Twiddle, Pigeons Playing Ping Pong Deliver Thrilling Performances In Return To Red Rocks [Photos/Video]

first_imgA behemoth of a show went down on Colorado’s beloved Red Rocks Amphitheatre on a perfectly cool night on Thursday. Anticipations were high with the formidable Kitchen Dwellers opening before young, but I dare say future jam titans Pigeons Playing Ping Pong and Twiddle took the stage for their co-headlining performances.The Kitchen Dwellers’ “Galaxy Grass” was a perfect introduction to the cool breezy night on “The Rocks.” The band’s high energy bluegrass got everybody moving during their early set. The Kitchen Dwellers, like many artists, consider Colorado a second home.Pigeons Playing Ping Pong took the stage and started their own set with the impossible-to-dislike island jam “Poseidon”. It was clear the band was hitting on all cylinders with “Something For Ya” > “Kiwi” > “Distant Times”. Fans were delighted with back-to-basics closing of “Melting Lights” > “The Liquid” > “Ocean Flows”.Twiddle had some mighty shoes to fill after two flawless sets from Kitchen Dwellers and Pigeons, and they did not disappoint. The Vermont jam band played similar cards while playing older tunes. It was clear from the beginning that the rock quartet was up to the challenge delving into “Hatties Jam”, “The Box”, and “Granpa Fox” before going into “When It Rains It Pours”, “Jamflowman”, “Dinnerfork”, and “Frankenfoote”, which also showcased just how tight they’ve become over their relatively short career.Just when fans thought the treats are over, the highlight of the night came next as “TwidGeon Dwellers” (a combination of all three bands, as you might have guessed) took the stage. The three seemed to have a beautiful marriage and should have continued success. Twiddle and Pigeons Playing Ping Pong have had plenty of success but are certainly jam kings of the not so distant future.Among other treats, the super ensemble created a fantastic singalong rendition of The Proclaimers‘ “I’m Going To Be (500 Miles)”, Talking Heads‘ “Psycho Killer” and a skingasm-worthy cover of “The Sounds of Silence” by Simon & Garfunkel. The icing on the cake came as the band was joined by The Denver Choir League for an appropriately mind-blowing cover of Queens’ “Bohemian Rhapsody”, making for a truly bombastic end to an engaging show. Fans can relive Thursday’s show from start to finish via the video below.The Kitchen Dwellers/Pigeons Playing Ping Pong /Twiddle – Red Rocks Amphitheatre – 5/2/2019[Video: Relix]Twiddle and Pigeons Playing Ping Pong find themselves at the top of their game and are a must see. Fans can also check out the photos captured throughout last night’s marathon concert, taken by Matt Shotwell.Setlist: Pigeons Playing Ping Pong | Red Rocks Amphitheatre | Morrison, CO | 5/2/2019Set: Poseidon, Yo Soy Fiesta, Somethin’ For Ya > Kiwi > Distant Times, Sunny Day, Walking Outside > Sir Real > Walk Outside, Melting Lights, The Liquid, Ocean Flows Setlist: Twiddle | Red Rocks Amphitheatre | Morrison, CO | 5/2/2019 Set: Hattie’s Jam > The Box > Grandpa Fox > When It Rains It Pours, Tiberius, Subconscious Prelude*, Jamflowman > Dinnerfork > Frankenfoote > Be ThereNotes: *w/ violinist Richard Vagner Set: Apples*, Visions of Mohr+, I’m Gonna Be (500 Miles)* (The Proclaimers cover), F.U.*, Physcho Killer* (Talking Heads cover), Sounds of Silence~ (Simon & Garfunkel cover), Bohemian Rhapsody ! (Queen cover)Notes:* w/ Torrin of Kitchen Dwellers+ w/ all of Kitchen Dwellers~ w/ Greg Ormont & Mihai!  w/ Denver Choir League Twiddle/Pigeons Playing Ping Pong/The Kitchen Dwellers | Red Rocks Amphitheatre | Morrison, CO | 5/2/2019 | Photos: Matt Shotwell Setlist: TwidGeons | Red Rocks Amphitheatre | Morrison, CO | 5/2/2019 Load remaining imageslast_img read more

