Shadow Wolf

I liked it a lot. Make no mistake, it totally crossed any thresholds of believability, and well more than the first three movies ever did. EVER. But I made a conscious decision to not care about all that and just watch it for the B-movie campfest it was deliberately created to be, and in that light it was amazingly fun. I didn't like it as much as the first three, but I think that's because the other 3 are covered in 2 decades of nostalgia to make them prettier. Had this one been made a couple years after Last Crusade, I think it would still be considered kind of a black sheep, but every bit as much an Indy movie as the others. Very fun. EDIT: Truth. It's way cheaper and easier to do this stuff with CG now, because you're guaranteed your exact creative vision in one easily modifiable shot that is guaranteed to cost less than a helicopter.

That's pretty much the sauce right there.

So I trieed to get on www.facebook.com in Opera, IE, and Firefox, on 2 different computers, and all attempts go to: http://wwwh.found-not-help.com/search?qo=www.facebook.com&rn=IIT8ClzAEyFKpvg Facebook mobile is still up though. Has this happened to anyone else? Because if it has, it's kind of a big deal, to quote my good friend Ron Burgundy.

Since almost nobody in the world deliberately codes for compatibility with Opera, I'll bet this is simply an Opera problem, but just for giggles. Here's The OCR homepage in Opera: And here it is in Firefox: Which one's right?

Cloverfield came out 1/18/08. That was the tagline for the whole movie. That was the only thing printed on most of the promo posters. Anyhow, I definitely need to see Speed Racer, it looks awesome.

I hereby christen this effect the "Nonfin." Nobody gives a shit, but that's cool. At any rate, yeah this effect is big and bad and well done in Intense Color. If done correctly I find that it usually kicks ass.

I'm not entirely certain what you're asking. I have an associates in computer science and I was also in computer animation for a year, so I have experience, I'm just not quite certain what you wanna know.

Might as well learn at least one map inside and out I guess. Can anyone recommend a good class for a complete beginner?

Well then it's time to back the fuck up. You're talking with Jeremy Robson, who happens to be, hands down, my favorite remixer EVER, and a damn good composer as well. Holmes knows his shit. Don't make me go all fanboy now, I tried to be nice earlier.

It's almost locktime, children! Gather round, and we'll count the minutes together!

Ahhhh, Lazytown. Probably gave more fuel to the Pedobear fire than any other single thing ever.

Restoration of order isn't my responsibility. I've said my piece and requested intelligent discourse, where it goes from there isn't up to me.

Nice reel man, the facials on the guy in the bar were great. His eyes conveyed a lot, it can be hard to get that out of an animation. Smart idea braiding that horse's tail, too. It's almost like you didn't WANT to animate flowing hair. What's wrong with you? Great sense of weight on the character holding the sack, nice fluid movements. Excellent animation on the tennis player as well. I'm gonna take a swing and say that bit was MoCap? Overall great work man, you show a lot of promise. The only obvious thing is, you need more material in there. Nice work though!

That was a shit ton of information.

I feel the need to point out that I haven't had that much trouble understanding his arguments. While his writing style is somewhat flowery and he does need to use fewer adjectives, let's not lose sight of the fact that a.) He was asked to start this thread. b.) He is readily receiving, analyzing, and attempting to apply heavy criticism of both his musical opinions and his writing style, a trait only present in .000000001% of forum users. c.) The subject matter of the thread is actually extraordinarily interesting and thought provoking as long as childish insults are kept at bay. d.) Other people have pulled the thread off topic with discussions of semantics. and finally, e.) If everyone will back up and breathe for a minute, there's a lot of good discussion to be had. In essence, this guy is doing pretty much everything we've been begging Bluefox to do for months now, without being asked more than once. That said, please count your blessings and don't chase him off. Good writing doesn't happen in a day, and your points have been made. Give the Padawan time. </soapbox>

