Month: February 2010

Dobri den and do pobachennya to Kyiv – Part Two

Posted by – February 25, 2010

On the first night in Kyiv, we went to a small cafe/restaurant (whose name I forget) around the corner from our apartment. Was reasonably priced – two courses and drinks came to around £18, although it was a bit of a bugger getting the waitresses attention when needed.

On the second night, we ate at the apartment. We popped along to the local shop (Billa), about 8 minutes walk away from the apartment. We stocked up on veg, frozen pizzas, beer and salad dressing and brought the lot back. We then discovered the electric oven didn’t work and had to cook the pizzas in the microwave combo-oven, which meant that the top of the pizza was nicely done, but the bottom was a bit soft.

On the third night, Jennifer’s birthday, we went to a Japanese restaurant located in the subway leading up to the local Mandarin Plaza shopping centre. Kiyv has many subways and each one contains a multitude of small kiosks selling everything from DVDs to bras, food, knick-knacks, and goodness knows what else. Leading up to the main square, you can find an entire shopping centre underground. The restaurant was wonderfully small, but very attentive waitresses and the food was good. Several courses and two beers cost £15 for the lot.

The fourth night we ate at a local restaurant specialising in local Ukrainian dishes. It was the most expensive of all the restaurants, and the total bill didn’t add up properly (it was out only be several pounds and we deliberating whether to take the waitress to task over it, but in the end we decided just to pay and not leave a tip). Two courses and three beers cost £25 for the lot.

The final night we decided to eat back at the apartment. We popped along to the nearest hypermarket, a 20 minute walk from the apartment itself. We bought mushrooms (which we later read in the phrasebook not to buy due to possible contamination from Chernobyl, although the phrasebook said not to pick them or buy them from open markets – we assumed these ones were safe since (a) it was a hypermarket in which everybody and anybody used and (b) if the mushrooms were radioactive, surely the other locally grown produce would be as well) and a few other ingredients to make pasta and sauce. We also picked up some bread from the bakery which was fantastic.

On our last day we checked out of the apartment at 12pm and made our way to the central train and bus station. It’s a hodge-podge of minivans, buses, people and small market stalls. We dumped our luggage at the train station (it costs 12 grivna for a token and you need to specify a combination on the inside of the locker before you shut the door and insert the token. You’ll then use your combination to unlock and remove you luggage) and headed off back into town to see St. Michael’s Church.

The pavements were hazardous due to the late flurry of snow on Sunday and we were sliding about, very dangerously I might add, on the ice a good number of times. Another problem that you’ll encounter in Kyiv is that when the ice stalls melting from roofs, it tends to fall off without warning. I nearly came a cropper when a good chunk of ice fell from one of the roofs of a big apartment block. The people of Kyiv tend to rope off sections of the pavement to make people walk around the more hazardous areas where ice is likely to fall.

Got back to the bus station around a quarter to three to pick up our luggage and take the minibus back to the airport. It costs 30Hr per person and takes about 40 minutes.

The airport. This is where the problems started. First of all, you can’t check in until the display tells you that the flight is available to check in. The check-in desks themselves are located beyond Customs, so there’s no going back out once you’ve gone through. Our flight was delayed for four hours as Luton airport had closed due to snow. Wizz Air, however, neglected to tell us this. They told us only that there was a delay and that was it. We found out the reason from people with iPhones who were able to connect to the Internet. Due to the delay, Wizz Air gave us vouchers for refreshments we couldn’t use straight away as we’d got them when we checked in, and we’d already gone through customs at the time. They couldn’t be used at the Irish Bar, so a few of our fellow passengers collared an airport rep who arranged for us to go in small numbers back through security (surrendering our passports and having to rescan our carry-on baggage in each direction. We even had to scan our meals (a very expensive microwave dinner – ha!). We were given 70Hr to buy a meal. This got us a chicken kebab thing, some fries, coleslaw and a bottle of Coke. Better than nothing.

Speaking of security, there seems to be some inconsistency with the way security treats Ukrainians versus foreigners. We clearly saw security allow Ukrainians to pass through to airside carrying unfinished bottle of drinks. When a UK couple tried to do the same, they were told to ditch the drink. The security people also like to manhandle you, are very impatient, enjoy barking orders and generally being most unpleasant.

Our flight eventually left at 10:30pm, some four hours after it was supposed to. The flight itself was smooth, but spoilt by Ukrainian teenagers sitting in front playing up (and being shouted down by a fellow countryman at one point in which they soon shut up). These teenagers also were playing with their mobile phone during take-over, during the flight, and during landing. For some reason people don’t seem to understand what’s being said since on our flight into Kyiv, the woman passenger in front of us received a phone call during the actual landing. If the cabin crew were aware of this, they didn’t say anything.

