al mcguire

there is also this bit that could be really useful on set http://www.arridigital.com/WNA-1

http://blog.abelcine.com/2011/01/27/arri-alexa-firmware-3-0-beta-release/

788t v2.10 manual p-46 Analog Balanced Line Outputs 1-4 The analog line outputs are active-balanced line-level signals on Switchcraft-type TA3M locking con- nectors. The output level is a nominally 0 dBu at −20 dBFS. The line-level output can be adjusted in the Setup Menu from -40 to 0 dB in 1 dB increments. Analog Unbalanced Output 5-6 This is a two-channel output on a TRS 3.5 mm connector with nominal level of -10 dBV. This level can be adjusted in the Setup Menu from -40 to 0 dB in 1 dB increments.

Timecode for the 2700 -3000-3700 depends on the System Mode Setting p46 - p48 in 2700 manual if it is 59.94 jam with 29.97 if it is 23.98 jam with 23.976 note - you can still shoot 23.976 while in the 59.94 System Mode but the camera will not take a 23.976 jam it will fail unless it is 29.97 al 'Never regret. If it's good, it's wonderful. If it's bad, it's experience." Eleanor Hibbert

>Thank you everyone who chimed in here, it gave me a little more confidence in discussing these things.< jeff thank you for starting this board so we all can be more confident al "Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself." - William Faulkner

update http://www.thestar.com/sports/basketball/article/916401--cavaliers-offer-job-to-homeless-man-with-golden-voice

Homeless man w/golden radio voice in Columbus, OH (Update-FINAL)

one more thing dept. I used the Reports function of the original Quicken to assemble income tax info. I don't recall any such function on Quicken Essentials. al

I agree w/ Jeff synopsis of Quicken as a company. I had version 1.4.1 installed and hopefully 1.5 is a better product. I did learn if you threaten to publish a blog about how much a product sucks they will give you your money back pretty quickenly.

I tried iBank and Quicken Essentials when I upgraded from Quicken 2003. Neither had the features that I had learned to use with the original Quicken I moved to Quicken 2007 and am satisfied with it. al

>Opening shot of Robert Altman's "The Player". One take, no cuts. (Lots of discussion on this between film geeks). Over a few drinks >etc. a bunch of us watched frame-by-frame, no discernible cuts, but a bit of a "bounce" at the bottom of the last crane shot. Dialogue >throughout, lots of multi-track work which Altman apparently loved. Check it out. Chris Newton I absolutely agree and thank you robert altman for making the wiring and multitracking of actors so necessary

I like having second track of an omni mic in a butt plug 50 feet away it adds a nice bit of ba-bang

hi jeff I suspect you helped my EK stock price graph fit in the intended space. my graphical interface needs more work. Thank you. al

My college major at FSU was sociology so I was drawn to to the irony of a make work project produced the very device that would go on to destroy the core business, " A patent was filed, received, expired, forgotten " . look at the graph of the eastman kodak stock price and find where the RED went into production.

thanks jeff what app did you use to resize ? I am mac 10.6.5 al

hi jeffI too have problems posting images and graphics. The right side gets truncated. You have figured out how to fix this, how do you do it. Here is a graphic as an example.

