Brightnests

It doesn’t show up amazingly well here, but the white-on-black text says:

“Industry Highest1 15,000:1 Native Contrast

Delivers True Black without any loss in brightnests”

What’s a brightnest? Is that what twitchers call it when a bird lays an egg on top of a lamp post?

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On the unsolving of problems

Oh, it’s supposed to be so easy. And it is, until it doesn’t work properly. At which point it becomes a Living Hell.

Yes, I know that’s not narrowing it down in the slightest. Let me elaborate.

I decided it was about time to migrate my videos to the bandwagon that is YouTube. Their Internet tubes are gallons more voluminous than mine, and everyone’s got a Flash player these days. Plus people can rate and comment and make video responses and make it a favourite and embed it and do all those wondrous things that don’t actually make anyone more productive or useful but ooh, isn’t it exciting! and please blog me and make me famous and so on and so forth.

First problem: you’re limited to 10 minutes and 100 MB per video upload. Hmm… OK. I don’t have many videos longer than that; I can split those. I’m sure by tickling the codecs I can limbo my way under the file size restriction. (By “I’m sure”, I mean “I think/hope”.)

Wearing my bestest geek hat I perform a test run. I’m not going to start with one of the manky WMVs currently available under the Avaragado Pictures banner, though – I’m returning to the source material, or as close as I can get without installing video editing software from the dark ages or resucking gigs of raw footage from DV tape. The test run is with the Alpe D’Huez 2001 trailer: 2 min 30, for which I have a DVD-quality MPEG.

YouTube recommends you upload at 320×240, MPEG4 (DivX or Xvid video, MP3 audio). Note that this has already confused 95% of the world, for whom that reads “wah wah wah wah MP3 wah”. But anyway.

I am equipped with: sundry codecs (Xvid, DivX, etc); VirtualDub-MPEG2 (for transcoding the DVD MPEGs into AVIs with the codecs of your choice); and Adobe Premiere Pro (cos I is a professional amateur, innit).

Right. Raw MPEG into VirtualDub, deinterlaced, resized, DivX, MP3, save. OK, it’s an AVI not YouTube’s recommended MPEG4, but let’s try it. I mean, what could possibly go wrong?

I upload via the crummy Flash-based uploader (it could really do with a makeover, but it works). Meh, metadata stupidity: I must enter a description and at least three tags, and it doesn’t grok multi-word tags. It then processes the uploaded video, slicing and dicing into the correct format for playback, giving me no indication of progress but at least letting me do other things. Some time later…

I play it. The sound and video are out of sync. Not by much, but by enough: the video leads the audio by five or six frames. Well, this won’t do. The file I uploaded is fine.

Casting the runes, Google leads me to a page that suggests manually shifting the audio track by my best guess and re-uploading. You’ve got to be kidding me. Nope, not doing that. Other sites tell me that this is a common problem, and suggest various combinations of codecs and container formats. (“It worked for me!”)

This is nonsense, right? I’ve got free software here, there and in the other room that will happily transcode anything into anything inside any container format and preserve synchronisation between the audio and video. I’ve got a Quicktime player, a Real player and a Windows Media player that’ll stream live feeds over the Internet to my desktop and preserve synchronisation.

Why can’t YouTube do it? Is it the player? Their back-end? Their conversion process? Flash itself?

I know that most YouTube videos are in sync. But mine isn’t. Anyway, this shouldn’t be guesswork, or semi-random. And given the size of the videos I’ll be uploading, trial and error is simply not practical.

For this test run, I try various combinations. The best I find – but still not perfectly in sync – is an AVI with Xvid and MP3. Bah.

I proceed to the smaller collection of videos – mostly short clips, some with a bit of editing. For these, the synchronisation doesn’t matter much and it’s often hard to notice when a video’s out of sync anyway. Some of them I transcode as AVI/Xvid/MP3. In some cases I’ve got the original source videos handy – from my digital camera at the time – and the Premiere project file. So I generate bog-standard MPEG2 files from these, and they end up perfectly synchronised in YouTube. In one case I just upload the WMV I have handy, as it would take too much effort to recreate from source; again, this is acceptable quality.

