Winchester is a completely Australian production and a return to form for the country that wrote the better book on runaway film production than did Canada.
I Saw Call Me By Your Name and the theater was full of guys who clearly couldn’t get their girlfriends to see it with them. Weird, right?
This movie was stunning on so many levels. I don’t even know where to begin: The film is technically flawless, the story just as much. Timothy Chalamet absolutely deserves an Oscar nomination as does Armie Hammer and even Michael Stuhlbarg in his small but incredibly important role, delivering a speech for the ages that every child deserves to hear from their father as they struggle to come to terms with their sexuality and humanity.
Well I saw Maze Runner: The Death Cure, and I’m not going to bury the lead on this one: It was better than Star Wars: The Last Jedi.
Here’s Doctrin performing live at The Viper Room on Sunset in West Hollywood. They were frickin’ amazing:
In tonight’s live stream, what normally is routine freeway gridlock caused by an accident was instead caused by an AIRPLANE landing on the freeway.
12 STRONG – The Declassified True Story of the Horse Soldiers is an excellent war-is-hell film that is also a second unit director’s hottest fantasy, filled with post-9/11 Middle East conflict tropes we’ve seen before and an overabundance of the use of the word “flank.” They keep using it. I do not think it means what they think it means. In fact, you could make it a drinking game out of how often it’s used on screen.
Back in February of 2017 (aka, a year ago), Daft Punk announced a collaboration between lifestyle purveyor Maxfield, and a couple of designers I’d never heard of (except for Hervet Manufacturier, more on him/them later) to open a pop-up shop in Maxfield Gallery across the street from Maxfield LA on Melrose Avenue.
The shop was slated to remain open for only eight days and feature merchandise from a variety of collaborators including:
|• Gosh Rubchinskiy|
• Enfants Riches Déprimés
• Hervet Manufacturier
• Han Cholo
|• New Era
• Russell Yo-Yo
• Fisher Space Pen
Which I guess it all said in the marketing material leading up to the shop’s opening, which raises the question, why did I bother to type all that out when I could just show you this amazing poster?
Right, well, I guess I’m just a hard worker like that. Anyway, while the interior of Maxfield Gallery (not to be confused with Maxfield LA (across the street) is just four walls and a glass window looking out on Melrose, but they always manage to fill it with the coolest f*cking stuff on the planet as part of their pop-up and collaboration series and Daft Punk’s pop up did not disappoint.
Let me clarify: It did not disappoint from the standpoint of being an astonishing archive of the group’s creative output over the past two decades, even if I couldn’t wrap my head around a lot of the fashion collaborations that I, personally not being a trust fund hypebeast, wouldn’t be caught dead in. The walls were lined in officially authorized merchandise, but for the most part, it wasn’t anything that couldn’t be purchased from Daft Punk’s website itself save for certain items that pre-dated the formation of the site, such as the Medicom action figures, and the skateboard collaboration with Hervet Manufacturier, an item I regret not purchasing while I was there.
The aforementioned company revolves primarily around STUNNING furniture design for STUNNING prices that are STUNNINGLY worth it if you have that kind of STUNNING money. The brainchild of Cedric Hervet and his brother, Cedric is the creative third leg (still developing the dick joke on this one), of Daft Punk, responsible for helping Thomas and Guy-Man with the visual and story aspects of most of their endeavors.
Okay, that’s enough about sofas and skateboards, back to the Pop Up:
As previously stated, the walls were lined with merchandise found on Daft Punk’s website – things like candles, shirts, posters, skate decks, Christmas ornaments. And all that stuff was cool, especially considering the fact that to the extent I could tell, it’s all ethically made stuff (which matters to me), but the floor space was incredible, with a absolutely incredible array of artifacts from their past, including multiple iterations of their famed robot costumes as well as costume pieces pre-dating even discovery, such has Halloween masks worn prior to adopting their robot personas.
The helmets themselves were heavily influenced on anime characters and 1950’s American sci-fi with Guy-Man’s helmet a tribute to helmets worn by Scott Bernard and other characters from Mospeada (Robotech and Macross) and Thomas’ helmet being largely influenced by Addison Hehr’s design for Gort from the 1951 film, ‘The Day the Earth Stood Still.’ A myriad of versions of the duo’s coveted helmets have been made, so let’s go through what was there:
1. Discovery: 2001 – 2004
Most impressive were the fully-lit helmets from the Discovery Era (2001-2004). The helmets were designed in collaboration between Daft Punk (and probably Cedric), special effects make-up godfather Tony Gardner and his company Alterian Inc, and later modified by show design firm LED Effects. Initially, they were not lit and featured chromic visors, but later, LED Effects (now seemingly no longer in business) stuffed them chock full, at the time, groundbreaking LED matrix displays that could output any number of pre-programmed colorful lighting animations, or scripts, or recipes, or whatever you want to call them. Below are some examples of them in action:
Initially powered by heavy battery packs, the helmets were later converted to AC as, I speculate, they realized that they would never be used in public beyond one video done for publicity prior to the final iteration of the helmets in their full LED splendor. The switch to AC allowed for further electronics, removal of heavy backpacks, and the realization that power cords could be photoshopped out or hidden with camera angles in press materials.