“Old Guys Dig Young Women” & Other Creepy Facts from OKCupid

first_imgLast year, we ruffled a few feathers when we posted some OKCupid data on dating and race. We’re sure this latest news is going to be equally unpopular, but the data support the conclusions, so here we go.Women users of the online dating site state a range of preferred ages for partners that is relatively normal, and when it comes to reaching out to other users, they stay pretty strictly within their own self-imposed guidelines. However, men on the site continue to state a preference for 20-something girls well into their later years. And even when male users state a cut-off age, they continue to contact women who are below that age. Culture of sexual exploitation or personal preference? Check out the graphs below and let us know what you think in the comments.For starters, OKCupid’s blog states, “Men between 22 and 30 – nearly two-thirds of the male dating pool – focus almost exclusively on women younger than themselves… A man, as he gets older, searches for relatively younger and younger women. Meanwhile his upper acceptable limit hovers only a token amount above his own age.”Here’s what that looks like in a graph format: Why Tech Companies Need Simpler Terms of Servic… Here’s where the plot thickens: Stated age preferences are fine and dandy, but how different genders actually interact with potential dates of varying ages belies male users’ statements about who they’re really looking to meet.Here’s a heat map overlaid with the women’s stated age preferences. You can see that, with striking regularity, women mean it when they say they want to find a partner within a given age range: Top Reasons to Go With Managed WordPress Hosting Tags:#Digital Lifestyle#web As you can see, the data show that 29-year-old women generally stop messaging significantly younger men.Now, here’s the data on men’s messaging habits: 8 Best WordPress Hosting Solutions on the Market To some, this graph might look like an episode of Cougartown. But the folks at OKCupid feel that “older” women get a bad rap in the online dating world – one that they don’t necessarily deserve.What’s your experience or opinion on the matter? Let us know in the comments. jolie odell Related Posts The men in this study consistently reached out to the youngest of the women in their preference range – which already heavily favors younger women. Moreover, they don’t cut themselves off at their stated minimum age preference. “No matter what he’s telling himself on his setting page,” reads the OKCupid blog, “a 30-year-old man spends as much time messaging 18- and 19-year-olds as he does women his own age.”Taking into account this data about sexual desirability and women’s responses to frank questions about sex acts and exploration, the OKCupid researchers determined a socio-sexual sweet spot for men to consider: Women, on the other hand, display an “admirable openness to both reasonably younger and reasonably older men,” with the exception of early-20s young women who generally prefer to date slightly older young men. A Web Developer’s New Best Friend is the AI Wai…last_img read more