A mental model begins to form. Maybe MPEG2 is the way to go. Tried, tested, etc.

On to the first “proper” video: one of the Ireland ones. With music and that (and therefore sensitive to synchronisation issues). AVI/Xvid/MP3: 45 MB upload, out of sync. No good.

I find and download a program called SUPER, with the UI sensibilities of a deformed cabbage (you pick something from a menu and the window moves around the screen) but with the ability to generate MPEG container files and much else besides, unlike VirtualDub. It’s a hideous front-end to ffmpeg, MEncoder, etc, but at least it works.

I spend the best part of a day trying different combinations. MPEG2. MOV/H.264/AAC. WMV/MPEG4-v2/MP3. All no less than 30 MB. I even transcode to AVI/DV/WAV (880 MB), load into Premiere (it loves that combination) and get it to spit out MPEG2 (as the MPEG2 files I built from Premiere for the shorter clips worked fine). They’re all out of sync. (I say all: at the time of writing, one upload is still processing. It has been for several hours now; I’ve given up on it.)

All out of sync, that is, except one. One magical upload works. Which one? The crummy low-quality WMV sitting on my web site.

My mental model now adjusts. Maybe I just need to lower the quality. Maybe, maybe, maybe.

Maybe when I wake up in the morning the sky will be blue, the birds will be a-twitter and the kid currently walloping his football noisily against a wire fence every five seconds will have been given a clip round the ear and told to pack it in.

Maybe I’ll try Google Video or somewhere else.

Aha. Hang on. That WMV/MPEG4-v2/MP3 combo that’s been processing for about four hours has finally finished. And guess what? It’s in sync.

Mental model #3: WMV? WMV?

MENTAL MODEL DOES NOT COMPUTE. [Emits smoke, sparks, explodes despite containing no explosives]

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That was the twenty minutes that was

Remember the week that was, back in February?

No, I haven’t had another one. But said person from that week today created a new profile on the web site where we originally got chatting. I know that because he visited my profile, which leaves a trace, and ‘nodded’ – a sort of one-click ‘hello’. (Other greetings are available.)

And then in the space of about twenty minutes, he logged out; logged back in again; looked at my profile again; and deleted his account. (I didn’t visit his profile at all – I can tell all that from the way the web site shows my own visitors.)

Whatever can it all mean?

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Sunshine, birthday and Sunshine

In Blair’s Britain, summer lasts all year long. It’s been about 10 degrees C warmer than average for the last few days so bare white legs, sandals avec socks and tins of lager were much in evidence on Saturday afternoon in town. As is my habit, I spent an enjoyable half-hour watching tourists flail about with punt poles on Madgalene Bridge. There was one accidental swimmer, who received a very generous round of applause from assorted diners and gawpers upon clambering back onto his punt.

It was a gentle prelude to the evening’s entertainment: a couple of hours at the Pickerel, wherein Pimms was dispensed in jugs, and then a meal at Edwinns to celebrate my birthday (photos). The waitress impressed us with her dislike for the decor: twigs in pots, that sort of thing.

Avaragado’s rating: eleven lemons

Some of us returned to the Pickerel until closing time, whenever that was, after which Chef and Andy came back to mine to eat chocolate cake (as supplied by Andrew; four portions down, about another twelve to go). Chef jabbered away and we also edited an article on Wikipedia (drunken encyclopedia authoring, it’s what the 21st century is all about). They left, uh, at some point, I forget.

Sunday was my birthday, and the gods smiled upon me: no hangover.

I pootled around for most of the day, then wandered in the sunshine to the Zebra for pre-cinema pizza. The Zebra’s now run by the people who used to be at Sino Tap (which is now being turned into a posh restaurant, apparently), but they’ve just taken over the County Arms – so they’ll be moving again. Andy and his orchestra mob follow them everywhere for their post-rehearsal booze-up. I think, actually, the rehearsal is just the excuse for the booze.