When we arrived in Luton, it was too late to catch any connecting buses or trains back to Woking. Easybus, whom we used to get to Luton from London told us that we’d have to buy brand new tickets. There were no representatives from Wizz Air to help arrange ongoing travel (or even to use a phone to do so ourselves). We tried to check into the local Holiday Inn, but the Inn was full (SING: Little Donkey). As was the local Ibis. So we caught the Easybus back to London Victoria and tried to find a hotel there. No luck. The only one that may have been available would have been the Grovesnor, and at nearly £400 a night, that was right out. So from around 1am to 4:10am we spent a very very cold night sitting in the shopping precinct along Buckingham Palace Road. At 4:10 we hailed a taxi to take us to Waterloo Station and waiting there for the 5am train back to Woking.

We’re furious with Wizz Air for their failure to provide support when it was needed. You could argue that it should be Luton Airport that provides the support, since it was them that had shut for the four hours and delaying flights in and out. However, our payment and contract is with Wizz Air who have a duty of care. They are responsible for liasing with Luton. And it is Wizz Air for choosing to use Luton as their base. Needless to say, we’ll be writing to them about this.

Dobri den and do pobachennya to Kyiv – Part One

Posted by – February 24, 2010

We’ve just come back from our 5 day trip to Kyiv (or to use the Russian: Kiev) in the Ukraine. We flew out on Wizz Air, the Hungarian low-budget airline, via Luton and into Boryspil, a good few kilometers out of the city. We got picked up by a driver from UArent after waiting for a bit as (a) the flight was delayed and (b) he had turned up in the wrong place, apparently, and had to make his way back to the Arrivals hall at the airport.

We had a very pleasant drive which took us through the forest and into the outskirts of the city. We stopped off for some petrol (around 50p a gallon – one of the advantages of being so close to Russia, I guess) and went onwards into the city and to our apartment (which can be seen here).

The apartment itself was extremely comfortable, warm, and had plenty of ventilation as and when required. Entrance from the street takes you into a lift up to the fourth floor and through a steel security door (see this picture). From there, you’re presented with a 2″ steel front door that then leads to another door and then you’re inside. So security here is excellent.

The 42″ Plasma TV was addictive and had a few English channels to choose from (although mainly Ukrainian and Russian programming, there were a few Discovery channels to pick from and the essential BBC World, CNN and Euronews). The kitchen was well equipped, but the electric oven didn’t seem to work (although the gas hobs did) and the microwave/combo oven is all in Cyrillic. Thankfully Jennifer managed to interpret the buttons and we could eat shop bought food. I would have liked to have seen a tea towel too – the overhead drying rack isn’t particularly hygienic with stale water clogging up the drip tray. But this is a small quibble and we made do just fine.

The bed was very comfortable, and the bathroom a very good shower- hot and plenty of water pressure. The washing machine was highly convenient, although the soap/liquid tray had to be cleaned out a bit due to too much crap clogging it up (probably because previous renters had been using too much powder).

In terms of location, the apartment is in easy walking distance to the local food shop, Billa. There are a number of restaurants close by too – including TGI Friday. Shopping for food is inexpensive and beer especially so. You can expect to pay around 50-70p per bottle of local and imported beer depending on brand. We tried several, including this one and found them to be of excellent quality.

Getting around Kyiv was easy, although signage (even in Cyrillic) was surprisingly absent. The Metro costs just 14p for one blue token that gives you one ride. Kyiv has some the deepest underground stations in the world, and it can take 5 minutes to ride up and down the escalators. The Russian influence in the station design is obvious, but there is plenty of room for everybody which is just as well – even during the day the Metro is absolutely packed and we were wondering where everybody was coming from!

In part two, I’ll detail our visits, eating out, and getting back to the UK. In the mean time, all photos of our visit can be found here on my Picasa album.

Universal Pictures: bullying the market yet again..

Posted by – February 12, 2010

Update: I’ve started a thread about it here. Some interesting replies.

I learned yesterday (despite this being announced last November) that Universal Pictures are bullying DVD and Blu-Ray rental firms like Blockbuster and LOVEFiLM into new terms for rental of their movies. In short, titles I’d like to rent from LOVEFiLM cannot be rented and I must either buy a copy of the DVD or Blu-Ray or watch it in the cinema. This is not LOVEFiLM’s fault, and I applaud them for not caving into their demands (whereas Blockbusters have, and corporate whoring such as this is absolutely deplorable and I object most strongly to any form of exclusivity of film titles – which is also why I’m against the recent announcement that Tescos are bank rolling movies for Amber Entertainment so that they can create straight-to-DVD titles to be sold exclusively through Tesco stores). I was rather looking forward to seeing Inglourious Basterds and BSG: The Plan – but no, Universal have said no to that. I bet Kick-Ass won’t be available either.

