#latency

[scipunk]

Latency (2024)

[thekylemeredith]

Tonight I'll be hanging with #AlexisRen to talk about the new gamer/horror movie #Latency!

I'll also revisit an interview with #SarahMcLachlan + some Ratboys, Lief Vollebekk, Catherine Wheel, Supertramp, and tons more.

6p ET on 91.9 WFPK

[neonfeel]

Latency (2024)

[trooper1023]

For generations, gamers have understood that improving FPS also improves "the feel" of gaming. Not anymore. Don't get scammed by Frame Generation. It improves FPS without improving input latency.

[lazyimbecile]

LATENCY

is like hikikomori, 1408, and a sprinkle of Vivarium rolled into one fat blunt. feel like this one will fall short for many but I enjoyed the themes and Sasha Luss delivers what the script calls for. as a random ass joint, this was also like castaway on the moon and silent hill the room rolled into one fat J.

[cantsayidont]

More bad movies:

LATENCY (2024): What's duller than watching someone else play video games? This tedious sci-fi horror story about an agoraphobic gamer named Hana (Sasha Luss), whose only real human contact is her friend Jen (Alexis Ren), going off the deep end after getting the opportunity to try a new AI-powered headset that she can use to operate game controls and other technology with her thoughts alone. Soon, of course, she's having disturbing hallucinations suggesting that she's being haunted, or even possessed. Luss is not nearly a good enough actor to carry what's almost a one-woman show — particularly one so thinly plotted — and the attempts at spooky reality-bending are rendered completely pointless by the idiotic premise, which recalls terrible pre-MATRIX movies of the '90s about virtual reality. Critics have praised the visual effects, but on home video, even with the brightness turned way up, the film is so underlit that I couldn't discern about half of it. About the only vaguely interesting point is a brief attempt to visualize the experience of having the game TETRIS seep into one's dreams; the finale also has some very weak echoes of MULHOLLAND DRIVE that only serve to remove the story's one remaining vestige of emotional reality. CONTAINS LESBIANS? At one point Jen teases Hana for inviting her into her bedroom without offering her anything interesting to do. VERDICT: Conceptually bankrupt and weakly executed; if there's an intelligent movie to be made about gaming as a phenomenon, this certainly isn't it.

THE OUTRUN (2024): Extremely dreary recovery drama, based on a memoir by Amy Liptrot (who co-scripted), about a young biologist, here called Rona (Saoirse Ronan), who retreats to Orkney after blowing up her academic career due to her struggles with alcohol while living in London. Paapa Essiedu costars as her former boyfriend Daynin. There's a scene about a half-hour in where the protagonist checks herself into an abstinence-only rehab program whose organizer declares, with appalling misplaced pride, that only 10 percent of participants will make it; I started feeling similarly about this movie, which is much like being caught in a heavy rain while on foot far from home, wearing sneakers with cracked soles. Ronan is quite good, but while Liptrot has praised the film as "fresh and authentic," every scene is a miserable slog — not even the scenery is pleasant, and its paean to 12-step programs (which substantial research now demonstrates are statistically worse than useless) made me itch. CONTAINS LESBIANS? No. VERDICT: I'm glad Liptrot got something worthwhile out of this, but you won't. Photosensitive viewers should be aware that there are some flashing light sequences in nightclub flashbacks (the worst starting around 40 minutes in).

THE SUBSTANCE (2024): Unsubtle, frequently disgusting sci-fi horror story from French writer-director Coralie Fargeat, about an aging TV fitness star, Elizabeth Sparkle (Demi Moore), using a mysterious new bio-engineering kit that allows her to create a younger, hotter version of herself, "Sue" (Margaret Qualley) — vapid, selfish, hypersexual, and irresistible to every man she meets — whom she can become for seven days at a time. It doesn't take long, however, before she violates the stringent rules that governs the process, and soon her two selves are at war, with horrific results. The first half is a deliberately paced, unsettling, and potent (if obvious and heavy-handed) statement about gender, beauty, and aging, overlapping somewhat with the gayer but more muddled LOVE LIES BLEEDING, albeit with more, and ickier, body horror. Unfortunately, about halfway through, Fargeat loses interest in trying to be creepy or thought-provoking in favor of escalating grossness, which culminates in an absurdly icky finale drenched in literal geysers of blood. CONTAINS LESBIANS? No, and it's curiously disinterested in the erotic implications of the premise, handcuffed by its own very conservative sexual politics. VERDICT: Visceral and visually striking, but ultimately not as audacious as it would like to be, and very, very gross. Be warned: The squeamish need not apply, and if you struggle with eating disorder, you should approach this film with extreme caution, if at all.