In keeping with the sunny theme of the weekend we saw Sunshine at the Vue. Reviews seem to be mixed, at least the ones I’ve read. Mutterings about sub-2001 psychedelic endings. It’s sadly inevitable that a film like this will be compared to 2001 – ooh look, a long journey in a space ship, a talking computer, general mayhem. Cue blither about Kubrick, iconic cinematic blahdom, men in monkey suits beating up other men in monkey suits. I think that’s quite lazy. It’s like comparing it to the Matrix because some people wear sunglasses.

What’s true is that this isn’t a by-numbers blockbuster. It’s an effects-heavy movie with some Hollywood names and it’s about The End Of The World, but it ain’t a Hollywood film: hooray for that. A Hollywood film would, let me see, have scripted some love interest, and would have had an American not a Chinese commander. And surely a different ending. It would also have cost more than £20m.

The producers did make the actors speak with an American accent, since, I guess, non-Americans are all commie pinkos and villains. The actor playing Trey, the ship’s navigator, was in the second series of Look Around You. Apparently the film was made in the East End of London, by the River Lee. Insert other Wikipedia-derived factoids here.

I came away from the film feeling generally cheerful, determined only ever to use Patrick Moore-approved protective devices when looking at the sun, and happy that Andy didn’t spaz out when lights started flashing in the film.

Avaragado’s rating: cress

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Smashing glasses

Item: in the Mitre, a bloke carried a fresh pint about six inches before engaging butterfingers. It made a lovely crump as it hit the floor, spraying nearby punters with ale and glass. We were just out of range.

Item: in Ask, Andy knocked over his glass of red wine. Our “comedy” waiter picked up all the shards, which was a good idea since otherwise we may have slashed him.

Item: in the Fleur, someone had some nice spectacles.

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The blog blogging about the blog that’s blogged my brother’s blog

My brother’s newish, non-traditional and generally funny blog has been reviewed.

In the Guardian.

And they’ve even plugged his book and his web site!

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Once in every blog there is a post that goes like this

Yesterday Chris, Melanie, Chef, Andy, Louise and I cantered with coconut shells a-clacking to the Palace Theatre, Shaftesbury Avenue, for the matinee performance of Spamalot.

An opportune 3-for-2 offer meant that wine-drinking began almost as we left Cambridge; on arrival at King’s Cross we were on the second bottle. This tongue-loosener helped me heckle an out-of-towner standing on the left on an escalator, who was blissfully unaware that people have gone to the Tower for less.

Disgorged at Leicester Square blinking into a sunny spring day we found our pre-theatre pub, The Cambridge, and sat outside people-watching with a pint until the time came to saunter over the road for curtain up. Chris took a sneaky photo as we waited for the performance to start.

It’s a fantastic show. Very, very funny. Everyone in the audience was intimately familiar with the original film, of course, and all is present and correct, but there are still a few surprises (which I won’t spoil here). I’m glad to report the absence of anoraks with their weak lemon drinks joining in with the script, but certain lines, and the appearance of certain characters, did cause a round of applause. I found this amusing; it reminded me of the demented hollering of studio audiences when Fonzie gurned onto set, or the applause when a musical artiste starts banging out an old faithful.

No expense is spared in the production; it’s very twinkly indeed. The only slip-up I saw involved the gradual separation of a knight from his moustache. The cast is uniformly very good, and Simon Russell Beale made an excellent Arthur. Different from Graham Chapman in (a) height, (b) width and (c) sobriety.

Yes, you could buy coconut shell merchandise and tins of commemorative spam. No, we didn’t. However, Chef bought an “I’m not dead yet” t-shirt (not applicable to his car).

Avaragado’s rating: one bowl of assorted fruit

Post-Spamalot we boozed at Waxy O’Connors, a pub containing a tree for no adequately explained reason. And then we ate at Mela, an Indian restaurant near to the theatre, before training home.

See Chris’s photos of the day, if you haven’t already.