Inventor of digital camera honored By Monica Hesse Washington Post Staff Writer Monday, November 22, 2010; 10:03 PM In a parallel universe, a grilled cheese image of the Virgin Mary never sold for $28,000 after its image was uploaded on eBay. Wunderkind Obama speechwriter Jon Favreau never groped the chest of a cardboard Hillary Clinton on Facebook (at least not that anyone saw) and you never pretended not to recognize your boss on Match.com. That cousin? The one who apparently spends every moment of her awake time posting unflattering family reunion snapshots onto Flickr? In this parallel universe, that cousin has another pastime. She knits booties for your cat. This odd false world - free from gourmands who photo-blog stylized meals, but also lacking joyous e-mailed images of new grandkids - bears only passing resemblance to the one we live in today. If we were making a movie about it, "It's a Wonderful Life"-style, this would be the world in which Steve Sasson had never been born. In 1975, as a young engineer who had no interest in photography but had taken a job with Kodak because he heard Rochester was nice, he invented the digital camera. "Nobody really knew what we were working on in that lab," Sasson says. "It's not that we were trying to be secretive, it's just that nobody cared. 'Why would anyone want to look at images on a screen? What's the point of an electronic photo album?' " On Wednesday, in an evening ceremony in the East Room of the White House, President Obama awarded Sasson a 2009 National Medal of Technology and Innovation, the highest honor bestowed by the United States government on engineers and inventors. The other three medals went to the developer of dip-and-read urinalysis, the inventor of super glue, and the Intel team that first conceived of the microprocessor (medals were also presented to winners of the National Medal of Science). "Nobody rushes on a field and dumps Gatorade on [you] when you win a science competition," the president said, explaining the need to formally recognize the sciences. The digital camera has "revolutionized the way images are captured, stored and shared," said the dress-uniformed Marine tasked with reading the honorees' achievements. Sasson, 60, had come to Washington a few days early from his Upstate New York home to sightsee. He flew commercial. The camera he invented, the original prototype, flew on a private jet. Ensconced in a ding-proof suitcase, it was then transferred to the care of Mike Hotra, Kodak's local publicist. On a recent morning, Sasson sat in Hotra's office and showed off his 35-year-old creation. It's about the size of a toaster. It could be used to perform biceps curls, but holds only about .01 megapixel. "Sixteen NiCad batteries," Sasson says, pointing to the nickel cadmium batteries through a mess of exposed wires and nubby tabs called potentiometers. He's about the size of a linebacker, a big man with short gray bangs and a pleasant, fatherly face. He could go for hours talking about his and other cameras - how they work, their production history - but it's all technical jib-jab, not artistic. Sasson compares himself to a guy who invented a really good pen, which wouldn't necessarily make that guy a good writer. All of this is to say that the guy who invented the digital camera doesn't really know anything about photography. The camera was an afterthought, a "filler project" Sasson was asked to look into when not working on his main assignment of building a lens-cleaning machine. Its first image was an impromptu snapshot of a lab technician from down the hall. When it appeared on the television screen a minute later, the white office walls showed up, and so did the technician's black hair. Her face, her clothes and everything else were a muted swamp of gray. The technician looked at the historic photograph of herself on the screen and shrugged. "Needs work," she told him. A patent was filed, received, expired, forgotten. In a pre-laptop, pre-cellphone age, a digital camera was before its time, as if, in 2010, a teleporter suddenly fell from the sky. Thank you, Scotty, but without your control panel to beam us anywhere, we're all sort of twiddling our thumbs. "But when you're inventing, the whole world's inventing with you," Sasson says. Along came the computers, the PDAs, the e-mail. In the late 1990s Sasson took a vacation to Yellowstone with his wife and watched as the tourists around him whipped out their cameras to capture Old Faithful. He noticed that a good portion of them were digital, and he whispered to his wife, "It's happening!" She didn't know what he was talking about. He'd never thought to tell her that he was responsible for it all. There used to be longer breaks between "then" and "now." Film was stored in freezers, lost in car consoles, dropped off at the Walgreens and picked up weeks later. The pictures came back and some of the faces were already unfamiliar, and why didn't anyone tell you how unflattering those capri pants were? Now history happens immediately. Teenage girls snap photos of themselves, then check their lipstick in the preview window. No one's eyes are ever closed in the final cut; everyone's red eye is Photoshopped and color-corrected. Precious moments are not doled out by the frame, as if each event contained only 24 memories, 25 if there was an extra exposure (Let's get one more with just Mom and Hannah), but rather heaped on by the megapixel. We have become atrocious editors, greedily sweeping everything onto our memory cards rather than carefully selecting the tasty bits, but meanwhile we have also become connoisseurs of the mundane, appreciating the table scraps that would have previously been dismissed. Images of puppies and birthday parties and weddings are sent in a flash. Perez Hilton has a job. "For most of the 20th century, life was about high-quality events," Sasson says, in wonder. "But now photography has become a casual form of conversation, a vehicle to share what happened." His letters of recommendation for the award came from such disparate sources as the president and CEO of the National Geographic Society, the chief technology officer of eBay, and Sen. Charles Schumer (D-N.Y), who credited Sasson's invention with being "critical to the well-being of my constituents in Upstate New York." Last week's White House ceremony was a mostly solemn event, as President Obama praised the recipients' "willingness to give of themselves and to sacrifice in order to expand the reach of human understanding." But as he draped the gold-colored medal over Sasson's neck, accompanied by a chorus of hundreds of clicking point-'n'-shoots, he turned to the audience and their sea of cameras held aloft like torches, the president interrupted the proceedings to smile: "These pictures better be good." hessem@washpost.com © 2010 The Washington Post Company

