Looks amazing and useful for me! The links don’t take me to the app store on my iphone and the app name is not in the heading I need to scroll past the copy to find what to search for. Minor annoyance but for some reason annoyed me a lot. That annoyance led me to hate the copy as I was searching for the app name and tried to skim the text. This is probably the first time I write any feedback to internet. I am usually not one that does that kind of thing haha. Ok, now I will search and install the app. I bet it’s great.
Hey that's very odd, would you mind telling me which country/region you are located in?
I actually released the app yesterday but didn't post about it til today because it wasn't being indexed properly on the App Store yet, it's possible that it's still not live everywhere. I have an image link to the listing in the first section of the web page and if on iPhone it should show you the classic "this website has an app" banner at the top.
If you're searching for it, "Grooved" has many results but if you accept the suggestion of "Grooved: turntable calibration" it'll come up.
I figured that the site breaks with apple lockdown mode on. I think that appstore links usually work still, but might be that that’s one of the lockdown mode protections. The spinning animation also was not there so I didn’t see the app logo there.
> I find it incredible that an artwork that was apolitical and relatively tame would just be wholly prohibited from display.
Later times, but abstract expressionism was used as a propganda tool in cold war and propped up by CIA. Nothing apolitical in paint splattered at seemingly random fashion.
My all time favorite! I did my 10000 hours with Shake before it was discontinued.
With hindsight it’s maybe good idea to learn few different approaches to doing any task. Being an expert in any particular software is risky as things get discontinued all the time. Lucky that Ron’s book, the manual and the actual software exposed the underlying theory really well so I actually had learned a bit about compositing as well over the time I used Shake.
I’ve come to conclusion that it’s quite deep character trait. You can change your attitude to spending but it will be hard work. It won’t happen automatically when your life situation changes but you actually need to make a conscious decision one day and then retrain all your automatic reflexes and try to stay vigilant. Like getting fit or anger management or similar things where you try to control your behaviour with will power. Extremely hard.
I feel that I don’t have early memories, but for some reason I have a sense of the house I lived in before I was 3. My mother didn’t believe me so I draw her the floor plan one day. She said that’s great but where is the cellar? There apparently were steep steps to another floor which I wasn’t allowed to go and which didn’t exist in my memory. Now the memory seems very faded and I don’t think I could draw the place anymore.
I think we have the same problems with text-to-image. These UX will not be the final interfaces, but amazing first proof of concepts. It is so striking that computer can comprehend text and generate something based on these abstract meanings, everybodys mind is blown. Of course when you try to do anything with them you notice what you said. The UX is so bad and inaccurate. There is no need to transfer across domain like this. Best way to discuss music is by using mostly sound and less words. Same with images. And the right level is somewhere below this. You really want a tool that you can use to help you not a generator that tries to go from nothing to finished in one go.
That’s what I wonder about simulation theory. People say that it’s just nerds coming up with another god, but isn’t there the difference that if we live in a simulation it’s highly unlikely that the folks running it will come to hand pick the believers in to a heaven program after they die.
Stanislaw Lem had a story about that too (surprise!), read by many of in Hofstader & Dennett's "The Minds Eye". The simulation-runner expresses wonderment that the denizens of the simulation would imagine that he cared in any way about them.
Like these films, but hate this indie budget math. The way to get to low number is to barter as much as possible and steal the rest. People still put the hours in, but nobody gets paid. Handful of key people get the ip and something for their reel. The rest get taken advance of. It’s like doing an open source project except end result is commercial product licensed to a company. By all means do films for cheap but at least pay people salary or give a piece of the ip.
This is a good point but there are counter-example(s).
What about Kevin Smith with Clerks? Yes he got the IP and ostensibly the $/career but he's also brought basically everyone involved in that film with him along for his ride and continues to give them work in sequels/podcasts/tv shows etc.
It can be done ethically but to your point it doesn't seem to often be the case.
But really, they helped a friend - or family member - make a movie. I would help a friend make a movie. And I'd be thrilled if he made it big. Granted, I have the luxury of having a steady job - and of not having movie making be my career. But still.
I mean, I get what you're saying. But let's look at Robert Rodriguez and the cast of El Mariachi. He put several of them in Desperado, and I bet they got paid working money for that.
Looking through the cast of El Mariachi, it looks to me like every single one of them who made any other movies, also made movies with Robert Rodriguez. It seems like if they wanted to act, Rodriguez helped them get work. I don't know that for sure, but that's what Googling the results looks like.
A friend of mine in high school made a terrible zombie movie on a budget of approximately $5. He asked me to be in a scene and I happily agreed, I didn't feel taken advantage of at all. We also got the cops called on us for a noise complaint (we were filming at midnightish at a trailhead near some homes) so we even got some fun memories out of it.
if that movie went on to be extremely successful you might feel differently though.
I have a friend who works on low budget films, and it's a struggle. The directors are usually passionate and put in a lot of work, but also get all the credit and rewards if it succeeds. There's a budget, but it's mostly spent on paying travel expenses for out of state actors or for props and equipment and it's taken very personally if any background person want to be paid. "You'd take away from the quality of the movie just for your personal benefit! how greedy!" And in general expecting people with much less stake in the film to be just as invested and willing to sacrifice as they are without any of the upside.
ah fair enough, idk your project, sounds like a fun time
just saying that people who are expected to put in significant hours to semiprofessional low budget movies sometimes feel exploited. if you don't for yours hell yeah
I get that dynamic and maybe it’s not great to look at one of the all-time most succesful indie productions as an example. Rodriquez really did a lot by himself in that one also. Maybe to clarify a bit what I take issue with is the culture of celebrating no-budget success stories. It’s not less work to make those films so in the end you do spend the work hours, you just leave them out of accounting as nobody got paid. It’s really sort of a accounting trick leaving out sweat-equity. In what other field would we celebrate creating commercial products that take years of collective effort for cheap by not paying anyone.
Maybe it shows that I work in the field and get asked to do these all the time. Sometimes I do them, but it’s just sponsoring promising talent.
It's more! That's part of what makes it impressive.
You can come at it from the perspective of "It's merely an accounting trick and slave labor" but I think that's missing it for what it is. Most art is created without an expected paycheck. Movies especially are collaborative and everyone involved in small indie projects with no budgets knew there were working for little to no pay. You think the actors, camera man, lighting and set guys, were all thinking they were going to make a bunch in the box office from Dark Star / Mariachi? Likely not. They probably were thinking they'd try their shot at exposure. Actors might get recognized and get a career out of it, or not. Film crew at least had something on their resume. It's not like the directors (Cameron, Rodriguez) were making any promises they couldn't keep.
There is this often in HN featured article about bridge engineer analysing bridge collapses in film [1]. It’s about suspension bridges though but the takeaway for me was that when they go they go completely.
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