How insubstantial is digital video really? What sorts of presence, material texture or sensuous qualities is it capable of? Is haptic affect literally out of reach and so a central type of bodily relation foreclosed? How might the staging and installation of moving image work be entangled with its presence and affect, and how might that mitigate such concerns?
Author: admin
Barbie: Satire as Critique and/or Praxis
Does Gerwig’s film contribute to the project of resisting and revolting against the patriarchy or merely poke fun at it?
AI in Your Hands
The Pixel 8 will render every image taken enhanced, exaggerated, perfected, edited, manipulated, staged, collaged, redacted, in short, spatiotemporally reconfigured, and hence fake, false, deceitful, manipulative, creepy, terrifying, Orwellian, dystopian, uncomfortable, untrustworthy, fabricated, unreal and, basically, bad, but also and at the same time cool, mind-blowing, brighter, awesome, amazing, sick, jaw-dropping, magical, wild, and just wow.
Holzer: Slogans on Streets
Angry dissidence about a hot topic addressed obnoxiously to an invisible yet dominant system of control (and abusing the logic, language and material infrastructure of that system while doing so) is not a bad tactic for maintaining critical distance between reader and text, viewer and art work.
Cultural & Aesthetic Bias in Generative AI Platforms
How and why are generative AI ‘art’ platforms engineered to generate images that tend towards futuristic fantasy, sci-fi anime, nostalgic whimsy, the analog yet overly post-processed aesthetic admired by hobbyist photographers, and neoliberal logotopia?
Fixing Color in VLC Media Player
So you’ve spent months trying to wrap your head around digital color spaces and have finally been dragged, kicking and screaming, but mostly screaming, into an ACES-compliant workflow. Eventually, you think you’ve finally got it, and all the colors just *look the same* regardless of which bit of software you’re using or which stage of the pipeline you’re at. Yay!
ACES Workflow: Redshift to Resolve
In 2021, around version 3.point.something, Redshift changed its default color space from what it called “scene-linear Rec.709-sRGB” to ACEScg. If you’re using DaVinci Resolve to muss with your newly ACES-compliant Redshift EXRs, then you need to change your color settings.
Color Banding: Bit Depth & Chroma Sampling
TL;DR If you’re seeing color banding in your exported video, it’s almost certainly because you’re using an encoding profile that specifies a color depth of 8 bits. Use a codec, such as H.265 / HVEC, DNxHR or ProRes, that supports 10 bit color and configure it to use a 10 bit encoding profile.
Fixing UI Font Size in DaVinci Resolve
Out of the box, Davinci Resolve’s UI font and icons are so small that they are practically unreadble on small, hi res (aka high DPI) monitors. Even 1440×2560 on a 27″ screen (e.g. EIZO ColorEdge CG2730) is horrible.
Houdini Volume Gradients are Like Surface Normals
I’d seen volume gradients used in a few places and not really understood them. Houdini help says: “the gradient is a vector pointing in the direction of increasing volume values.” Hmm. Nothing if not laconic.