SUNDAY BLOODY SUNDAY (1971): Critically acclaimed but unrewarding and very gloomy British drama about a 30-something divorced mother (Glenda Jackson) and a 50-something gay Jewish doctor (Peter Finch) carrying on separate but parallel affairs with the same younger man (Murray Head), who's ultimately not willing to give either of his lovers the kind of time or energy they want from him. A downbeat, thinly plotted slice of life, its basic thesis is that youthful notions of love and freedom are fundamentally incompatible with the weight of middle-aged responsibility, a point hammered home by Finch in the fourth-wall-breaking final scene. It's (otherwise) realistically rendered, with the basic premise treated with a refreshing lack of nervous tittering, but it's so glum that it's always kind of a drag, and the Head character is never allowed even half the dimensionality of his older partners. CONTAINS LESBIANS? No. VERDICT: Put me off for various personal reasons from the very first shot, and its sexual politics are as cheerless and inflexible as Margaret Atwood's, which is not a compliment.

[dema-sh]

[fearsmagazine]

LATENCY - Review

DISTRIBUTOR: Lionsgate

SYNOPSIS: Hana, a professional gamer struggling with severe agoraphobia, receives an intriguing offer to test cutting-edge gaming equipment that utilizes AI to decipher brain activity. Seeing an opportunity to sharpen her skills, Hana embarks on this technological journey. However, the boundaries between reality and Hana's subconscious start to dissolve as she delves deeper into the experiment, prompting her friend Jen to urge caution. Hana grapples with doubts about the true purpose of the device and its potential for malevolent consequences.

REVIEW: James Croke presents a gripping narrative of a troubled character who beta tests a cutting-edge technology, leading to a gradual unraveling of her hold on reality and life. This timeless and cautionary science fiction tale explores the potential perils of technological advancements.

The narrative of LATENCY revolves around Hana's agoraphobia, confining her to a single location. Despite her limited interactions, each one is strategically designed to shed light on her character. Jen, more than just a friend, acts as Hana's lifeline to the outside world, simultaneously enabling and challenging her situation.

A crucial element in the story is the tech—a brain interface that allows Hana to control her computer with her mind. The device's instructions emphasize the importance of prolonged use for improved functionality. However, as Hana wears it, the boundaries of her reality begin to blur. The question arises—is the device influencing her experiences, or is it her subconscious, her id, directing the device?

This plot concept bears similarities to the classic 1956 film The Forbidden Planet, where an alien technology manifests Dr. Morbius' id. However, LATENCY differs in that it is a smaller-scale tale set 20 minutes into the future, exploring contemporary themes relevant to our discussions surrounding smartphone usage. Croke's plot is firmly grounded in reality, serving as a cautionary tale about the potential consequences of our current technological advancements.

The production design of the film focuses on Hana's apartment, creating a fairy-tale-like environment while simultaneously presenting a darker and more sinister world outside, reflecting her phobia. The messy and gloomy production design mirrors Hana's mental state. Director Croke utilizes computer effects and subtle physical effects to open and close the film, gradually introducing and building upon the visual effects that play on the viewer's expectations of Hana's experiences. Croke's visually compelling shots build mystery and tension, though some sequences could have been trimmed to maintain the film's energy. Hana's character does not undergo significant costume changes, and the same is true for the other characters. J-Punch's score effectively enhances the film's atmosphere and complements the intensity of the CGI action sequences.

The film relies heavily on Sasha Luss's performance as Hana. Luss brings a vibrant energy to the role and does well in the limited physical action scenes. She effectively conveys the emotional distress and fear of the growing terror, creating a likable character with her natural charm. The rest of the cast provides admirable support, their performances are largely in support of Luss's portrayal of Hana. With the exception of Alexis Ren, who plays Hana's friend Jen, the other characters remain in shadow or are hidden behind Hana's apartment door.

LATENCY is an intriguing science fiction tale with horror elements that resembles episodes of "The Twilight Zone," "Outer Limits," or "Black Mirror." Although the film boasts a great atmosphere, impressive visual effects, and a commendable performance by Sasha Luss, it still has some rough patches. These slow the film down and if trimmed might have made it more effective as an intense hour-long episode of a sci-fi series. Nevertheless, director James Croke displays a talent for creating atmospheric films and elicits an excellent performance from his lead actress. Considering that this is his feature film debut, one can expect his next project to be even more impressive.

CAST: Sasha Luss, Alexis Ren, Margarita Bakhvalova, & Robert Coleby. CREW: Director/Screenplay - James Croke; Producers - Wych Kaosayananda, Gary A. Hirsch, Barry Brooker, Jordan Gertner & Scott Clayton; Cinematography - Wych Kaos; Score - J-Punch; Editor - Thunchanok Suthanintr; Production Designer - Toey Jaruvateekul; Costume Designer - Siyachanin Rungpatchararoj; Prosthetic Artist - Nithichote Porncahi; VFX Supervisor - Damon H Chung; Key Visuals - Wiriyah Phetchkij; OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/704AfJhfckU?si=ZrSx1Gim8exYsQXf RELEASE DATE: In theaters June 14th, 2024

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

Listen to Our Interview with director & writer James Croke - HERE

[geekcavepodcast]

Latency Trailer

Hana is a profeccional gamer with acute agoraphobia. She is asked to participate in a trial for "sophisticated new gaming equipment which uses AI to interpret the electrical activity of her brain, she sees an opportunity to enhance her game. As Hana and her best friend Jen experiment with this new technology, the line between reality and Hana’s subconscious quickly begins to blur and she starts to wonder if the device is helping her or serving a more sinister force." (Lionsgate)

Latency stars Sasha Luss (Hana) and Alexis Ren (Jen). The film is directed and written by James Croke.