We must not forget that Universal walked out on iTunes for a short period as they were unhappy with the costs that Apple were charging their customers. Universal wanted a higher price put on their films. Apple tried to reason with them, and it failed. They eventually came back, but the result is that NBC Universal films and TV shows cost a significant amount higher than what they are on physical media. For example, to buy all four seasons of Battlestar Galactica in HD on iTunes would cost £175 whereas the Blu-Ray edition costs £101. You don’t get any of the special features on the Blu-Ray, and you’d be responsible for backing up all the media files with no option of re-downloading from iTunes should your backups fail.

Once again, film studios are becoming far too greedy, and they clearly do not trust the consumers who buy their products. I’m also immensely hacked off with Universal Music after they practically accused all iPod owners of being thieves. Therefore the whole Universal stable is worth avoiding like the plague. I will not support their films or products until they start getting around that negation table and become a lot more reasonable. I will continue to support and subscribe to LOVEFiLM for whom I feel have done the right thing. They cannot and must not be bullied or threatened into deals that are unfair and unjust.

In other news, I hear that Warners Music is looking to get out of Spotify and other free streaming services. If this happens (and especially with Spotify Premium), then I’ll boycott Warners too.

I’ve already just made my stand against Universal and I hope they choke on it.

Buzz Off Buzz: Disabling Google’s Buzz..

Posted by – February 11, 2010

1) Make sure that you’ve deleted all your Connected Sites that are currently connected (Twitter, Picasa, etc).
2) Delete any specific Buzz posts.
3) At the bottom of your Gmail page, you’ll see a list of options: turn on/off chat, turn off buzz, etc. Select the “turn off buzz” link.
4) Verify that no Buzz information is leaking by visting your profile: http://profiles.google.com.
5) Unfollow any other Buzz users. They will still be able to follow you, though. You can block them from following you by clicking on their username while looking at your follower’s list in Google Profile. You’ll be taken to their Google Profile where you can then block them following you.

All in all, this is a bit messy.

What I think Google should have done is turned Buzz into a snazzy RSS reader for Gmail. Here you can subscribe to Twitter RSS feeds, web site feeds, etc. and read them all from one place rather than having to switch to, say, Google Reader.

Do Androids dream of electric sheep in Dolby 3D? No. They’re banned from the cinema..

Posted by – February 11, 2010

If humanity ever reaches the point in which we live side-by-side with artificial intelligent androids who may, or may not, look like us, then I wonder what the future will bring them in terms of rights.

I tell you one thing for certain, though – they’d never be able to visit a cinema or theatre – they’d be banned for being recording equipment and thus liable to pirate films for fun, profit, or just to piss off their owners. This will make the CEO of a mega corporation very upset as he’ll not be able to visit the cinema with his family and PA android who he relies on for everything. And the PA android would have so looked forward to seeing Avatar 4D: Na’vi versus Smurfs.

It actually makes me think about potential artificial implants, limbs or organs. For example, if you’re fitted with an artificial eye that sends electronic signals through a processor directly into the brain – could a film studio stop you from visiting the cinema because you’d be capable of recording the film into whatever device you can plug yourself into, and then watch later (or pirate the bugger out of spite)?

I’m curious to see, as artificial intelligence, robotics and genetic engineering develop, just how rights for both devices and humans change. Will freedom improve, or be hindered?

VFX and the Film Industry: Credit where benefit’s due – for artists & engineers

Posted by – February 10, 2010

I’ve just been reading this article from Variety (VFX artist plight at issue) in which former VFX and motion graphics artist and now political blogger, Lee Stranahan, appeals to James Cameron to speak out for fairness for visual effects artists, and I’ve been thinking that it is indeed time for VFX artists (and engineers) to get the recognition they deserve.

But it goes much deeper than this.

For VFX artists, they deserve better pay and benefits and better credit positioning. For VFX engineers, they deserve at least a credit. As a former VFX engineer it has to be said that we generally get paid better than most VFX artists (however this is not always the case and speaking to former colleagues at other facilities, the pay for system administrators/engineers can vary greatly – especially, it seems, when it comes to gender. Junior engineers who put in much of the grunt work when it comes to installing heavy server and workstation kit, earn far less than most VFX artists, and yet put in just as long hours and lousy shifts). This is because engineers are likely to be more employed full-time at a post facility rather than on a contract basis (unlike artists who can come to a facility on a contract/job/freelance basis). So here us engineers have the better deal so far it has to be said. But we should – in effect we’re working in a specialised HPC (high performance computing) environment – something where skills can be transferred to scientific/lab research positions and other specialised “cloud” computing infrastructures.

