I lost my domain name, kylegilman.com a little more than 2 years ago. I had a registrar who didn’t automatically renew after the first year, and I forgot to do the manual payment. So it went into the redemption period, a murky backwater of domain names where you can pay exorbitant amounts of money to “manually” renew the domain name you paid $5 for originally. I decided to let it expire because as far as I could tell it was of no interest to anyone else in the world. There are at least 2 other Kyle Gilmans out there, but they seem to be youngins without an active, commercial Internet presence. So I didn’t expect any trouble.
But it turns out there are unscrupulous people out there who figure an easy way to make a buck is to snap up any expiring domain names they can get their hands on in the hope that a couple of them will be worth a lot of money to someone. One of these Internet parasites registered my domain before I could get at it, probably using some form of domain “backorder” which automatically registers the domain as soon as it becomes available. So I contacted the fellow and offered $25, which I considered the approximate worth of my domain to me. I was originally told that the minimum bid was $99 which I understandably laughed at. He eventually came down to $40, but by this time I had already registered kylegilman.net and only wanted to make sure he lost money on the deal. I figured even $40 could net him a couple bucks so I decided to wait it out another year. That year came and went and the domain got renewed.
Finally this year I noticed the domain was expiring. So I quickly headed over to godaddy.com and placed a $18.99 backorder on kylegilman.com, assuming that nobody would bother registering it again, and that I was safe anyway because I had a backorder.
But no. Godaddy failed me. Someone else grabbed it before me. There’s something like a 3 hour window when domains are deleted and there’s really no way to know which domain stealing service is going to get it first. So I will wait another year and see what happens then. Some day it will be mine again.
Weird update:Yesterday I got an email from Godaddy telling me kylegilman.com had been transferred to Godaddy. I thought that was a strange coincidence but figured this domain pirate probably uses some other service to steal the domains then transfers them to Godaddy to hang onto/sell them. This morning I did a whois search to find out who the bastard was, and was surprised to find the following entry:
Registrant:
Kyle Gilman
684 DeGraw St #2
Brooklyn, NY 11217
United States
Registered through: GoDaddy.com, Inc. (http://www.godaddy.com)
Domain Name: KYLEGILMAN.COM
Created on: 05-Dec-07
Expires on: 05-Dec-08
Last Updated on: 06-Dec-07
The bastard is me! Now if you go to kylegilman.com it redirects to kylegilman.net, just like cameranoiseproductions.com, fictumentary.com, and twonightstand.com. Our long national nightmare is over!
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Editing 24p footage at 29.97
/3 Comments/in Editing /by KyleIn the past I’ve surveyed the many issues of editing 24p video in a 60i world. A recent comment on that page reminded me that there’s another option that I hadn’t discussed.
Shoot 24p. It looks great. Once you’ve shot it in 24p, you’re never going to lose the “filmic” quality of the motion that you get from shooting progressive frames. Because you can only get interlaced video on a DV tape, what’s on your tape is now interlaced, but it’s interlaced in the same way that The Matrix is interlaced when it’s shown on standard definition TV. It still looks like The Matrix, it doesn’t look like the 11 o’clock news just because it’s interlaced.
Editing in 24p can be tough. If you don’t really understand what you’re doing you can end up causing a lot of unnecessary trouble. So you can edit in regular old 29.97 NTSC. You probably won’t see the difference. The one time I see a problem with footage that was shot 24p but edited at 29.97 is playing on my HDTV. My TV is a progressive scan monitor. It automatically detects 3:2 pulldown and removes it from the video, which results in a nice progressive picture. This works best when the video has a continuous pulldown cadence. A film that is telecined has pulldown added in the same cadence throughout, so once the TV picks up the cadence, its work is done. The same is true for videos shot and edited in 24p. However, a video shot at 24p and edited at 29.97 has a pretty good chance (80% I think) of changing its cadence on every cut. So after every cut I see a few frames of interlaced video before the TV figures out the new cadence.
The good news is, nobody else notices this.