Latency releases to select theaters on June 14, 2024.

[scipunk]

Latency (2024)

See: Serial Experiments Lain

[fangsiege]

im gonna come back to this guy and add more later but for now have this

[thekylemeredith]

Thanks to Alexis Ren for dropping by to talk about the new sci-fi gamer thriller, #Latency!

We also chat about her mental health activism, dipping into music, and much more.

At Consequence or wherever you get podcasts.

#latencymovie #SashaLuss #gaming

[film-book]

‎

LATENCY (2024) Movie Trailer: Professional Gamer Sasha Luss Tests Sinister AI in Lionsgate's Sci-Fi Thriller https://film-book.com/latency-2024-movie-trailer-gamer-sasha-luss/?feed_id=132486&_unique_id=663db35c91769

[srollick]

When I worked at Gogo, we had an engineer who wanted some charts and graphs to explain the concept of electromagnetic signal latency, and why it affects you more in an airplane than in your house or in a car. 

Rather than just tell viewers what latency means, my fantastic copywriter Rasheed Brown and I decided to demonstrate it with a loooooooong-scrolling infographic. 

[jcmarchi]

Capture Every Angle in 4K with the PTZOptics Action Bundle for Sports Streaming

New Post has been published on https://thedigitalinsider.com/capture-every-angle-in-4k-with-the-ptzoptics-action-bundle-for-sports-streaming/

Capture Every Angle in 4K with the PTZOptics Action Bundle for Sports Streaming

Upgrade your sports video production with the PTZOptics Action Bundle featuring 4K PTZ and fixed cameras plus the SuperJoy controller for seamless control. Looking to level up your sports streaming workflow? The PTZOptics Action Bundle delivers stunning 4K video coverage with a flexible, multi-camera setup—ideal for schools, arenas, and live sports broadcasters.

1x Move 4K 12x PTZ Camera     $2,199.00

2x Studio 4K 12x Fixed Camera  $2,638.00

1x SuperJoy Controller                $1,429.00

Subtotal                                      $6,266.00

Savings                                      -$855.00

BUNDLE TOTAL                        $5,411.00

The Power of PTZ Stay focused on the action with the included Move 4K 12X, which gives you the flexibility to cover the entire field, court or diamond with studio-quality camera controls and no on-field camera operator. The Move 4K offers built-in auto-tracking capabilities – no need to run software on another computer Fixed Camera Creativity Never miss a scoring shot with your Studio 4K fixed cameras capturing the action at each goal line, net or basket. The power of 12K optical zoom helps you grab those up-close action shots and player reactions.

Connect Anywhere Both the Move 4K and Studio 4K are Hive-Linked™ (currently in Beta) to our easy-to-use online platform, Hive Studio, delivering future-ready connectivity and control from around the world. Both also feature SDI, HDMI, USB and IP output and come native with NDI® HX3. Superior Control The SuperJoy joystick controller offers an intuitive, tactile interface, simplifying and streamlining even the most complex production setups. Your SuperJoy controller can be set up anywhere on a network to gain PTZ camera controls with a low-latency, live video preview.

Elevate your live sports broadcasts with the Sports Bundle, now PTZOptics Move 4K PTZ Cameras, Studio 4K Fixed Cameras, SuperJoy for control, the YoloBox Ultra for on-the-go switching and streaming, and a NETGEAR Pro AV switch optimized for NDI workflows.

1x PTZOptics Move 4K 12x

2x PTZOptics Studio 4K 12x

1x PTZOptics SuperJoy

1x YoloLiv YoloBox Ultra ($99 NDI License from YoloLiv)

1x NETGEAR 10PT M4250-8G2XF-POE+ Managed Switch

$7,999.00 reg.

$7,699.00 BUNDLE

Offer expires 7/31/25

[kamalkafir-blog]

Bandwidth vs. Latency: We Chatted With an Internet Connectivity Expert to Understand the Difference

[TECH AND FINANCIAL] Having fast, reliable home internet is essential these days for work, school, streaming and browsing. But understanding how much speed you need, or even what “internet speed” even means, can be a daunting task. Bandwidth and latency are two key factors that affect how we perceive the speed of our internet connection. But while you may hear them used together quite often,…