Month: March 2003

Here’s my story from today’s paper, on the Legislature’s ideas on how to increase college tuition here in Texas.
And a final reminder: Monday is the absolute deadline to sign up for the final trades of the CD Mix of the Month Club. After that, the CDMOM closes up shop for good. Don’t say I didn’t warn you.

For those of you who couldn’t attend 20×2 at SXSW, my two-minute presentation is available for download. (That’s a 3.3 meg Quicktime file. The one I used at SXSW was a 412 meg file, so there’s some loss of quality, most notably in the music.) For those unfamiliar with 20×2, read the March 5 entry below.
Enough people asked me how the movie was made that I figured I’d type it up for you nice people. The machine in question is a two-year-old PowerMac G4/466 tower, running Mac OS X 10.2.4.
– The main assembler is iMovie, Apple’s great movie-editing software. I’d never used iMovie before (or done anything video-related, really) and this project was primarily an excuse to play around with it. As of iMovie 3, photos (mistakenly, I’d argue) import as rendered movies, not as still frames (the so-called Ken Burns effect). So for a project like this your life will be much easier if you edit the ~/Library/Preferences/com.apple.iMovie3.plist file to change the value of autoApplyPanZoomToImportedStills to false.
– The video screen captures (the opening pico stretch, the Safari browser launch shot, the spinning beach ball, and all the Google typing) were done with Snapz Pro. It’s easy to use — it reassigns command-shift-3 as its launcher. Snapz Pro costs $49, but it’s free for 30 days — time your download around your project needs! (The $13 ScreenRecord supposedly does the same thing, but I haven’t tried it out.)
– For iMovie purposes, your captures need to be in the 4:3 ratio, so you’ve got to resize the marquee to 640×480, 320×240, 160×120, or some variant thereof. (By luck I figured out that if you right-click at the same time that you resize the marquee with the left mouse button, a popup displays the current frame size — so no more guessing. I don’t know how’d you do that if you only had one mouse button. Of course, anyone with OS X should pony up the 20 bucks or so to buy a multi-button mouse — it’s worth it. I use the six-button Microsoft Intellimouse Explorer Optical.)
– I used Quicktime Pro to edit down Snapz Pro’s clips. In Snapz, it’s best to grab a few extra seconds on either end of what you want; with QT Pro, it’s easy to trim off that extra time in editing. You also need QT Pro if you want to do play your movie full-screen, without any of the Aqua chrome. Finally, I also used Quicktime Pro to export the clips in .dv format, which is the camcorder codec that iMovie reads. (I don’t think you can import Quicktime movies directly into iMovie — at least you couldn’t as of iMovie 2.) So even though it costs $30, you really do need Quicktime Pro.
– The opening shot is grabbed from the OS X install of pico, the Unix text editor I remember from college. You can get to it by running Terminal.app and just typing ‘pico’ at the command line. I changed the look-and-feel to the green-on-black text and blinking cursor to evoke that old-skool computing feel.
– Getting a screen capture of the spinning beachball (OS X’s equivalent of the Windows hourglass “wait” cursor) is tough — since it only comes up when your computer is too stressed out to be running screen capture software. So the movie’s beachball is actually a shot of the demo page of No Stubs, one of the downloadable cursor sets for Mighty Mouse, Unsanity’s new cursor-replacement shareware. (For some reason, the animated GIF doesn’t activate in Win IE — perhaps it’s only on OS X.)
– The photo shots were all done in Photoshop. I kept the type, the image, and the black bar in separate layers, so they were easy to edit quickly. The photos themselves all came from Corbis, iStockPhoto, and Yahoo News. The typeface is Myriad. For the longer “Waiting for…” phrases, I messed with the type’s horizontal scaling to make them fit.
– The music is a song called “The Newborn Hippopotamus,” from a tremendous album called DJ Shadow Presents Schoolhouse Funk. It’s a limited-edition compilation of 1970s high school bands, playing some of the skronkiest funk you’ll ever hear from 16-year-olds. (Song sample here.) You can’t find the album anywhere, but you can download it from eMusic, the greatest of the legitimate MP3 download sites. (You can sign up for a free trial membership and download 50 MP3s immediately.)
– The full track is 7:08, but I edited it down in Audion. I’d originally planned a longer silent stretch at the movie’s start, which allowed me to have an audio clip about 1:30 long, ending at the start of the track’s drum solo. Unfortunately (I think), the length didn’t work out, so I tagged a part of the drum solo to make it about 1:43.
– The final sound clip (“I’m feeling lucky”) was generated as an AIFF in VoiceBox, which uses the Mac’s text-to-speech technology to “read” words into a sound file. I used the Cellos voice, with the pitch tuned up slightly.
– Once I pulled everything into iMovie, I set all of the photo frames to run for 1:15 (that’s one second and 15 frames of a, um, second second). I ended up copying and pasting the beachball clip a few times, both as a transitional space filler and to keep up the waiting theme. From there, it took just a little fine tuning. I exported the whole thing to Quicktime format, using the full DV settings. In total, it probably took me about six hours, most of them late Thursday night/early Friday morning. But a lot of that was spent searching for photos. If you (unlike me) have a clue what you’re doing ahead of time, I think you could probably produce something like this in three or four hours.
Anyway, more post-SXSW posts to come, eventually. It was great seeing everyone.

Here’s my story from today’s front page, on a hacking incident at the University of Texas. (This is, coincidentally, my 1000th crabwalk.com post.) See you in Austin, ace.

I’ll be on TXCN at 4:15 (and repeating through the evening), talking about hacking and identity theft at UT.

If you will be in Houston on next Friday (March 14) and for some reason you don’t attend the massive Clem Snide/Calexico double bill at Fat Cat’s — well, you’ll deserve what’s coming to you. Two of the official bands of crabwalk.com, together at last.

I will be in Austin for SXSW from Friday afternoon to Tuesday afternoon. If you need to reach me while I’m there, my cell is 214-914-9998. Unsure whether I’ll be updating; I’ll have my iBook with me.
If you want to catch me spouting off about the future of journalism, come to my panel Sunday at 11:30 a.m. Hopefully you’ll have worked off most of your Saturday night drunk by then. My more cogent fellow presenters will be Matt Haughey, Dan Gillmor, J.D. Lasica, and Evan Smith.
I’ll also be one of the presenters/performance artists/clueless newbies at 20×2 on Monday night. I’m supposed to go on for two minutes, answering the question “What are you waiting for?” (Ah! It all comes together, does it not, gentle reader? It does indeed.)

Dallas Observer columnist gets into screaming match with Rangers center fielder. Not to defend Carl Everett, but geez, I’ve seen high school papers with better sports columnists than this Gonzalez guy. The column’s always about him, never his subject. And he spends all his time beating his own chest about what a scary bad-ass columnist he is, how he’s such a radical who can’t be kept down by The Man.

Okay, it’s audience participation time at crabwalk.com. I’d really like everyone to answer the following question in the comments.
What was the last thing you remember waiting for? Answers can be as practical or spacy as you’d like. Merci beaucoup.

“I’ll state it for the record: The day I replace my shampoo and conditioner with a single bottle of Pert is the day I’ve officially stopped caring about life.”

Happy Mardi Gras, people! As one of the 100 most prominent Cajun bloggers in the city of Dallas (I’m guessing here), I send you all a special huzzah and a slice of king cake (with or without the baby Jesus inside).