My advice is, if you’re going crazy trying to figure out how to edit 24p video, do yourself a favor and skip it. NTSC 29.97 works just fine.
Cloverfield & Acceptable Moviemaking Practices
/0 Comments/in Commentary /by KyleLike many other people, I saw Cloverfield last weekend. And I got really queasy. The handheld video was unbearably shaky. The movie was pretty good, even if it required a lot of suspension of disbelief. It’s funny how we’ll accept that a giant monster from the sea would attack NYC with no provocation, but not that a human can walk from Spring St to 59th St in 15 minutes.
But what really made me think was this motion-sickness thing. I saw The Blair Witch Project when it came out, and I didn’t have any trouble with the shaky-cam. I didn’t like the movie, but that was because it was awful. Am I more susceptible to motion sickness now that I’m older? Why is that? Google hasn’t been much help. Apparently motion sickness peaks when you’re around 10. But I read books in the car all the time when I was young.
My big question was, in a film designed for sensory assault, is it OK to induce nausea in the audience in addition to the usual increased heart rate? I’m going to have to say no. A movie can be a lot of things, but vomit comet should not be one of them. It’s definitely possible to shoot a film from a first-person perspective without tossing the camera around. Just watch any Ross McElwee movie. Of course, Ross never has to deal with giant sea-creatures in his movies (except in the upcoming “Gojira’s March”) so he tends to have a pretty steady hand, but the point is, shakiness is not required for a sense of immediacy and reality.
Here’s my dream script for the beginning of a first-person horror movie:
INT. AN AWESOME SOHO LOFT PARTY A scary noise is heard outside. General Pandemonium. RANDOM PARTYGOER #1 Oh shit, we have to get out of here! JOSH (to the camera) Come on Bobby, there's an army of 50-foot vampires attacking the city! BOBBY (from behind the camera) Hold on, let me get my Steadicam harness! The camera becomes noticeably smooth and steady. BOBBY Ok, let's run! The camera glides out the door.More YouTube Thumbnail Data
/0 Comments/in Web Video /by KyleLast June I noticed a trend caused by the arbitrarily assigned thumbnails on my Truth @ 15fps YouTube videos. Videos with Jennie thumbnails got almost 7 times more views than videos with Kyle thumbnails.
Now that we’re allowed to choose from 3 options for thumbnails, I’ve switched all the Truth @ 15fps videos to Jennie thumbnails (with the exception of the first one which Jennie’s not in) which has raised the average of those videos to 5,765. Although the other ones still lead with an average of 29,700, the difference is closer to 5 times as much now. Since last June, the Bad Webcam Sex video views have doubled to over 2 million.
What’s interesting me today though, is my film Two Night Stand, which at 18 minutes is a tough sell for YouTube. They don’t even let people upload videos longer than 10 minutes anymore. I managed to get a director account before they imposed that limitation though, so I got grandfathered in. Here are my thumbnail options:
When I uploaded it in July 2006, the only option was the middle one. I switched it to the left-hand one a few months ago, and hits have gone up considerably since then. People commenting who have actually watched it all the way through are way up too, which is the most important thing to me. As of today, the video is at 97,506 views, which is way more than even Getting Laid Tonight, which is both short and has a suggestive title. The main difference I see between the two thumbnails is that rather than just a shirtless Chris in the original one, you get an indication that there may be a naked lady under those sheets in the left-hand option. It’s a lesson for the kids out there.
3 Films at Sundance ’08!
/0 Comments/in News /by KyleIt turns out I worked on 3 films that are premiering at Sundance this year. I knew that Blind Date and Choke would be there, but I just discovered today that Quid Pro Quo will be there too. I haven’t seen the final versions of Choke or Quid Pro Quo, but I’ve seen Blind Date quite a few times and it’s very good.
So far I don’t have anything lined up that would be eligible for Sundance ’09, but the year is still young.