Working in the Visual Effects Industry

first_imgCan I change careers into Visual Effects?What animation software do you use or recommend?“Pixar uses its own proprietary software built and maintained in-house. In general, we look for broad artistic and technical skills, rather than the ability to run one package over another. We concentrate on finding people with breadth, depth, communication skills, and the ability to collaborate. If you have those attributes, we can teach you the specific tools.”If you check out the first video above you’ll quickly gather that many people working in the VFX industry didn’t originally train to do it (at least not at degree level). And if you look on the Pixar careers FAQ you’ll see that they are looking for a broader range of skills and abilities than just simply “being a ______ ninja.” This should be an encouragement to anyone with a serious passion to apply their knowledge of particle physics, computer coding, lighting, fashion etc to the visual effects industry – that’s it is not just about being a geek, but being an artist first and foremost.One person who switched careers to get started in the visual effects industry is Chris Chadwick who moved from being a graphic designer, took a six week course at Escape Studios in Autodesk Maya and then landed a job at Prime Focus doing match move work for the film Total Recall. Starting as a match mover is the first step on the ladder, but at least you are on the ladder. Double Negative’s 3D Artist Manager Dara McGarry shares how artists often develop in their careers at Double Negative. If you head over to this page, you’ll also find a ton of useful information about building a career in VFX too.“The most common entry point to begin a career in 3D is to start in the matchmove department, where they will be responsible for camera, object and body tracking. A very good understanding of Maya is helpful as well as knowing tracking software, even though we use some proprietary tools. Most people spend 12-18 months in tracking and will have the opportunity to pick up TD tasks along the way. This could include anything from running a pre-existing lighting set up on a new shot to creating small props or buildings. This experience gives our junior artists a complete understanding of the pipeline and the tools we use here at DNeg.”It’s Not Just About Digital SkillsStan Winston’s School of Character Arts is a great place to start if you’re interested in a career in the physical side of the visual effects industry. Their YouTube channel has over 200 videos on it, and you can purchase tutorials and webinars from top visual effects professionals on the techniques they use to create everything from the initial sculptures to final painted models.Legacy Effects (with founders from Stan Winston Studios) share how new technologies like 3D printing are transforming their practical visual effects workflow. It’s just another example of how understanding new technologies and material’s sciences can land you a job in the visual effects industry.Life After Pi – The Economics of VFXLastly, it would feel a little remiss to be talking about working in the visual effects industry without highlighting some of the financial and economic realities that go with the industry. Life After Pi, the half hour documentary, examining the demise of  Rhythm & Hues, the VFX company that created some of the miraculous visual delights of Life of Pi – and won an Oscar for it, while simultaneously going bankrupt. It is an eye-opening look into the current state of much of the big budget feature film visual effects industry.Previous Posts on Visual EffectsIf all of this isn’t enough to satisfy your hunger for information on the world of visual effects then check out these two previous posts right here on Premiumbeat. If you’ve ever wondered what a visual effects editor does, or what it’s like to be an assistant in the visual effects department the this previous post will illuminate both those worlds. You might also want to check out this previous post showcasing a 2 hour masterclass with visual effects legend Douglas Trumbull. If you are considering a career in the visual effects industry, here are a few things to know.If you’re interested in building a career in the visual effects industry, hearing how others who have gone before you have worked their way up the ladder is a great way to pick up some tips on how to do it for yourself. Studio Daily recently posted a great interview with Industrial Light and Magic VFX Supervisor Russell Earl – whose most recent film is Captain America: Winter Soldier. It seems like having the guts to wing it, and the work ethic to pull it off, is a helpful combination.“Because Earl had run the laser camera, the producer’s assistant believed he could do digital compositing. “He said, ‘Hey, you know Unix, don’t you?’” Earl says. “I said I did, which I didn’t. He said, ‘Can you start today? At 7?’ I said, ‘Yeah, I can do that. I thought I could figure it out. I packed my car, went to the bookstore, bought a book on Unix, hid it in my bag, and drove up there. I had these little Post-Its. When they would ask me to do something, I would write it down on my Post-It, go back to my desk, and look in the book.”Starting a Career in Visual EffectsSo what does it take to build a career in the visual effects industry, especially if you’re considering going to a university to acquire the skills you need? Interestingly The Mill‘s co-founder and chief creative officer Pat Joseph, believes that UK higher-education in general is failing to equip students with the skills or awareness of the VFX industry to create the supply of talent, needed to match the demand.“I think that for a long time VFX had been seen as “trying to run a hobby as a business”. My concern is that the British education system still isn’t really laying out visual effects as a career option and so in turn, students aren’t graduating with the right skills. Demand continues to grow, but universities that do train to industry standard, such as Bournemouth University, are struggling to meet it.”Things are probably quite different in the US with dedicated creative arts universities like the University of Southern California Film School and New York Film Academy. If you want a full list of film schools the Hollywood Reporter put together a list of the ‘25 best film schools‘ last year. But what if you don’t want to spend $100k getting trained? UK based Escape Studios offers intensive training courses as well as plenty of free training courses and advice to help get your career in visual effects off to a flying start.The UK ambassadors for up-skilling people is Skillset. In this series of videos partnering with the The Mill, Double Negative and others, they offer plenty of good advice to anyone looking to build a career in VFX. Get some great tips on improving your vfx showreel, shaping your CV and what essential skills employers are looking for.last_img read more