No More Gran Torinos for States Losing $3.5 Billion in Revenues http://www.bloomberg.com/news/2010-11-23/no-more-gran-torinos-for-states-losing-3-5-billion-in-revenues.html No More Gran Torinos for States Losing $3.5 Billion in Revenues Michigan taxpayers foot the bill for the most generous movie subsidies in the U.S. Since 2008, the state has allotted $282 million to lure the filming of Hilary Swank’s “Conviction,”Clint Eastwood’s “Gran Torino,” George Clooney’s “Up In The Air” and more than 120 other productions. Now the governor-elect, Republican Rick Snyder, wants to curb the largesse. A state agency found the price of the program -- which covers as much as 42 percent of local expenses -- exceeds the economic activity generated. Jobs created in 2009 cost the state about $193,000 each, the agency estimated. Incentives for Hollywood have been scaled back in Wisconsin, capped in Rhode Island, suspended in New Jersey, Iowa and Kansas and scheduled to expire in Arizona. While states continue to expand and introduce subsidies, programs around the country face allegations of corruption, doubts about job-creating power and, most of all, questions about affordability. “We are starting to stem the tide of state government pandering to the film industry,” said Bill Ahern, policy director for the Washington-based Tax Foundation, which advocates lower taxes. In the last five years, $3.5 billion in tax credits, rebates and other financial assistance have gone to makers of films, television shows and commercials, according to a calculation by the foundation. In the next fiscal year, states will face $72 billion in budget deficits, the National Conference of State Legislatures estimates. Banking Movie Credits The subsidies began in Louisiana in 1992 and today are offered by 42 states. A shakeout will halve the number in the next decade as lawmakers conclude they can’t sustain funding, according to Larry Brownell, head of the Association of Film Commissioners International in Redondo Beach, California, which represents every state with incentives except Massachusetts. The breaks are worthwhile, creating spending that would otherwise go to Hollywood, according to Vans Stevenson, senior vice president of state legislative affairs at the Motion Picture Association of America Inc. in Washington. Most programs reimburse for a percentage of money spent in the state. Among the beneficiaries are Viacom Inc.’s Paramount Pictures and Time Warner Inc.’s Warner Bros. Calling the incentives credits is misleading because they go beyond tax abatement, and beyond the film industry, said Robert Tannenwald, a formerBoston Federal Reserve Bank vice president who studies the subsidies as a senior fellow at the nonprofit Center on Budget and Policy Priorities in Washington. Spending $1.5 Billion In most states, unused credits can be returned for cash or sold to other businesses. A Connecticut nonprofit’s freedom-of- information demand forced the state to identify companies that bought movie credits and used them to lower their tax bills. The list, made public last year, included Bank of America, Wachovia Bank, Hershey Co., Comcast Inc., Provident Life & Casualty Insurance Co. and Colonial Life & Accident Insurance Co. That’s “outrageous,” Tannenwald said. “People are being hoodwinked. There’s no reason for a government to finance a financial institution in such a circuitous way.” In a report last week, Tannenwald wrote that incentives in 43 states cost $1.5 billion in 2009. “They don’t come close to paying for themselves,” he said. Michigan illustrates the point, he said. It’s headed for a $1.5 billion deficit next fiscal year, according to government estimates, while its budget for film credits is $125 million. “With that kind of money, we could have a citrus industry in the Upper Peninsula,” said Michigan State University economics professor Charles Ballard. Tony Shalhoub’s Ads New Jersey Governor Chris Christie, a Republican, suspended incentives covering 20 percent of costs on July 1 as part of his austerity push, sending producers of NBC’s “Law & Order