Back in Cambridge just before eleven, I all-too-predictably went to the Fleur and met up with Robert and Richard. There was a Shirley Bassey impersonator on stage; very poor, and inexplicably murdering Sinatra songs rather than the traditional Bassey staples. Once she’d finally warbled her last, the three of us set the world to rights until 1am before continuing up the road in the Rose for another couple of hours.

At closing time a bouncer (not Craig) took issue with Robert’s reluctance to drink up and his forthright tongue and, how can I put it, slapped his remaining half-pint (in plastic glass) from his hands to the floor via his trousers. Poor show. Robert declared that he’ll never go back there again, but he’s probably forgotten that.

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Refugees from Time War now inspecting tax for HMRC

As far as we know, all Time Lords but one were wiped out in the Time War with the Daleks. The details are sketchy; the survivor doesn’t seem to want to talk about it, for reasons of future storylines. However, I can exclusively reveal that some other Gallifreyans also escaped: they toppled through time, took a wrong turning just outside Cleethorpes and are now working at Her Majesty’s Revenue and Customs as tax inspectors.

My evidence is compelling and confusing. To be on the safe side I am currently inspecting all my photographic prints for missing or faded relatives. I am also naturally on the look-out for DeLoreans containing white-haired professors and thirty-year-old teenagers; telephone boxes containing valley stoners and sundry historical figures; and of course any one of at least ten odd gentlemen in varying degrees of fancy dress accompanied by screeching companions with a propensity for tripping, dawdling and/or wandering off.

Here’s the evidence. I would show a simple timeline of events, but there isn’t one. There are two. I shall present them in handy tabular form.

Dec 05

In my 04/05 tax return, I say that I’m now permie and not self-employed. Thus I’m paying tax through PAYE, and want to reduce my payments on account for 05/06 to nil. (This being a mechanism for getting the self-employed to pay tax in chunks in advance through the year rather than in one lump.)

Jan 06 HMRC says that’s fine. HMRC sets the Jan 06 and Jul 06 payments on account for 05/06 to half my tax bill for 05/06, as calculated eleven months in the future.
Jun 06 HMRC sends me a statement. Payments on account for both Jan 06 and Jul 06: zero. Nothing to pay. Lovely. HMRC sends me an incorrect statement saying I have nothing to pay, despite my clearly having missed the Jan 06 payment on account, and with another payment pending in Jul 06.
Dec 06 In my 05/06 tax return I declare two days of freelance work for the whole tax year, done perfectly legitimately on the side while remaining permie. I pay the tax in full.
Jan 07 HMRC decides that those two days mean I should have paid half my 05/06 tax bill on account in Jan and Jul, and sends an exiled Time Lord to sort it out. See column #2. HMRC says yes, well, paying the tax in full is all well and good now, but what about those payments on account? You should have paid up months ago!
Feb 07 HMRC sends me a statement. It thanks me for paying my 05/06 tax bill in full, but warns me that I still owe them money: interest accrued on the Jan 06 and Jul 06 payments on account for which I inexplicably failed to cough up.

This morning I phoned them up. A nice old man with a nasty cough performed about three hundred identity checks before telling me that I’d have to write to customer services. So I cranked up OpenOffice.

In the letter I have appealed to the Lord High Council of Gallifrey (Tax Department) that, under paragraph zz9 plural z alpha of the Finance (Alternate Timelines) Act, it is unfair to retrospectively apply charges to a corporeal sentient being without formally notifying that being in all applicable timelines such that he, she or it has the ability to avoid late payment. Subsequently (or is that presequently) I have decided to retrospectively fine them £1, effective 1 Jan 1665, the founding date of the Board of Taxes. I imagine that’s accrued some interest.

Anyway, that’ll teach them. In fact it may already have taught them. Oh yes.

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Bathing

Lynda, Chef, Mike and I scooted down to Bath on Friday for a weekend visiting Sarah, Ades, Jo and Alice.