I think you're absolutely correct up until the word 'emanation,' then it kind of begins to go downhill. Never underestimate the sheer, staggering RANGE of human experience and emotions. While it is true that each composer has their own 'emotional soundtrack' for a composition if you will, mine may be entirely different when I hear the song. A wonderful example of this is music videos. I usually hear a song on the radio before I ever see a music video, because I don't have MTV. Regardless of your opinions on whether or not MTV runs actual music, each video is a look into the mind's eye of the band creating the song, a window into what they wanted you to feel when you heard it. When I hear a song on the radio, I develop my own mind's eye video of what I think is going on, based on how that song makes me feel. Invariably, every time I have ever watched a video for a song, my ideas about that song have been utterly different from the band's. Does that mean I felt wrong? No, it simply means that I applied my own experiences to that song. In fact, to go on a slightly political rabbit trail, I would be terrified if everyone felt exactly what a songwriter or composer intended for the to feel. This is intrinsically linked to your statement above, and if you don't agree with what I said there, then you won't agree with this. In essence, what I'm saying is that emotive meaning is in the ears of the listener. I may hear a song and truly appreciate what the original composer did with it. The composer may have brought their point across absolutely perfectly. But there is an instinctive 'what if' factor in the human mind, a desire to take the road less travelled and see what would happen if we press button B instead of button A. That desire is what leads to interpretations of other people's work, remixes, etc. For example, I've been grinding away on a pounding industrial remix of the Zanarkand theme from Final Fantasy X for a long time now. Originally, that song was a gorgeous piano solo. I'm fully aware of what it was supposed to invoke: Sadness, loss, the end of a journey. It did all those things beautifully. I want to see if I can get it to convey power, determination, even anger. Why? Because it's a challenge. To change that song and cause it to invoke those emotions would be such a drastic change that I simply want to see what happens if I try. There's no possible way NOT to leave room for interpretation and modification of a song. Not to be insulting, but this is nonsense, pure and simple. Multiple mixers on this site have received personal contact from the original composers of some of their remixes, telling them how much they enjoyed the interpretation. As I said above, with any composition, there are innumerable choices the composer can make as far as composition, tone, arrangement, style, etc. But they only get to choose one. Even if they mix styles together in the same song, that's still one of infinite interpretations. How is it shameful if someone takes the basic song of ANY composer, from Beethoven to Jeremy Soule, and follows another path to create a different end result? I would be thrilled as a composer to see every possible option for a song realized, to find out how many different ways it could have sounded, not ashamed. Where that line is, how fine it is, and what constitutes a 'bastardization' all fall firmly into the realm of personal opinion. What you consider bastardization may well be what another person considers extraordinary art. One man's trash is another man's treasure. It seems by what you're saying that you've completely closed your mind to any interpretation of another person's work whatsoever, and if that's true then I'm sorry for you. Placing a boundary like that both on your ideas and your musicianship will keep you from an incredibly rich world of differing viewpoints and interpretations. It's not wrong to hold a different view, to want something different, to try to invoke DIFFERENT emotions. If composers throughout history hadn't tried to invoke new, different, and even controversial emotions, who knows what music would be today. Try to maintain an open mind.