For those artists on contract/job/freelance basis have very little in the way of entitlements/benefits (holiday, sick pay, etc.). Full time employees at post houses usually have at least a pension scheme. This is not extended to contracted employees in most cases, obviously.

So what is the incentive for the VFX artist? Career progression? Possibly. But this depends, in part, on credits. And as mentioned in the original article, VFX staff are almost always listed after craft services and appear right towards the bottom of the credits. Even then not everyone is included (engineers are almost always excluded – it suggests that render farms, workstations, software, storage, VPNs, and everything else in-between sorts itself out despite the combination of grunt work, long hours, lousy shifts and most post houses consider engineering a “necessary evil” and hardly get a good word sent down to them from clients or even management of the company they work for) and everybody is fighting for space for their names to be included as studios allocated a set limit per facility.

Mind you, given how most broadcasters trim out the credits of films when they air anyway (yet same broadcasters won’t do the same for their own programs), it’s a moot point. Is there any need to expose more film for people’s names? How about flashing up an URL at the end of the film to learn more about the filmmakers and the people that made the film? To be honest, I just don’t know what the answer is, but the entire credits system is proving to be unfair. Even if you ARE included in the end credits, it’s likely your name is probably misspelt by the third party company responsible for typesetting and producing those credits.

My opinion of the VFX industry after six years working for it was that both creative and technical teams are seriously under-represented. I was not at all impressed with the Visual Effects Society’s representation in the UK at the time – all the benefits really went to those that worked in and around Los Angeles and New York. I am assured things have improved by now, but it’s still not enough. VES should be doing a lot more for it’s members – especially in the international, non-US community where a lot of UK facilities are being used for major Hollywood-funded films are made. Surely there must be an organisation out there prepared to truly stand up to the film and TV studios on behalf of those (artists, engineers, producers, supervisors, etc) to ensure better benefits for those that work in it?

That said, it’s the employers of VFX personnel who should be doing more for it’s employees regardless of whether they be full-time or contract. During my years in the industry, working full-time, I was never offered any training on anything that remotely interested me. There was always talk, of course, but absolutely nothing came out of it other than a monthly subscription to Safari Bookshelf on-line.

VFX work IS being taken advantage of by film studios. One could say that the post house is merely a film studio’s rag doll – to be battered about as needed, and when done, tossed aside for something cheaper and shinier. Some directors prefer working with certain facilities, but it’s probably more of a case that they prefer working with certain people. If those people feel they’re not being looked after by the facility they’e working for, or the film studio, they’ll go elsewhere.

All I know is that I’m encountering more and more artists leaving the film industry to pursue careers in graphic design, the games industry (yipe – if you thought the film industry could be scary, the stories I’ve heard about the game industry is enough to make one scream), or anywhere else their talent might be appreciated. Similarly for engineers who leave to work for specialist HPC/cloud systems.

The call of *COUGH* Hulu

Posted by – February 10, 2010

Well, I had to sneak that one in.

This blog post has nothing to do with great old ones, but plenty of current great ones.  I’m currently playing with SeeSaw, an IPTV platform which was previously known as Kangaroo, the controversial video-on-demand system which was blocked by the Competition Commission back in 2009.  Kangaroo was then sold to Arqiva and has been since become SeeSaw.

Having been given a beta invitiation, I’ve had relatively short amount of time to give it a spin.  It’s not without it’s problems, but looks promising.  I’ll give a more informed opinion once I’ve had a chance to play around a bit more.

What about Hulu?  What about Canvas?  Well, at this point my head is spinning with all these different systems and I’m not one to be confused easily.  All I want is a open standard platform which I can watch what I want, when I want, and in a format of my choosing.  I don’t care how it’s done, I just want it to work without too many (if any) restrictions.  The day Murdoch and chums play nicely with the Beeb, Channel 4 and Channel 5 will be the day I’m tap dancing naked to work.

Things that scared me as a child..

Posted by – February 10, 2010

1 - Battlestar Galactica.