Basic to Advanced: Resolve’s ‘Deliver’ Window Demystified

first_imgReel name Version name or number EDL reel %V %L Better control your project’s workflow and delivery by tweaking the options available in Resolve’s ‘Deliver’ window.To developing colorists, some choices available in the Deliver page may be confusing. The Advanced tab contains many specific options for rendering a finished project, and while some of these are straightforward, others are a bit esoteric. For many projects, the Basic tab may be sufficient, but in this post we’ll delve into the features in the Advanced tab of Resolve’s Deliver window.Deliver > Advanced > PresetsAll of the tabs have an Easy Setup option. Depending on how the project was edited, selecting the corresponding Easy Setup will highlight and lock certain settings found below. Choosing Final Cut Pro XML Round Trip, for example, forces you to output individual source clips as opposed to a single clip.The Avid AAF Round Trip can only output MXF files. Colorists can save their own Easy Setups as presets in the Intermediate and Advanced tabs.Deliver > Advanced > VideoIn Video, you can choose to output files as Individual Source Clips, used in the majority of outputs where you want to conform in a nonlinear editing software. The timeline can also be rendered as a Single Clip, an option for sending an off-site client a color pass for review.Once you’ve chosen one of the two options we’ll need to decide what video format we’ll be outputting. This’ll be dependent on the post workflow for the job. For round-tripping back to Premiere, Final Cut or Avid, Quicktimes or MXF files are the norm. If a compositing machine is the next step in the post pipeline, outputting DPX files is preferred. Output options for cinema projection are also available.The codec selected will determine the quality of the output. As much as possible, I push for clients to output to Prores 4444 when working with Quicktime, but again, depending on the workflow Prores 422 HQ or Prores 422 may be acceptable to the client. I can also output to a web-ready H.264 at half resolution straight from Resolve for client review.The Field Rendering checkbox pertains to interlaced footage, not often encountered with progressive signals becoming the norm.I can’t imagine a scenario where you’d want to stray from the Auto setting on Video/Data Level. Resolve recognizes the output format and sets the levels so you don’t have to. The last option in the Video section concerns data burn-in, which you can choose to disable here. You can set the parameters for the burn-in back in the Color tab.Deliver > Advanced > AudioAudio is pretty self-explanatory, with an option to include it in the export. You can also set the number of channels and bit depth. Sequential image outputs don’t have an audio output option.Deliver > Advanced > FileIn File, alternate filenames can be chosen, which can be great for organizational purposes. If unique filenames are not given, new renders can overwrite old renders. Setting custom filenames and choosing Render Unique Filenames can avoid this. This is always highlighted when performing a round-trip to an NLE. This section is where the destination path for the renders is chosen, as well as the render speed. Only an insane person would want to wait longer for renders, but the speed is an option here in case your rendering to a networked storage solution will slow others down.The manual instructs that Resolve is capable of recognizing specific text tags to add pertinent information to each clip: %Tcenter_img Description %I Tag Shot number in timeline Deliver > Advanced > OptionsOne of the most essential considerations in the Options section is the Handles. Having unlocked cuts on the day of the color session is becoming the norm. It’s customary to add 24 or more frame handles to each shot in service of tweaking the edit further after the session. It’s not a bad idea to have handles in case the round-trip process is not exactly frame-accurate too.Disable Edit and Input Sizing is something I use when I’m panning shots around the frame to compare them to stills in my gallery. In case I forget to move them back, this feature avoids rendering the shot nudged left or right. If you’re resizing something like Red footage into an HD frame, you’ll want to keep this option off.Force Sizing to Highest Quality relates to an option in the preferences of the Image Scaling tab that scales the image based on a bilinear filter. Clicking this checkbox renders with the sharpest image-resizing filter inside Resolve. You may want to enable it when in doubt.Force Debayer Resolution to Highest Quality is an option I’m glad had made it to the Deliver page several versions ago. Most often this will be relevant when working with Red footage at a lower debayer in the interest of smoothest playback. Make this checkbox active to render at Red’s premium full resolution.Now that the Render Cache is behaving as it should, Use Render Cached Images can save render times by pulling from the cached images. Make sure you set caching resolution to your output resolution in General Options in the Preferences, since you can cache to lower-quality resolutions as well.While your grades may look beautiful, they may not be optimal for pulling information in a visual effects context. If compositors prefer to pull information from the ungraded, raw footage, you can turn on Enable Flat Pass, which disables the grade when rendering. You can also set individual clips to render in this manner by right-clicking a shot in the timeline, selecting its version, and clicking to enable its flat pass. You can then select the radio button for With Clip Settings.Place Clips in Separate Folders can assist in the automatic organization of image sequences by throwing each shot’s hundreds or thousands of images into their own folder. Can you imagine life with this workflow but without this feature? Preserve Levels retains the filepath of the clip, useful for preserving camera roll and reel information. Resolve can take advantage of the Alexa, Red and some DSLR cameras that capture footage with this folder structure.The Use Commercial Workflow option also has the ability to place clips as well as reels in their own folders. When footage was still laid off to tape (gasp) an offset of a half hour was typically given to alternative scene passes, which can be input here. Ending this section are a couple of options for stereoscopic projects.Deliver > Advanced > Additional OutputsYou can create more outputs at the very bottom. This is useful if the footage needs to go to two different departments. I could output my timeline to DPX sequences for the compositors, but the editor may want to post a rough conform of the color correct for client approval, so I make another output for Quicktime or MXF files. Here, it’ll be important to change the subfolder to organize the different sets of renders.While some of these options may not encounter daily usage, it’s important to understand them for those atypical jobs that throw us a curveball and require their utilization. Understanding these options isn’t meant to clutter your mind with more technical knowledge. It’s about streamlining the conform process and preventing headaches.last_img read more

