This is one of the most incredibly delightful and mindblowing Turns Outs.
What happens when you get a kid from Brooklyn, a radioactive spider, and some leitmotifs and mix them all together?
Finally watched Ethan Marcotte’s talk from this year’s New Adventures conference. It’s as good as everyone said.
The sewing machine was introduced to the public in the middle of the 19th century. When it was made commercially available, it was advertised as an appliance that would free women from the routine drudgery of hand-sewing.
A few short decades later, this pamphlet said that a female operator could use a Singer sewing machine to produce 3,300 stitches per minute.
That shift in tone is really intriguing to me: as the technology improved, the messaging around sewing machines shifted from personal liberty to technical efficiency.
People are promised that technology will free them; ultimately, as the technology matures, it captures them.
I’d like to propose that what happened with the sewing machine is currently happening with the Web: that the Web is becoming industrialized in the same way that the sewing machine was.
We tested fifteen thousand common words and phrases against YouTube’s bots, one by one, and determined which of those words will cause a video to be demonetized when used in the title.
If we took a demonetized video and changed the words “gay” or “lesbian” to “happy” or “friend”, every single time, the status of the video changed to advertiser-friendly.
YouTube’s apparently unassailable dominance over web video is a real shame. I dream of a world where web video is like podcasts: a decentralized system where anyone can participate without ceding control to a giant corporation with black box policies.
Monetization is already going the way of podcasts: crowd-funding and ad reads. Big video creators just can’t afford to trust that YouTube’s ever-changing policies will be on their side. The next step is decentralizing distribution, which seems like a harder problem to solve. But we’ve done it before: let’s bring back video podcasts. Let me get my video subscriptions in my RSS reader. Let’s take video away from YouTube and give it back to the web.
Toy Story 4 looks incredible, almost hyper-realistic. And it’s not a simple matter of technology getting better; there is artistic intent in the imperfections that give it that edge. Among other techniques, Pixar is simulating real-world camera lenses (along with their limitations). Evan Puschak explains:
Animation has always drawn from the lessons of live action film, from the visual language of cinematic storytelling. Everyone who worked on Toy Story 4 understands that the imperfections — the way a lens distorts, or a camera operator shakes, or a light bounces — contain their own expressive potential. And when you combine these with the limitless world of animation, the results can be stunningly tactile.
I hadn’t noticed that split diopter shot — it’s brilliant.
What’s remarkable about vertical drama is that it’s not just any scripted content cropped for a vertical aspect ratio. These shows are specifically imagined for the mobile screen from the ground up. This is evident in three features they all share.
I am fascinated by vertical video — it feels like a completely different medium. To me, horizontal video always represents a very deliberate choice to “make a video.” Vertical video is much more spontaneous, like a long photo that lives on your phone.
Seeing the vertical format used for more serious scripted stuff is still uncanny, but I suspect there’s a lot to explore there.
So here’s a question: when did animated movies start selling themselves on their bankable celebrity talent?
Robin Williams was such a treasure.
In this 2019 GDC session, Subset Games co-foudner Matthew Davis details the Into the Breach design process from early drafts to the final balancing decisions. Davis dives into years of cut content and iteration to show how Subset Games approached the difficult design challenges of making Into the Breach.
On the 30th anniversary of its release, Marques Brownlee unboxes and explores how the Game Boy came to be, it’s impact on society, and why it’s leaving us feeling so nostalgic.
This is a video I’ve long wanted to make, about what makes video look like video and, up until 10 years ago or so, not as appealing as film. I grew up with the two technologies (film and video) in parallel and to me they always seemed like two ways of achieving the same ends: recording and replaying moving images. But their histories are quite distinct. Film was always a way to capture moving images for later replaying. Video started out as a way to transfer images from one place to another instantaneously.
Danny Dimian, Visual Effects Supervisor, and Josh Beveridge, Head of Character Animation, for “Spider-Man: Into the Spider-Verse,” share exclusive breakdowns and talk about their inspiration and the techniques they used to create a new visual language for their Academy Award-winning film.
A great little documentary about the birth of the web, featuring Tim Berners-Lee front and center.
FOREVERYONE.NET connects the future of the web with the little-known story of its birth. In 1989, Tim Berners-Lee implemented the first successful communication between a Hypertext Transfer Protocol (HTTP) client and server via the Internet creating the world wide web.
David Ehrlich writes about the upcoming Apollo 11 documentary, made using recently discovered 65mm footage:
It’s rare that picture quality can inspire a physical reaction, but the opening moments of “Apollo 11,” in which a NASA camera crew roams around the base of the rocket and spies on some of the people who’ve come to gawk at it from a beach across the water, are vivid enough to melt away the screen that stands between them. The clarity takes your breath away, and it does so in the blink of an eye; your body will react to it before your brain has time to process why, after a lifetime of casual interest, you’re suddenly overcome by the sheer enormity of what it meant to leave the Earth and land somewhere else.
This looks absolutely incredible.
A remarkable visualization of emergence at work. The close-up shots of the circulatory system look straight out of a trippy sci-fi horror film.