I’m sure I’ve already recalled it here at some point on this blog, but for those who missed it: I was about 5 or 6 years old. It was Christmas Eve. I was rapidly becoming very tired and had actually starting sleeping with my eyes open. Subsequently I went to bed and I started snoozing. At that time I was heavily into the 80s Battlestar Galactica TV series and had the bedspread and the curtains.  Well, I went to bed that night and after a while I woke up and thought I saw Cylons gathering together to sing Christmas Carols.  If that wasn’t bad enough, I hid under the blankets and then saw Zippy, George and Bungle from Rainbow walking towards me as if the blanket was a tunnel.  Then I saw my grandmother enter my room and then enter a wardrobe.  And never came out.

Now I started to panic.  I got up and left my bedroom only to find that spiky thing from Star Wars (used to interrogate Princess Leia) making it’s way towards me.  I was edging towards the stairs.  It was at this point my parents woke up and managed to wake me up.  From that point the Battlestar bedsheets and curtains were consigned to the cupboard.  Permanently.

2 - The aliens from Close Encounters of the Third Kind.

Never seen the whole film.  The only thing that stands out in my mind is the ending when the spaceships land and the aliens (built by E.T’s special effects maestro, Carlo Rambaldi) stepping out.  What really freaked me out was the lack of noses, big eyes, elongated limbs and well, it just freaked me out.  It took me a while to repeat the phrase, “IT’S A PUPPET!!” (thank you Brian Connelly).

3 - E.T. – The Extra Terrestrial.

How the hell could ET, a cuddly space alien be frightening?  Well, what spooked me as a kid was when ET screams.  At the beginning when he encounters Elliott, and a little further along in the film.  Also when he was dying and turned white.  And his croaky voice.  Still, that didn’t put me off asking for a cuddly ET doll which I cherished until I lost it one day.

4 - The dying alien from Cocoon.

It kind of resembled a dried prune.  And I didn’t like prunes at that time in my life.

5 - The Library Ghost from Ghostbusters, and Zaul’s voice.

This film caused me to scream and run out of the living room, desperately begging my mum to switch the video off.   Mum explained the irony in the scene, but that still didn’t work for me.  And Zaul’s voice when he takes over Sigourney Weaver’s body sent the screaming heebie-jeebies through me.  But it was this film that made me want to get into special make-up effects and visual effects.  And I partly succeed in that, so thank you Ghostbusters.

6 - Children of the Dog Star.

Children’s TV series.  They looked weird, were weird, and quite frankly it spooked the living crap out of me.

7 - Chocky.

That blasted voice haunted me for a good while, I tell you.

8 – Aliens in the Family.

Until Ralph Fiennes came along and MPC digitally removed his nose in his role of Voldermort, I had hated anything that had no nose.  These aliens had no noses (how did they smell?  Terrible!) and had put the wind up me a good ‘un as a youngster.

There.  Now you know.  I was a wimp.

My faith in good quality VFX has been restored! Avatar pushes the envelope..

Posted by – February 2, 2010

Last night I went along (alone) to see James Cameron’s Avatar. I went with an open mind despite what people have said about the story (or lack thereof of a well-written one), and came away completely in awe of what I saw. For me to say this is difficult since if there is just one little problem and I usually go right off the film.

Avatar is NOT without it’s problems. Some of the VFX still do look like very nicely rendered cut-scenes from a videogame. But WOW – WHAT A VIDEOGAME! For the most part, 90% of the film stands up to very close scrutiny, and it has to be said that the creature design and rendering is the very best I’ve ever seen in any movie to date. The work here is incredibly organic and even me, who has seen how artists, TDs, shader writers, animators, VFX supervisors and everyone in-between work – there were many a time when I just thought: “How the bloody hell did they do THAT?”. It was like watching your first major FX movie and haven’t a clue how it all works. Nor do you care. Well, I didn’t care how they did it. I was in awe with the animals of Pandora, the Na’Vi themselves were brilliantly animated and rendered. The forests, the mountains, everything – absolutely beautiful. It was like watching living art. All so organic, and yet all so digital and artificial at the same time.

I am in awe of what Cameron and the VFX teams have achieved. A lot of hard work and love has gone into making this film work. The story itself is simple, but works very well. It doesn’t feel like a three hour film at all – it all seems to go far too quickly. The 3D work itself works well enough, although I’ve always found that 3D doesn’t work well for me. But for Avatar it’s not in your face and does indeed bring the movie a bit more to life.

Cameron has upped the ante here. All those years he and his team have spent working on this film have paid off in spades. If there are sequels to this film, I look forward to them. Avatar is fantastically entertaining and I think it has plenty of re-watch potential. Looking forward to the Blu-Ray (oh the irony! Perhaps they could call it Na’Vi Ray instead) and a massive audio commentary from all involved as this film is one that’s worth exploring.

My rating: 9.9 out of 10