-
A remarkable book – and resource – from Chris Brejon. All on lighting for CG animation, but as usual with this sort of reference, so much to say about cinematic lighting fullstop.
-
A deeply personal obit that will likely be lost to the sands of Facebook, but hey.
-
Via Phil G, a nice modern boilerplate for HTML pages – notable because of the excellently narrated explanation around it. Always useful to have something like this to refer back to.
-
Marvellous writing on one of Infocom's most notably experimental works, and its relationships to the present.
-
"The bowlers are a joy too, players with home-made, defiantly un-homogenised actions, all oddly-angled run-ups and sweeps of the arm. Devon Malcolm ran in like a heavy goods vehicle triumphantly veering off a mountain pass. Allan Mullally’s run-up didn’t seem to be anything to do with sport at all, resembling instead a man running along the beach or about to catch a Frisbee." Delightful cricket writing.
-
What lovely packaging – and what a re-issue.
KiNK on Beat This
01 April 2015
Beat This is a regular show on Don’t Watch That TV that challenges producers to put together a track in ten minutes. They’re all quite varied – some people are clearly assembling things from the depths of their sample libraries; others are starting from somewhere more barebones. (I love the Swindle one for his piano chops.)
Anyhow, they teamed up with Novation to do some promotional content – showing off producers producing on Novation kit. And I completely loved what KiNK then went on to do: he just started playing.
It’s a lovely, ten minute live performance. At the end, you can hear the producer say ‘can you play the track?‘ and he points out that was the track. He didn’t record it.
It’s also amusing to see how little of the equipment he’s using. Mainly, he’s using an old headphone into an audio input, and then feeding that into a variety of effects in Live to variously be a kick, snare, all manner of other percussive sounds, and then at the very end he uses the audio signal to gate or side-chain the Bass Station loops he’s recording.
It feels right: straightforward, relatively improvised, space to layer without having to hit stop or break frame. I’m really into live performance techniques for electronic music; as such, I enjoyed watching someone perform and compose all at once.