SVU” to New York. In Arizona, lawmakers didn’t extend the 30-percent credit running out at the end of next month. Kansas shelved its credit, also for 30 percent of costs, for 2009 and 2010. Rhode Island two years ago capped its program at $15 million annually. Wisconsin last year slashed the amount the state can give out in any year to $500,000 from an unlimited sum, spurring Green Bay native Tony Shalhoub of TV’s “Monk” to make pro- subsidy ads. Iowa’s program covered up to 50 percent of costs until it was put on hold after an investigation by Attorney General Tom Miller led to charges in February against two movie producers and a former film office head. The producers padded their expenses with $900 shovels and $225 brooms and the ex-director failed to verify the eligibility of applicants for incentives, prosecutors said. Trials are set to begin in December. The probe was expanded last month after state Auditor David Vauldt said up to $32 million -- or 80 percent -- of credits had been issued improperly. ‘An Economic Stimulus’ In Louisiana in May, a promoter pleaded guilty to wire fraud in a scheme to sell $1.9 million in bogus credits to New Orleans Saints quarterback Drew Brees and other players. Still, Louisiana isn’t retreating from movie subsidies. California, worried about business leaking from the Los Angeles area, began offering credits last year. New York recently continued its program for five years, and Florida and Virginia enacted new enticements. “Even if you look over this past year, in a significant economic downturn for the states in terms of revenue, these credits have been sustained because I think the states are recognizing that they are an economic stimulus,” said Stevenson of the Motion Picture Association. States need to compete for Hollywood’s business with foreign countries as well as each other, according to Joseph Chianese, marketing vice president for Entertainment Partners of Burbank, California, which sells moviemaking-support services. Twenty-two countries offer some form of incentives, up from 18 in 2009 and 13 in 2008, he said. Popular in Poll In Michigan, governor-elect Snyder, former president of computer-maker Gateway Inc., said in a statement he wants to “phase down” the state program “but in a fashion that would support businesses that have made commitments to our emerging film industry.” A pre-election poll of voters by EPIC/MRA showed 58 percent favored subsidies; 33 percent were opposed. State Senator Nancy Cassis, a foe of credits, said the program lacks transparency. Cassis, a Republican, said she has been unable to get details from the Michigan Film Office of a probe into a land deal for a proposed studio in Grand Rapids known as Hangar42. The office’s director, Carrie Jones, said state guidelines prohibit her from releasing the information. One of the investors in Hangar42, Joseph Peters, 46, was charged in August with attempted fraud in applying for a 25 percent infrastructure credit. Peters deliberately overvalued the property by a factor of four, according to a statement by Attorney GeneralMike Cox. Peters’s lawyer, Chip Chamberlain, declined to comment. ‘Absolutely Ridiculous’ Michigan’s program also includes job-training credits, loans and other subsidies negotiated through the Michigan Economic Growth Authority. While Alaska’s reimbursement can cover as much as 44 percent of production costs, it applies under limited conditions, making that state’s total package less valuable than Michigan’s. “When we voted on this proposal, people didn’t know how generous it was,” Cassis said. The measure’s author, former state Representative Andy Meisner, called that assertion “absolutely ridiculous.” Meisner himself described the program inaccurately in a Sept. 30 op-ed piece in the Oakland Press. “While we forgo 42 percent of tax revenues, we are getting 58 percent of tax revenues that would not otherwise be produced,” wrote Meisner, a Democrat who is now Oakland County treasurer. Reminded that the state gives back up to 42 percent of costs, not taxes, Meisner said, “I made a mistake.” ‘Measure