When I asked the waiter what the birds were, circling above the old walls over our balcony table view in Spello, he shrugged, rolled his eyes and said he didn’t know, “Even what they are called in Italian?” I asked disbelieving. Nope. Now I’ve found they’re ‘Western’ jackdaws, Google says in Italian they’re ‘taccola’. If you decide to call them rooks, it is ‘corvi’, (crows are ‘corvo’).Continue reading “Jackdaws”
If you closely examine the men of the quill
And search for goods stolen with sharp piercing eyes,
Taking these from the pages their volumes which fill,
Huge quartos would shrink to a very small size.
Jean de la Fontaine from his Fables Choisies – John Matthews, English translator.
(This follows a variation on one of the Jackdaw myths and fables I wrote about, and is mentioned here in Wikipedia, that source of all stolen goods.)
I don’t look at this page much. If you have had recurring dreams about falling from a tower, you might want to give this entry a miss as well. I won’t mind.
Continue reading “Falling”
“Carol wants me to write a novel: ‘You’ve met so many interesting people,’ she tells me.
Very good, there was a young man and he could never get his hands on enough women. That’s a novel.
There was an idiot and he became God. That’s the same novel. I can’t possibly think of any others.
It is rather pleasant to be the author of two such excellent novels. The critics are divided in their opinions. One lot believes that they should be shorter; another not, that they should be a mite longer. I rather prefer short critics to long ones. I like critics with tan shoes — look nicer, I think. . .”
-From The Journal Of Albion Moonlight by Kenneth Patchen, Continue reading “The Journal of Albion Moonlight and Kenneth Patchen”
A New Age Guide to Monitor Alignment
This was written for the series of <Thinktag> columns I did for Firmware, this was May 1998 when you could brag about a 21 inch screen.
I’ve just bought a new 21 inch monitor. And before I go further, I must tell you that I’m quite happy with its image quality. Monitors being the ubiquitous peripherals that they are, I didn’t need the slim multi-lingual manual that came with it to install it. Continue reading “Digital Feng Shui – May 1998”
I make photobooks, and not just because I’m an old ink on paper person (there were those magazines for example). There are many that are personal gifts for friends, that I create and never look at again. These photobooks here were made as albums of personal images from special holidays. They’re piling up on the coffee table so they need to be stored online as well (coffee tables catch fire etc.) I usually took video at the same time, hours of it which I find hard to edit, so these are used to aid memory, usually about the extensive eating and drinking they contain. Continue reading “A Travelling Camera – Photobooks”
Neil Young is a keen filmmaker and when he is the cinematographer on a project, he lists his name in the credits as Bernard Shakey. Here’s a showreel I assembled when I could see and hold the camera steady. There’s no singing, you’ll get a feel for my regional food interests and some of the commercial work I used to do. If that’s not enough, there’s now a selected YouTube gallery page here on whileiremeber.it as well. Continue reading “Magnets, rust and shaky cameras”
Characterizing Mr.Storm (and other stories) Cinema Papers #114 1997
Baz Luhrman’s William Shakespeare’s Romeo and Juliet was shot in Mexico, cut in Los Angeles and neg cut in San Francisco. Although there were a large number of Australian crew working on it, it was a feature planned as international and designed for a young American audience. How Melbourne’s Complete Post facility managed to snatch the bulk of the film’s digital visual effects away from the U.S. companies is a story that Chris Schwarze Managing Director of Complete Post and Peter Webb, their Visual Effects Designer, enjoy telling. Continue reading “Romeo & Juliet & Peter Webb”
The April 1982 Issue of Cinema Papers that included ‘Channels TV-Videotape’ magazine and my New Products and Processes section featuring a story about David Samuelson’s front projection equipment that was being demonstrated here. Clearly my interest was more in the switch to video production tools then what was really a SFX (Special Effects) tool from an older filmmaking tradition where rear projection gave us innumerable sound studio dialogue scenes in cars with shaky moving backgrounds. In TV the chroma-key process replaced that and was adopted with a sigh of relief that echoed through the video studio, until someone said ‘let’s just shoot it on location’. This was about a few pivot points in media production and that’s why the interview is archived here.
For six years I had a weekly segment on ABC Radio 666 in Canberra talking about computers and the Internet with a morning, then later afternoon show presenter. I’ll add some of that air-check and pre-recorded audio here, but this was the last email when I signed off. It was a lot of hard work to research and prepare the segment and my day job at Grey Interactive was becoming more demanding. (My biggest beef at the time was that they wouldn’t mention my web business at Grey, who were donating my time, while they were happy to credit authors and publishers.) They didn’t want me to go, saying I’d regret not being a big radio fish in a small pond (they did run some of the bits nationally as ‘filler’) and they’d been authorised to actually pay me $50 a segment, something unheard of with the freebie world of ABC radio. ‘See ya’ I said. Nicely.