#Scurrel

[1-nexomon-a-day]

Day 30

[jekyllnahyena]

me, watching a specific group of mutuals like a specific drawing of mine: hmmmm, yes, the group is scurreling over, splendid, I'll capture all of you, it is working, delightful

[allthingslinguistic]

One reason we had come to Wilyi was to get vocabulary for animals found on the mainland. This is where Iwaidja people lived many years ago, before they were moved to Croker, a small island with an impoverished faunal stock. We wanted to document the Iwaidja language in all its richness, in the place where it had developed, before Government and mission decrees forced Iwaidja people off the land. Getting back to Wilyi, where the animals and the memories of them would be fresh, seemed like a good plan. Trouble was, the animals just weren’t there. Not a sign of them, and the men admitted it had been a long time since they’d seen any of them, though if you go further inland to the rock country, the larger wallabies and kangaroos are still thriving. As a backup, we’d brought a small library of guides to the marsupials of northern Australia – lavishly illustrated, with maps of their ranges. But Khaki’s and Cookie’s old eyes weren’t up to it, and Archie’s weren’t much better. Here we were, sweating it out under our flapping plastic tarp-cum-boughshade on hot Wilyi beach, getting nowhere fast. Khaki, Cookie and Archie made a fire and began a siesta under the boughshade. The afternoon lassitude was broken by the sound of a diesel engine – a rare thing in these parts – and a Toyota appeared, sporting odd modifications to its rear. A stranger stepped out – Mark Ziembicki, a biodiversity ecologist researching a PhD on dwindling ecological niches in Australia. In the back of his truck was a minor museum of stuffed marsupials: wallabies, quolls, brush-tailed possums, sugar gliders, black-footed tree rats. By taking his travelling taxidermic museum to remote indigenous communities and showing actual specimens to people, asking elders which creatures were still around, which they had never seen, which had disappeared in living memory and when, he hoped to get detailed and reliable data on the receding distribution of many of Australia’s unique species. He’d never heard of us, and we’d never heard of him; it was sheer serendipity that our paths crossed that day in such a remote place. Mark unpacked the animals and we set them all up under the boughshade, getting the men to talk about each in turn. They would give their Iwaidja names like marnanbuki for the brush-tailed phascogale (Phascogale Tapoatafa), murlunybi [1] for the brush-tailed rabbit rat (Conilurus penicillatus) or nabarraminyminy for the northern blossom bat (Macroglossus minimus). Then they would discuss their behaviour, bringing in new words like rahardalkbin, ‘it glides like a plane’, for wahay the sugar-glider (known as scurrel, from squirrel, in local English). Or they would recall the plants these animals sought out: kartaywal, the black-footed tree rat, for instance, eats mamungarn (‘red sap’) and yaji (‘clear gum’), from the acacia tree known as warlum in Iwaidja. This in turn would often lead out into other stories: as in many other places, the northern quoll kabarrakan, which looks like a spotted marsupial cat, has close associations with the origins of death. Now the memory of that animal is itself becoming ghostly, a fading image in the men’s memories. The men were animated, laughing to see again animals that had disappeared from their own lives many years before, and which people had slowly stopped talking about, to the point that many of the names would not have returned to mind without the tangible prompt of Mark’s specimens. Those objects, packed into the trunk of his Toyota, recreated for a moment the rich regional fauna that had surrounded these men when they were growing up, and which had imperceptibly disappeared from their lives.

Words of Life by Nicholas Evans

[karingottschalk]

Atomos: Revolutionise Your Workflow | Camera To Cloud

Atomos: Revolutionise Your Workflow | Camera To Cloud

“… Trevor Elbourne, ATOMOS CEO, Paul Scurrell, ATOMOS Senior VP Product, and Michael Cioni, Senior Director of Global Innovation at Adobe, meet for a virtual roundtable with filmmakers, Armando Ferreira, Bobby Goulding, and Dru Williams to talk about the way filmmaking is evolving. In a wide-ranging conversation, the panelists discussed the state of the industry, how Frame.io and ATOMOS…

[robot-game-dev]

Scurrel (1986, ?) (TRS-80)

[happinessideas-blog]

White wash … White wash 🐬 @scurrell

[tashatalks]

The Crucible by Paper Lanterns : Review

On Friday 27th October, I travelled back to my home town of Ipswich to watch a performance of The Crucible by a local non-professional dramatics group called Paper Lanterns, at The Sir John Mills Theatre. The Sir John Mills Theatre is a small theatre in the heart of Ipswich run by Eastern Angles. At first, I was apprehensive to see how the cast of The Crucible would be able to perform such a strong performance with such little room, and although Paper Lanterns' cast were highly talented and very convincing, I felt there was a lack of space for the performers to move around in. Had they hired out a bigger venue they potentially could have played around with the movement a lot more. Having said that, I believe they made best use of the stage that they had. This performance really didn't feel like an amateur production of The Crucible with Sally Scurrell and Rosie Beattie's sleek and classy direction.

As I am currently gearing up for my own performance of The Crucible to finalise my Dramatic Theatre module at De Montfort University, I now start to really think about how else my characters might be portrayed. For some of my performance I will play Abigail, and for the other half of my performance I will play Danforth. After watching Paper Lanterns' The Crucible, it has opened my mind to think about how other people imagine Abigail and Danforth. What is Abigail's physicality like? How might Danforth say this? And how can I apply these to my own performance?