Despite being used only for publicity in controlled settings, their vacuum-metalizing had shown some wear over the intervening seventeen years. You might guess that they were not treated well but their electronics remained in perfect condition, suggesting that the metal pitting was nobody’s fault, but simply a shortcoming of the processes available at the time. It’s also worth noting, that using these helmets basically rendered the wearers blind as the gauge of the wires and ribbons used was THICK. These helmets were heavy, and likely got pretty hot inside. I can’t help but wonder if they still work. It stands to reason that they should.
I’m unsure as to the order of events here with regards to what the duo decided to do first, whether it was the film Electroma, record Human After All, or sign a deal to go on a tour, but all two of these three creative endeavors necessitated an evolution of the Robots’ costumes purely from the standpoint of practicality. They couldn’t expect the electronic helmets to hold up to the physical rigors of a live tour or film production and perhaps they were over the hassle from the standpoint of marketing a new record, so all electronics were ditched in favor of lightweight fiberglass helmets that could easily be mass produced as costume pieces for a film and swapped out on tour should one be damaged. Added bonus, you could walk more than eight feet since you weren’t plugged in to the wall.
Also Daft Punk ditched the quirky fashion associated with the Discovery era and donned leather motorcycle suits designed by Hedi Slimane, who also photographed the Alive 2007 tour and whose photographs are used in the album art for the accompanying live album. His photography is decent, and he gets high points for shooting film. Love that grain. Additional costumes were developed in collaboration with Janet Hansen of Enlightened Designs, an early adopter of EL wire as costume element, for the Alive 2007 tour’s encore in which the robots lit up like programs from the 1982 Disney film TRON. This had the added subversive element of Daft Punk communicating subliminally with Disney that they wanted to collaborate on something, anything. A couple of lines of business at Disney eventually came calling, and the duo opted to score the sequel to Tron, TRON: LEGACY in 2010, which brings us to…
3. TRON: LEGACY: 2010
For their not-a-cameo-cameo in the film, the group wore new motorcycle-style suits that utilized scotch light fabric to create a glowing effect on film. This was decidedly lower tech than the costumes everyone else got on the film, which used actual LEDs for illumination. It also appears that the lights on the faces of the helmets were digital effects as there were no wires or any indication that these helmets were powered. Of slight interest is that the bezels on these helmets were noticeably thicker than previous helmets, which suggests a redesign from scratch.
Change one dimension…and you have to change everything else.
4. Random Access Memories’ Grammy Win: 2014
On the day I went to the Pop Up, the costumes conceived for the Random Access Memories marketing and promotion were not on display (they showed up on a later date), however the white outfits worn for their Grammy win were. They were white with gold visors. Not much more to say about that other than that we’ve seen a continued evolution and refinement of the robotic elements over time, which hints at the notion that the robots are aging, not in a linear organic fashion, but rather, a cerebral synthetic fashion. They change with time, just like the rest of us, but as their appearance becomes more perfected and precise, their interests have become more organic and analog, and indicated by their music and pursuit of visual arts.
Well that’s about all there is left in my memory from the Pop-Up. Of course if you’re in LA, don’t not go to Maxfield because the Daft Punk Pop-Up is no longer there. The Maxfield Gallery consistently hosts amazing exhibitions and limited runs of merchandise and is a joy to check out.
Feel free to check out hi-res photos from my visit over in the gallery. As always, no license is granted to use them without my explicit permission. Thanks for understanding.
If you’re wondering if I got anything while I was there….I did. But I guess you had to be there. 😉
Whereas the first Guardians of the Galaxy was fun and funny and really entertaining and had heart and wit and a great playlist and that intangible energy that makes you love it, Guardians of the Galaxy Vol. 2 was just really enjoyable.
You know, like when your uber driver is an architect by day and drives a Saab.