The Ripple’ In 2009, Michigan’s inducements created just 355 full-time job, defined as those lasting at least 250 days, according to a September report by the nonpartisan Senate Fiscal Agency. In the two-plus years of the program’s existence, the return in tax revenues has been a little more than 10 cents on a dollar spent, according to the report’s author, economist David Zin. The Michigan Film Office in its annual 2009 report said job creation totaled 3,867, without classifying the positions by days worked. Jones said Zin’s report failed to take into account the multiplier effect, the total amount of money going into the economy as crews patronize restaurants, hotels and dry cleaners. “It’s like throwing a rock into a pond,” the film office director said. “They’re measuring the splash. I’m trying to measure the ripple.” Even accounting for a multiplier effect, Zin said, Michigan comes up short. He said the expected gain of $80 million in economic activity from the subsidies this fiscal year would be less than the $125 million the state is projected to spend. Hollywood producers take a good deal of the reimbursement money they get from Michigan back home with them, Zin said. ‘A New Buzz’ Filmmaker and Flint native Michael Moore is trying to reverse that trend, he said in an interview. He said he is using the $1 million in a rebate from 2009’s “Capitalism: A Love Story” to restore aging movie theaters in Michigan. The subsidy program is important in part because the state “is so far down in the toilet” economically, Moore said. What helps make incentives popular, economist Zin said, “is this big feel-good effect when Hollywood comes to town.” The on-location making of ABC’s “Detroit 1-8-7,” starring Michael Imperioli, has energized the Motor City, according to business owners. New customers show up daily for chili dogs at American Coney Island, which has been featured in the cop drama, said Grace Keros, the third-generation owner. “It’s given the city a new buzz,” Keros said of the show. Last year, director Tony Goldwyn filmed “Conviction” in Detroit, Dearborn, Ypsilanti and other economically depressed cities, working with a crew of 300. ‘Hollywood Fat Cats’ “Critics say, why should we give incentives to the Hollywood fat cats?” Goldwyn said in an interview. “But this isn’t about the people who make the bigger money. This is about the people who are living month-to-month, the people you never see on the marquee.” The state covered $3.9 million of the $10.8 million spent on “Conviction” in Michigan, according to producer Andrew Sugerman. Released in October and distributed by News Corp.’s Fox Searchlight Pictures, the movie has so far recorded $6.2 million in ticket sales, according to the research website Box Office Mojo. While Goldwyn was filming in 2009, lawmakers were under pressure to close a $1.6-billion budget deficit for the 2010 fiscal year. They eventually cut $210 million from the higher education system, among other moves, leaving the $100 million for moviemakers untouched. Jones, the Michigan Film Office director, said she saw proof a movie industry was establishing itself in the 200,000 square foot Raleigh Michigan Studios in Pontiac and two new sound stages in Detroit. “It’s soon to judge the success of the credits,” she said. “We need a little more time for the industry to take root before we talk about changing the incentives.” To contact the reporter on this story: Tom Moroney in Boston at tmorrone@bloomberg.net To contact the editor responsible for this story: Gary Putka in Boston at gputka@bloomberg.net ®2010 BLOOMBERG L.P. ALL RIGHTS RESERVED.

( what is right term in in english for bad heat distribution ) oleg will suffice

jeff thanks for your hard work keeping the site up al

http://www.xtranormal.com/watch/7392161/

http://www.arridigital.com/sites/default/files/ARRI-ALEXA-UserManual_SUP_2-0.pdf

eric with full sail and 2 other colleges ( UCF and Valencia ) turning out soundfolk orlando is a marketplace that is crowded with mixers who will work for any rate. I say learn spanish and move to miami. al