Before I begin, it's important that you understand where I come from musically. You might call me a seasoned listener. Music is a huge part of my life, and defines much of my personality. I am strongly affected by it. In the sense of classical training, music theory, composition VS. interpretation, etc., my opinion on the subject matter at hand is largely irrelevant, due to the fact that I have no classical training, I play no instruments, and I'm coming completely from a listener's perspective. My analysis, therefore, is coming from the perspective of the feelings that music invokes, which I think most here will agree is the overarching purpose of all art at the end of the day, to invoke feeling. With all that said, I fall somewhere in the middle of the road. I agree in one sense that composition is more difficult than interpretation, because a composer such as Beethoven was taking on the enormous task of literally transcribing his emotions into music, to show the world for all eternity what he was FEELING when he wrote a symphony. A composer is trying to give you a window into their world, to let you in for a moment and allow you to share the awesome power of their feelings. In my untrained mind, that's where the greatest difficulty for a composer comes from, trying to let people into your heart and mind through that music. On the other hand, because I've tried this before, I can certainly say that interpretation can be more difficult than composition. Sometimes, if you're lucky, composition will just come to you. It's unfortunate that I don't play any instruments, because I've awakened in the middle of the night before with a full symphony composing itself in my head. It was an extraordinary experience, literally hearing my emotions form themselves into music, and I wish I had had a way to transcribe it. However, in my mind, it can be a far greater challenge to interpret the works of another composer in such a way that you add your own life and emotion to it. The challenge of doing that is, in fact, the entire basis of this site's existence. When I think of 'interpretation,' I do not imagine just playing a composer's compositions note for note, exactly as they did. You can add a part of yourself to anything you play, and learning to do that, to share the composer's vision while also portraying how it made YOU feel, is an extraordinary challenge. A man could play Beethoven's 5th, note for note, and it would sound beautiful, just as Beethoven wrote it. But it would move me far more emotionally to see that the performer of that piece is completely absorbed by it, and throwing everything they have into sharing in Beethoven's emotions. It's an honor to be able to do that. On the subject of how classical musicians are trained, I think it's extraordinarily important that they learn, play, and are forever exposed to classical works. Playing someone else's compositions is an achievement, because in doing so you have gained knowledge and experience. With greater knowledge and experience of 'the rules' for lack of a better word, comes a greater ability to bend those rules and create something completely new. In other words, make sure the roots are planted firmly, and the tree can grow wherever it wants to go. EDIT: With regards to how interpretation is being defined, it seems to me that an 'interpretation' is more of a finished product, created after you've 'improvised' on a 'composition.' Improvisation is, to a degree, the mother of composition. But if I listen to a song, hear a chord progression, and think "That was disappointing, I wish they would've done [insert idea here]..." Am I not improvising AND composing at the same time? If I put those ideas down when I play the song, if I incorporate them, haven't I improvised on someone's original composition to create my own interpretation of it? It seems to me that we're talking here about steps in a natural process, Composition being the first, followed by improvisation and finally interpretation. In another sense, Even writing a song "from scratch" requires use of basic musical tones, so no one REALLY starts at zero. So in a sense even an original composition is an improvisation based on pleasing tones, leading to an interpretation of those tones. It is, in a very fundamental way, a sort of "Triforce" of musical concepts, and none can truly exist without the other. That, in a (large) nutshell, is my opinion.

Great thread. I read the whole thing word for word, but I do have to agree with Fishy that the points could still be made with a significant reduction in adjectives. The longer you take to say something, the less likely it is it will be read. Writing is like sculpting. You're trying to form a perfect, 3 dimensional picture of whatever it is you're talking about. So chisel away everything you don't need. In the famous words of Mark Twain, "jettison the superfluous."

Wow I suck. I was on tonight to test graphics and such and see what the classes can do. Hopefully I'll be playing more soon.

Yes it does, that's pretty sweet sounding stuff. That's how I've always found this stuff before, it just shows up one song at a time in games and movies and such. That'd be awesome, I'm on a fat internet connection this week.

Okay, so I have a question. This is coming from the whitest white guy that ever lived, but hopefully we can figure something out. I absolutely love what I, for lack of a better descriptor, term 'traditional African music.' The style I'm talking about has several hallmarks: it uses all kinds of percussion, especially djembe, and often features 'tonal' vocals, which is also common in Polynesian music. Oftentimes children's choirs or adult choirs will sing in African, etc. For examples of the type of music I'm talking about, look at the Starfox Adventures Soundtrack, most notably the music for Cape Claw, and also the music from the Galleon scene at the beginning. Both are shining examples of what I'm talking about. Also much of the soundtrack to the movie Blood Diamond, a lot of the score music from the Lion King, and its accompanying arrangement album Rhythm of the Pride Lands. I'll be more than willing to point out specific tracks if anyone wants them, but it's late and I'm typing in the dark right now. At any rate, I really want to be able to pin a more specific name on this genre of ethnic music, and find out what artists and sources there are for obtaining it. I love ethnic music, but it can, by its nature, be hard for foreigners to get familiar with it, and for some reason especially Africa. At any rate, information and reccomendations would be hugely appreciated. Thanks!

That looks potentially amazing. It's like Armored Corezooie.

Thanks for your input, Manson. Speaking of Family Guy: http://www.forbes.com/2007/12/11/carter-pewterschmidt-money-oped-books-cx_mn_fict1507_1211carter.html

BWAHAHAHAHAHAHAHAHAHAHA Awesome. 1. Bewbs 2. Games 3. Cookies 4. Music 5. Bewbs 6. Stradivarius Violins

It would seem I was incorrect, evidently there are still a great number of Stradivarius violins accounted for.