $550 for a 60-minute, $770 for a 90-minute feature.

This sounds like a great option. I know many people who have a difficult time getting distribution in the physical arena. This would allow their films to reach audiences around the world for a small fraction of the overall budget. I'm looking forward to finding new indie films up on iTunes.

September 7, 2008

DNC/RNC Speeches through Wordle

picture-5Wired blog Threat Level ran the speeches of both the Democratic and Republican National Conventions through the website Wordle and posted the results. Developed by IBM, Wordle takes whatever text it is fed and creates "word clouds." The more frequently a word occurs, the larger it appears in the cloud. McCain, for example, spoke frequently of "country" while Obama spoke of "promise."

September 4, 2008

IE Must Die

A nice set of vector badges from DesignNerd Blog. The first one is very fitting as I'm still struggling to get some css and png transparency for this site working properly on IE 6.

[Thanks garamer.]

September 3, 2008

3D Morphable Face

3dfacemorphTake a look at this 3D morphable model face demo by Volker Blantz. The automated matching of Tom Hanks' face is amazing, but I was even more impressed with the Audrey Hepburn and Mona Lisa sequences.

Apparently, it can sample multiple facial models and extract bone structures, facial expressions, gender, and more. It does seem to approach the uncanny valley, and at other times caricature, but overall, this is very impressive. I guess that's one step closer to S1m0ne.

[via Motionographer]

August 28, 2008

Wired: Red Digital Cinema

Red Digital Cinema, creators of the Red One 4k camera, is profiled in Wired magazine this month. The Red One is an amazing piece of tech (though the post workflow is still continually evolving), and this piece by Michael Behar goes a long way in explaining why. Though John Gruber puts it more succinctly:

[The] Red One movie camera is, dollar-for-dollar, the best and most amazing camera in the world. It sells for $17,500 — but if you think that sounds expensive, consider that the equivalent film camera rents for $25,000 per month...

August 20, 2008

It’s official–I’m a dad!

Avery MaeMeet Avery Mae. She's my daughter.

Born at 6:55am today, she's now made me the happiest person in the world.

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