With commendable performances all round, and Halloween being only a few days away, Paper Lanterns version of The Crucible really did make you leave the theatre feeling a little spooked.

[nathanmonjko]

Timecode Systems Ships UltraSync ONE

"We're thrilled that UltraSync ONE was recognised by the CineGear judges for its impact on postproduction workflows," said Paul Scurrell, CEO of ...

[lorrainecparker]

Timecode Systems takes 360 video and VR to Cine Gear Expo 2017

The modular, multicamera VR rig launched in April by Timecode Systems and 360RIZE will be on display at Cine Gear Expo 2017, along with other solutions for VR production and postproduction.

NAB 2017 is over, but Cine Gear Expo 2017 is round the corner. During the 22nd Annual Cine Gear Expo, which returns to the landmark Paramount Studios on June 1-4, 2017, attendees will have the opportunity to explore and compare the latest tools and services in filmmaking technology in a relaxed Hollywood studio environment. Among the 300 exhibits expected at the event, Timecode Systems will be showcasing not only a new, cost-effective way to streamline multicamera production workflows using the UltraSync ONE, but also demonstrating how its system can now be configured to offer efficiency benefits to professional VR workflows.

According to Timecode Systems, UltraSync ONE redefines industry expectations of small, budget-friendly sync boxes. The company adds that “size and price are important factors when it comes to timecode solutions, but not at the cost of the quality of the sync and the confidence that battery life will last an entire day of filming.”

Measuring 55mm x 44mm x 17mm, weighing only 39g, offering a battery life of more than 25 hours and priced at just $299, UltraSync ONE is, claims the company, “the smallest, most cost-effective generator and transceiver on the market to provide timecode, genlock for camera sync, and word clock for sound, all synchronized wirelessly and with sub-line sync accuracy over bi-directional BLINK RF. These combine to provide synchronization to such a high degree of accuracy that it’s suitable for even genlock-synchronized 360-degree VR arrays.”

In April Timecode Systems and 360RIZE launched a modular, multicamera VR rig designed to house GoPro HERO4 cameras with SyncBac PROs attached. Now the SyncBac VR solution expands to include more custom VR rigs. The company believes that “the momentum for developing VR technology is showing no signs of slowing down, but there is one thing that has persistently frustrated 360 content producers — the lack of a professional alternative to the time-consuming, manual process of synchronizing multiple streams of non-timecoded GoPro footage.” Timecode Systems believes the system they introduced and now perfected is a viable solution for the industry.

The original solution showed how the SyncBac PRO solution can be applied to remove the guesswork from 360-degree filming by enabling cameras to be timecode-synchronized at the point of shooting over RF, and also how multiple cameras in a VR rig can be controlled simultaneously from a tablet using the BLINK Hub app.

At Cine Gear Expo 2017, Timecode Systems is expanding the application of its SyncBac VR solution by demonstrating how UltraSync ONE could integrate into other custom VR rigs, creating an opportunity to use professional genlock sync for 360-degree filming.

In terms of VR postproduction the company also has a new solution to save time, based on Timecode Systems integration with Kolor’s Autopano Video Pro. Time aligning files from the multiple cameras in a 360-degree VR rig can be a manual and time-consuming process if there is no easy synchronization point, especially when synchronizing with separate audio. Visually timecode-slating cameras is a disruptive manual process, and using the clap of slate (or another visual or audio cue) as a sync marker can be unreliable when it comes to the edit process.

A new sync feature, included in the version 3.0 update to Autopano Video Pro, incorporates full support for MP4 timecode generated by Timecode Systems’ products (for example, timecode from SyncBac PROs attached to GoPro HERO4 cameras in a custom 360-degree VR rig). This gives virtual reality filmmakers the freedom to shoot creatively and efficiently, safe in the knowledge that every camera in the rig is shooting in frame-level synchronization and can be easily aligned and stitched.

“Timecode Systems is heading to Cine Gear Expo 2017 with new products, enhanced features, and some exciting updates to its BLINK Hub app that together demonstrate how its solutions combine to deliver significant time and cost savings throughout the production process, from acquisition through to postproduction, whether filming for film and television or for 360-degree video” said Paul Scurrell, CEO, Timecode Systems Ltd.

The post Timecode Systems takes 360 video and VR to Cine Gear Expo 2017 appeared first on ProVideo Coalition.

First Found At: Timecode Systems takes 360 video and VR to Cine Gear Expo 2017

[happinessideas-blog]

WHALEEEE!!! Thank you best surprise EVER … WHALEEEE!!! Thanks @scurrell greatest shock EVER #whalewatching #goldcoast

[happinessideas-blog]

… #ONEMORESLEEP @scurrell 😀

[happinessideas-blog]

Driving to port douglas … Driving to port douglas 👌 #perfectday @scurrell

[happinessideas-blog]

Rock pool heaven … Rock pool heaven @scurrell 💙

[happinessideas-blog]

Had such a fun day today in the bluest water I have ever laid eyes on … Had such a enjoyable day right this moment within the bluest water I've ever laid eyes on 🐠 @scurrell

[happinessideas-blog]

Down where its wetter, darling it’s better under the sea … Down the place its wetter, darling it is higher beneath the ocean 🎶 @scurrell

[happinessideas-blog]

Can you guys hurry up and gravitate back towards me | … Are you able to guys hurry up and gravitate again in the direction of me | #feelinglonely @scurrell @cassieberry @bsingkepe @alexiiiiia @kelzoa @jesswe @lobbycakes @classiccowley