Just noticed that the video I shot of the Modern Money Network’s MMT v. Austrian School debate was linked to in the New York Times. Unfortunately, the article it accompanies, a profile of Warren Mosler, is a bit of a hatchetpiece, though no worse than you’d expect from such an outlet. And they published it on July 4, not exactly a day folks are eager to watch a two hour debate on macroeconomics.
MASSIVE ATTACK V ADAM CURTIS
STARTING IN TWO WEEKS TIME IN MANCHESTER, THEN GERMANY, NEW YORK
The show is a collaboration between myself and Robert del Naja of Massive Attack.
What links us is not just cutting stuff up – but an interest in trying to change the way people see power and politics in the modern world. To say to them – have you thought of looking at it like this?
We’ve used film, music, stories and ideas to try and do this – to build a new kind of experience. The best way we can describe it is “a Gilm” – a new way of integrating a gig with a film that has a powerful overall narrative and emotional individual stories.
The show will be a bit of a total experience. You will be surrounded by all kinds of images and sounds. But it is also about ideas. It tells a story about how a new system of power has risen up in the modern world to manage and control us. A rigid and static system that has found in those images and sounds a way of enveloping us in a thin two-dimensional version of the past.
A fake, but enchanting world which we all live in today – but which has also become a new kind of prison that prevents us moving forward into the future.
Along with Massive Attack the show will star two great singers.
The amazing Liz Fraser
And the wonderful Horace Andy
And some of the music will be surprising – from early Barbra Streisand to Siberian punk from the 1980s.
Here’s a two-dimensional trailer that will give you an idea of what the show is about – and the stories it tells.
Video I shot in 2011 of a lecture by Chris Seefer, an attorney at Robbins Geller Rudman & Dowd LLP — the law firm responsible for collecting the “mountain of evidence” of a massive ratings agencies scandal, as documented in Matt Taibbi’s brutal article The Last Mystery of the Financial Crisis.
For the uninitiated, a Steenbeck is flatbed film editor, a massive, glorious mechanical/optical machine used to edit physical film. I used one to cut Ashley/Amber and it was an experience I hope to never repeat but also am bizarrely nostalgic for. Keeping track of 20+ rolls of film and corresponding mag (sound) was a hellish task, but the analog dial for playback/rewind is delightful. Perhaps not a delight I’m ready to pay nearly $3k to replicate, but still very exciting to learn that this exists. Also looks like there are some serious editors who use Lightworks, including Thelma Schoonmaker, Scorsese’s long-time editor.
Lovely interview with Schoonmaker, with a good discussion of film v. digital editing at 22min in.
Very affordable ($60) video editing software, claims to be pro, and they (beta) support Linux!
I need to upgrade my video-editing set-up and with the demise of FCP really not sure what to do.
Apple makes a great laptop but I’m sick of using it for editing. I want a high-powered tower that I can upgrade myself as funds become available (and that will function decently with the limited budget I have now). The new Mac Pro will surely be out of my price range & I detest being locked into one manufacturer’s hardware, especially when nothing but the RAM appears to be upgradeable. And it looks idiotic. But the thought of running Windows is unsavory, to say the least. A Hackintosh seems like more trouble than it’s worth, but maybe not…
Linux is already standard for render-farms, and Blender is supposedly quite good, and Black Magic’s DaVinci Resolve (pro color-correction software) runs on Linux. So Linux seems like a promising environment for pro video editing & post. But the editing options were dire last I checked (albeit a couple years ago) — doable for simple web videos, perhaps, but buggy and definitely not set up for making deliverables for a professional post house. Though mencoder can probably do anything; perhaps I’ll end up with some convoluted workflow of editing on a Mac and compressing with Linux?
Anyway, mulling over the next upgrade. Avid on a PC? FCP-X or Avid on the cheapest Mac that will work with eSATA? Premiere on any of the above? None of these are particularly appealing, so I’ll be very excited if a Linux video workstation were to become a not-insane option. Lightworks on Linux is in Beta now, with a very long list of bugs, so it still qualifies as insane for the moment. But I’ll definitely be keeping tabs on it over the next year.