Lynda and I left Cambridge in glorious sunshine; by the time we reached Bath – and orbited parts of it a couple of times trying to zero in on our hotel – it was raining. Once finally located the Paradise House hotel was most agreeable, verging on the posh. Free use of a net-connected laptop was a bonus, and it even had Firefox installed.

Unfortunately Lynda must have mortal enemies in Bath taxi firms. I think we tried three different companies and the only occasions we were picked up on time were post-midnight. We bailed out on one after 45 minutes and two “where is it then?” calls; it was faster to walk down the hill to get one from the railway station instead.

Friday night was spent at the Hop Pole, where the chef was persuaded via our waitress to serve food other than just mushrooms to vegetarians. Mike, Chef and I went back to Sarah’s for more booze afterwards; it was a 3am finish. Despite engaging in the cardinal sin of beer, white wine and red wine in the same evening I felt fine on Saturday.

We lunched by a swollen Avon (must’ve been Servalan, ah HA HA HA HA HA); the Jolly Sailor, I think, a ten-minute drive out of town. It was sunny and just warm enough to eat outside. The beer garden there is, amusingly, on an island reachable only by clambering over a lock gate; I can only guess at the shade of purple turned by the Health and Safety droid.

In the afternoon the climbers climbed and Lynda and I perused the shops. We also popped into the Bath Tap to peruse the locals. That evening we braved the world of taxis again to head to Sarah’s for home-made pizza, wine and the lunar eclipse.

On Sunday morning, after a very nice breakfast that we unaccountably skipped the day before (see the 3am finish), we checked out and headed home. It rained all the way until Cambridge, more or less.

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Ed Byrne and the Magical World of Television

I was up the Londons again last night, invited by David-from-last-weekend to see “top funster” Ed Byrne‘s live stage show at the Riverside Studios in Hammersmith. David knows one of the guys that owns the Riverside TV production company, so it was free tickets and trebles all round for us and some of David’s other mates.

We arrived at about 7pm, got a drink and chatted until the show. Unlike the proles paying for their tickets, we got to dump our coats in a dressing room. Yes, light bulbs were around the mirror, thank you for asking.

Ed Byrne was fantastic, and overran his 85-minute set by over half an hour. This may partly have been due to members of the audience buying him drinks. There’s nothing as unfunny as someone retelling someone else’s jokes and getting them wrong, so I won’t try, but he told us several stories about how TV shows like Mock the Week and 8 Out of 10 Cats keep editing his funniest bits out. Even Blankety Blank made him change an answer once.

I guess technically he was infinite value for money.

Avaragado’s rating: a handful of field mushrooms

After the show our little group had a private tour of the studios from Duncan, who got us the tickets. Here, dear reader, I may geek out. (I’ve linked below to the three rubbish cameraphone pics I took.)

The Riverside has a long and distinguished history, most of which I didn’t know until yesterday. The BBC used it for shows such as Quatermass II, Hancock’s Half Hour, Dixon of Dock Green, Top of the Pops, Doctor Who and Play School. The Chris Evans high point TFI Friday was made here, and today the studio produces Channel 4’s yoof strand T4 and Popworld.

Duncan took us into Studio 1, where earlier that very day TV’s not-drunk June Sarpong and Steve Jones were filming links from the T4 sofa. We sat on it; it’s not very comfortable. The Popworld set was standing to one side.

Studio 1 was the home of CD:UK and where the bands played on TFI Friday. Viewers will remember the stairway up from the bands to the Chris Evans bar/desk area: we took those very steps, oh yes we did. And through the door we find… not the Chris Evans bar/desk area, as it’s all changed there. The window’s still there, next to where his desk was. That bit’s now the green room. The bar area is now two rooms: a brand-new sound console with a gazillion faders (a couple still labelled “June” and “Steve”, for their radio mics) and a production gallery full of TVs and Star Trek blinkenlights. No cameras in the studio, so we couldn’t do much, but we pressed some buttons anyway. I successfully faded something in and out, without spilling any of my beer. Casually discarded on the desk was a copy of that day’s T4 script.

With that we returned to the bar, feeling blessed.

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