That Was Hard
/0 Comments/in Tech /by KyleI’m sure I missed a few steps, but those are the ones that stick out in my memory. There might have been some extra fiddling with ATA-related kexts. I also continue to have a problem mounting the boot disk when I boot with cached kexts. I use the -f flag on the Darwin bootloader to get around that problem.
2007 Editing Tech Wrapup
/0 Comments/in Editing /by KyleFor me 2007 was the year of HD. I bought an HDTV, but more importantly, I edited a number of videos on my own computer in HD. It’s kind of old news for a lot of people, but it turns out DVCPro HD is a great format that you can play back from a regular old hard drive without any fancy RAIDs. In the past I’ve insisted on sticking with DV because I didn’t trust a regular old hard drive to reliably play back HD video. And at least on a feature film there’s always going to be an online assembly at the end anyway, so the advantages of working in HD are generally not as great as the hassles. One feature I worked on last year was edited with 14:1 compressed DV on a G4 Avid Meridien, so HD was beyond out of the question. It literally took an hour just to output one reel of the DV reference quicktimes for the sound editors. But despite the old-fashioned tech in the offline, we did the online in 4:4:4 1920×1080 at a post house, and it ended up looking terrific. I always say that in the end offline editing is just about generating a list of numbers for the online anyway.
But working in DVCPro HD has really opened my eyes. For one thing, it made my pretty nice 2-year-old AMD X2 3800 computer seem way too slow. Rendering times were unacceptably high. I’ve just upgraded to an Intel Core 2 Quad 2.4 GHz system with 4GB of DDR2 RAM and I’ve seen some real performance increases. Rendering titles is much improved, and realtime HD effects work really well. Of course, I’m still limited by slow hard disk speeds, but now I have 4 eSATA connections (2 built-in to the back of the motherboard and 2 from an SATA to eSATA bracket) which ensures that on the newer external drives I don’t have any Firewire interfaces slowing anything down.
All of the DVCPro HD projects I’ve worked on have been short, and came from P2 cards; my new favorite things. If there’s one thing that annoys me the most about editing, it’s real-time capture. It’s too slow!!! P2 cards copy faster than real-time, and generally have to be loaded onto hard drives during production, so in many cases I get a hard drive all ready to edit without having to load anything into the computer. This is the way of the future. In FCP there’s still some futzing around with conversion from the MXF format on the P2 cards to QT files, which seems like something that won’t last long. Avid loads MXFs without any conversion, which I find very cool.
We edited Blind Date using XDCAM. In this case it was PAL DV saved as MXF files to XDCAM discs, which are basically Blu-Ray discs in a cartridge. All I did was copy the files from the discs to a hard drive and we were ready to go. It was at least twice as fast as real-time capture, possibly faster. My favorite part was syncing up the 3-camera shoot. Everything had the same timecode, so it was a snap to group every bin using AutoSync.
The big new thing that I haven’t tried yet is Apple’s ProRes codec. I’ve done a little bit of testing and it seems to work really well and really fast, but I haven’t done any serious editing with it. It looks like I’ll have a chance in April when I’ll be editing HD video for an opera in Amsterdam with Hal Hartley. Everything will be shot in HDCAM and we’re going to capture straight to ProRes HQ and edit with that throughout the process. At the end it all needs to be converted to MPEG-2 for the playback hardware installed in the theater, so ProRes seems ideal. I will of course post more as I learn more.
2 For Tuesday
/0 Comments/in News /by KyleEven though it’s New Year’s Day, it’s still 2 For Tuesday. It’s a tricky tightrope to walk. I hate about 25% of classic rock songs and when I listen to the radio in the shower I only have time for 2 or 3 songs. So if Rush comes on 104.3 on Tuesday morning they lose a listener for 8 minutes. But this morning I got two great Zeppelin songs off the back wall, so it was cool.
Happy New Year to my half-dozen readers.
Never Let Them Go!