Foton leads Grand Prix opening playdate

first_imgUS judge bars Trump’s health insurance rule for immigrants LATEST STORIES Don’t miss out on the latest news and information. ‘We are too hospitable,’ says Sotto amid SEA Games woes ‘We are too hospitable,’ says Sotto amid SEA Games woes PH underwater hockey team aims to make waves in SEA Games PLAY LIST 02:42PH underwater hockey team aims to make waves in SEA Games01:44Philippines marks anniversary of massacre with calls for justice01:19Fire erupts in Barangay Tatalon in Quezon City01:07Trump talks impeachment while meeting NCAA athletes02:49World-class track facilities installed at NCC for SEA Games02:11Trump awards medals to Jon Voight, Alison Krauss Sports Related Videospowered by AdSparcRead Next With head coach Sherwin Meneses calling the shots, the Lifesavers made it to the semifinals before losing to powerhouse F2 Logistics.“Our confidence is high,” said Meneses, who will parade open spiker Nikolle del Rio of Brazil and middle blocker Kseniya Kocyvit of Azerbaijan.“As much as possible, we want to give our local players a lot of opportunities in the Grand Prix. That’s why we tapped a middle blocker and an open spiker as imports. We want to reward our locals for a job well done in the previous conference.”Sta. Lucia will be led by American imports Molly Lohman and Casey Schoenlein and will field new players in former Adamson ace Amanda Villanueva and Ateneo libero Rio Lo.ADVERTISEMENT There’s going to be a marching band. An LGBTQ group will also lend its support. And then a parade of the eight teams from Oranbo Barangay Hall in Pasig City to nearby Ynares Sports Arena, where the opening games will be held.When the opening fiesta dies down, two-time champion Foton will highlight a doubleheader as the Philippine Superliga Grand Prix fires off on Saturday.ADVERTISEMENT ALA Boxing urged to speak upcenter_img View comments Grace Poe files bill to protect govt teachers from malicious accusations Private companies step in to help SEA Games hosting SEA Games hosting troubles anger Duterte MOST READ Oil plant explodes in Pampanga town The Tornadoes will challenge an overhauled United Volleyball Club (UVC) side at 4 p.m., which will be followed by the showdown between Generika-Ayala and Sta. Lucia.Foton will still be without sisters Jaja Santiago and Dindin Manabat, who are playing as imports in Japan, but will remain a force to be reckoned with due to the addition of imports Selime Ilyasoglu of Turkey and American Courtney Felinski.FEATURED STORIESSPORTSPrivate companies step in to help SEA Games hostingSPORTSUrgent reply from Philippine ‍football chiefSPORTSPalace wants Cayetano’s PHISGOC Foundation probed over corruption chargesUVC, formerly Cocolife, had a recruiting spree in the off-season, netting Filipino-American setter Alohi Robins-Hardy and Kiwi Amy Ahomiro and American imports Tai Manu-Olevao and Yasmeen Bedart-Ghani.Generika-Ayala, meanwhile, hopes to build on its impressive run in the All-Filipino Conference. Oil plant explodes in Pampanga townlast_img read more