My little limerick about Norman Bent and his shop tricycle (referred to as a traffic car back in the day) was originally published on DriveTribe six months ago, but the site, still in its infancy, had issues with formatting the verses, so here it is, looking the way it’s supposed to:
Before you go to bed
Have you heard the tale?
Of a fellow who’s a legend
Not one mission did he fail.
The man of whom I speak
The man who we all know
Would go to anyone anywhere
With his parts and tools in tow
This man was Norman Bent
He was kind and dedicated
He treated all with respect
As if they were related
Got a broken moto?
Got a broken bicycle too?
Got a broken model airplane?
Norman Bent can bring the glue.
Norman Bent, he travels
On his trusty traffic car
Delivering parts and service
To people near and far
It’s got a suicide shifter
Three wheels of spoke and steel
And a cargo box weighed down with tools
To give it that stable feel
He’s the automotive Santa
On his trike of tools and parts
You could say he has a doctorate
In the automechanical arts
Norman he does travel
On his trusty Indian moto
But this was in the days
Before all could snap a photo
Now there’s all this sharing
These insta’s, tweets, and snaps
But of Norm there are no photos
On social media traps
But then one day he vanished
Friends searched far and wide
They were in need of services
That only Norm could provide
He left behind his trike
It’s still with us right here
But Norm was never heard from
The trike we hold so dear
Did he depart too early?
From something he could not heal?
Folks think it’s something better
They call her Norm’s “fourth wheel”
And so Norman Bent the legend
The mechanic we’re so fond of
He started a new journey
Just he and his newfound love
We all want Norman back
If we had our druthers
But let’s stop being selfish
Because Norm, he helped out others
So while we’ll never know
Where the legend went
We all can practice kindness
Like the helpful Norman Bent
Norman’s traffic car was on loan from the AMA Hall of Fame Museum to the Petersen Automotive Museum. I’m unsure as to whether or not it’s still there, but it doesn’t matter because the Petersen is an astonishing car museum, and you’ll see more posts from me there as I’m a member.
DJI announced a new drone today and I must say, DJI is on a roll. Their drones get easier to fly with more intelligent features in smaller form factors for less money and look attractive to boot.
This little fella seems to have some pretty nifty features packed inside its cute little plastic chassis. They include:
- 32 MP Sphere Panoramas
- 3-Directional Environment Sensing
- Smart Capture
- A 3-Axis Gimbal mated to a 4K Camera
- “Smart” Caputre
- A maximum flight time of 21 minutes
But to date, they suck in the most important way possible: Their cameras. I have never seen decent footage pulled from a Mavic. I owned a Mavic Pro and thought that maybe, just maybe, it couldn’t possibly shoot as low quality video as it does in the year 2017 (yes, it’s 2018 now but I had it in 2017 and figured that firmware updates must have improved things since its introduction in 2016 when its footage sucked even for camera tech in 2016). No, really. They claimed it had high bitrates and could shoot LOG-ish footage, but the dynamic range and definition was disgustingly bad, even in the marketing footage, relative to what you could get out of the iPhone you had to connect to the remote to watch what you were filming. Sure, you could apply LUTS and grade it in DaVinci or the new FCP X (or other program), but its footage still looked like poop.
Here, I’ll show you:
On the left you have final graded footage, on the right you have a crop of the same video. The moire and total lack of sharpness or definition is appalling. Look at the way pixels swim around and moire that looks like a CRT display filmed at high speed.
Compare that to footage shot on an iPhone 7 Plus that came out a year before the Mavic Pro and there’s simply no comparison.
I realize I made the Ferrari video bigger, but that’s just for formatting, you can open the Mavic footage on YouTube and see it full size there as well. Also, the Ferrari footage was shot using Filmic Pro on the iPhone which ups the bitrate, but bear in mind, the Mavic Pro has a LARGER sensor at 1/2.3” vs the iPhone at 1/3”.
Now here’s the thing….
I’ve been talking this whole time about the Mavic Pro as opposed to the Mavic Air, but in my biased mind, there’s no way the Mavic Air is any better…in fact for all intents and purposes, it looks like it uses the same sensor as the Pro. And this isn’t about getting what you pay for, it’s just a simple fact that compact sensors are capable of WAY better quality nowadays and so I don’t know where DJI is sourcing their hardware. Frankly it looks like they merely further sliced up the pixel count on a “spy camera” sensor you might find in a cheap “spy watch”.
So until verifiable reviews come out showing that the DJI Mavic Air’s camera sensor can fold my laundry, I’m giving it a pass. The cameras in these arguably highly capable-but-inexpensive-toy-drones are their Achilles heels that prevent me from recommending any of them in the near future.
I’m not holding my breath.