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Hmm.. so I dunno.. maybe just a hiccup now and again.

I locked up sometimes as well. I thought it was a problem with FRAPs?

Re a Half-Life TV series (fine idea, btw!) given the look of City 17 it’s kind of ironic that you ended up advocating HBO over SciFi due to the latter making programs in eastern Europe.

And am I the only UK “viewer” who keeps imagining the armchaired banjo-ukulele strumming Ricky Tomlinson as Jim on The Royle Family whenever our own Ricky starts to play? He-hey!

–Anthony.

Great show all. I’m rushing out to get a set of 3D glasses ready for the special.

Looking forward to your return

I’ve been looking around for other podcasts to listen to on those commutes, but nothing is this good. I would have happily payed a few bucks per episode for the show to go on, as some kind of recompense to the time you’ve both put in and to acknowledge the contribution you’ve made to the growing up of machinima. Yer, yer, I know youre not in it for the money, but this knowledge has values in many forms.

Sigh, only 3 more to go

nice pod.

@Tari – We had a blast talking to you, thanks for giving us some of your time on such spur of the moment.

It sounds like the mic is hitting something when you move around. It gets really distracting–especially coming from audio experts such as yourselves–enough to make me stop listening. Please fix that because I really like your show.

Yay!

The latest version actually uses CUDA!! (that’s tech speak for it uses your GPU for Rendering of the filters applied)

PPSS the Purchase Brothers are getting hammered with interest since their film has gone viral. I hope they can work out a RvB type deal with Valve. Good for everyone.

http://www.youtube.com/partners

General criteria they are looking for w/ partners is a fairly regular release schedule of some kind, decent quality content, etc. The other thing you’ll want to keep in mind is that if you are a partner, when you turn on the option to have ads show with a video, you are asked to account for EVERY BIT of content in the video / audio, verifying that you have permission to use it in a commercial kind of context, citing from whom or where you derive your permissions (for anything you didn’t create yourself), etc. And they are MUCH more strict on this standard than they are for regular videos on YouTube. So it’s something to be aware of, especially if you make any use of commercial music in your movies, if you use a video game to generate your footage, etc.

That disclaimer aside, if you are in the clear copyright-wise, their Partner program is a really great program (I’ve been one for a year now and love it).

Veoh note: if you use the Veoh web player, you can also download the original source video file which is pretty cool.

On a postitive view from Vimeo, they had removed another one of my friend’s movies for the same reason, but after he explained the content they reinstated it very promptly. Possibly the difference being that his included humans and scale models chroma-keyed into the game engines http://www.vimeo.com/2381014

ty

You already discussed how “amateur” doesn’t mean a lack of “professional”-ism. There’s an analogous problem lurking in the roots of “amateur” – it means “lover of” in French. The idea is that the amateur is someone who makes art for the love of it, rather than for profit. Now, that’s a nice association, but it risks being unfair to the “professional” who loves their art just as much, and only wants to make money at it so they can be with the object of their affection all of the time.

You touched on the blurring of the amateur vs professional distinction. I believe this is an important common theme across nost creative endeavor today. The key to it, I think, is the change in the economics of distribution enabled by being digital. It used to be that in many media you had to be professional, and working for someone else too, in order to get your work out to your audience. This is much less the case in the digital age. So we hear from many more amateurs; and we also hear more from professionals who work for themselves – the independent/self-publishing angle. Citizen journalism is a good example.

I suspect these days that for those enjoying the fruits of the creative process, “full-time vs part-time” and “independent vs contracted” might be more interesting distinctions than whether the artist makes money or not. Of course very keen creators have to look at the mechanics of actually surviving whilst they spend much time on their art, so the distinction will continue to matter on that side of the creative process!

Ricky, although I may be twisting your words somewhat, I do disagree a bit with what you said about their being no history, no tradition of amateur art. Perhaps not much written history, but if you look further back, then plenty of art has been amateur – or at least only sponsored by a patron rather than created for sale as a “professional” full-time job. In some ways the twentieth century, with its emphasis on “professional” career creators “producing” paid “content” for a mass market, is an anomaly due to the economics of pre-digital wide distribution.

–Anthony.

I’m totally jealous of you living down the street from M dot. Really looking forward to seeing what you do with iClone 3.

Very enjoyable show, Phil. The music to cover the call is great. Man, that conversation is better than I remember it being. I had a vague idea that it was somehow just late-night ramblings, but it’s much better than that, I think.

I urge everyone who listens to this podcast to try to rent or buy the “By Brakhage” collection from Criterion and to seek out the “In defense of Amateur” essay. His work and ideas are profound, but little know inside of the US (he is highly regarded around the world). The Fred Camper site is superb. I don’t know of another site devoted to a single filmmaker with more information and commentary.

Looking forward to continuing the conversation on Sunday.