If you're the sort of person who enjoys watching classic concert films and music documentaries (and let's face it, you're reading Sound+Vision, so I'm pretty sure you are), you probably wouldn't mind having access to a big archive if such things, available from wherever you are on almost any device.
I saw Men In Black 3 last night, and as with most 3D movies, I chose to see this one at an Imax theater, which uses two projectorsone for each eyeto increase the overall brightness of the image. Even though MIB3 was shot in 2D and converted to 3D in post-production, I thought the 3D effect was quite good overall. In fact, it seemed to me that the movie had been shot with 3D in mind, with lots of depth in many imagesI especially enjoyed Agent J's fall from the skyscraper as he jumps back to 1969.
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In this day of dozens of HDTV channels delivered via hardwired cable or satellite transmission, it’s hard to remember that watching TV wasn’t always quite so easy. Way back when, every television had an antenna connected to it. If you were distant from the transmission tower, you might have had a big mast antenna on your roof, as did your next-door neighbor, and his next-door neighbor, and so on, until the suburban skyline came to be defined by these skeletal sculptures reaching into the bright dawn of a soaring postwar America. If you lived a little closer to the tower, you probably just used the telescopic rabbit ears poking up from the back or top of every set, and the ritual of changing channels (to another of the seven or eight available) involved walking across the room, manually clicking the TV’s rotary tuning knob, and then reorienting the antenna arms to minimize the distortion. Even then, it didn’t always work. Depending on conditions, it wasn’t uncommon to get snowy artifacts from a weak signal, or ghosting caused by multipath reception as the signal bounced off nearby buildings or other large objects.
With the first day of this year's Electronic Entertainment Expo behind us, it's time to make sense of what the three console manufacturers showed at their annual media briefings. What was shown is just as important as what wasn't and reading between the lines is key.
Summer’s arrival means it’s time to peel your pasty self off of the couch and head outside for a little sunshine and fresh air. But just because you’re stepping outside the indoor A/V sanctuary doesn’t mean you have to go all Trappist monk with your entertainment. And I’m not talking about dragging an iPod and headphones or (heaven forbid) some relic of a boombox outside.
Aah, summertime. Lather on sunscreen, pump up the bike tires, and you’re almost set. What’s missing? Music! And we’re not talking about those antisocial earbuds that cocooned you through the dark winter. We’re talking about actual speakers that you can take along with you on outings.
Summer’s here, and it’s time to hit the road. Automotive entertainment used to be restricted to radio and whatever you brought onboard in the form of prerecorded music — from 8-tracks to discs and later iPods. But now that smartphones and tablets have made Internet connectivity possible in the car, a whole new world of content has opened up on the road.
We gathered five of the coolest connected- car gadgets and took them out for a shakedown cruise.
There must be hundreds of brands and thousands of models of in-ear monitors (IEMs) now, and probably 95 percent of them are as generic as 2x4s. But it's obvious that a lot of thought went into the Rock-It R-30.
Ron Williams, CEO of The Landmark Group and consultant to the film and broadcast industries, discusses the growing importance of 4K and Quad HD, 4K in film and TV production, 4K displays and cameras, the emergence of 8K in Japan, consumer preferences for 4K versus 3D, true stereoscopic versus converted 3D, high frame rates, answers to chat-room questions, and more.
History may one day judge “offshoring” to be the macroeconomic disaster that some pundits would have us believe. Still, you can’t argue that it’s been a microeconomics windfall for American consumers.