/0 Comments/in Web Video /by KyleI lost my domain name, kylegilman.com a little more than 2 years ago. I had a registrar who didn’t automatically renew after the first year, and I forgot to do the manual payment. So it went into the redemption period, a murky backwater of domain names where you can pay exorbitant amounts of money to “manually” renew the domain name you paid $5 for originally. I decided to let it expire because as far as I could tell it was of no interest to anyone else in the world. There are at least 2 other Kyle Gilmans out there, but they seem to be youngins without an active, commercial Internet presence. So I didn’t expect any trouble.
But it turns out there are unscrupulous people out there who figure an easy way to make a buck is to snap up any expiring domain names they can get their hands on in the hope that a couple of them will be worth a lot of money to someone. One of these Internet parasites registered my domain before I could get at it, probably using some form of domain “backorder” which automatically registers the domain as soon as it becomes available. So I contacted the fellow and offered $25, which I considered the approximate worth of my domain to me. I was originally told that the minimum bid was $99 which I understandably laughed at. He eventually came down to $40, but by this time I had already registered kylegilman.net and only wanted to make sure he lost money on the deal. I figured even $40 could net him a couple bucks so I decided to wait it out another year. That year came and went and the domain got renewed.
Finally this year I noticed the domain was expiring. So I quickly headed over to godaddy.com and placed a $18.99 backorder on kylegilman.com, assuming that nobody would bother registering it again, and that I was safe anyway because I had a backorder.
But no. Godaddy failed me. Someone else grabbed it before me. There’s something like a 3 hour window when domains are deleted and there’s really no way to know which domain stealing service is going to get it first. So I will wait another year and see what happens then. Some day it will be mine again.
Weird update:Yesterday I got an email from Godaddy telling me kylegilman.com had been transferred to Godaddy. I thought that was a strange coincidence but figured this domain pirate probably uses some other service to steal the domains then transfers them to Godaddy to hang onto/sell them. This morning I did a whois search to find out who the bastard was, and was surprised to find the following entry:
Registrant:Kyle Gilman
684 DeGraw St #2
Brooklyn, NY 11217
United States
Registered through: GoDaddy.com, Inc. (http://www.godaddy.com)
Domain Name: KYLEGILMAN.COM
Created on: 05-Dec-07
Expires on: 05-Dec-08
Last Updated on: 06-Dec-07
The bastard is me! Now if you go to kylegilman.com it redirects to kylegilman.net, just like cameranoiseproductions.com, fictumentary.com, and twonightstand.com. Our long national nightmare is over!
New Gear
/0 Comments/in News /by KyleMan oh man do I love new toys. Yesterday I picked up the Behringer Podcastudio Firewire (note the German-style compound word). Now, let me be clear. I have no interest in podcasting. I tried listening to podcasts back when they were all the rage and I didn’t see the appeal. I prefer to read stuff while listening to music. The Podcastudio is just a nice, ridiculously cheap way to start a home recording studio. It comes with a microphone, an adorable little mixer and a firewire interface that brings audio into the computer via a higher quality method than the line level input on my sound card. I’m starting production soon on an animated web series and I need a nice, simple way to record the voices without spending too much money. This is a lot better than my original, misguided plan to use $15 teleconferencing headsets and Skype. I spent a few days researching the available low-end pro audio equipment and I kept coming back to the various components of the Podcastudio. At first I thought I’d just try one or two of them, but the bundle was too good a deal.
My favorite thing so far is the mixer. It has two microphone inputs and two stereo line-level inputs along with tape in and out. It has just slightly more than I need in a mixer at this point. I’m planning to record two voices simultaneously so the inputs are perfect. My main disappointment is the 3-foot XLR cable for the microphone. I want to get that thing as far away from my computer as possible so I’m going to pick up some longer cables, and of course an additional microphone.
So far I’ve only done a little bit of testing but the sound quality is pretty good. There’s a small, but distinct amount of high-frequency noise coming from the mic pre-amps on the mixing board. The microphone seems acceptable without being overwhelmingly great or anything. I’ll probably pick up another one. The headphones are below average, with a tinny, echoey sound, but I appreciate the circumaural design. They will be acceptable for voice monitoring but they’re definitely the weak link in the system.