Lytro's "Cinema" Technology Brings New Cameras to Hollywood

Lucas Maney, reporting for TechCrunch:

"The company’s light field solution is a truly beautiful technology that may eventually be in every camera we snap a shot or video with. The tech essentially uses data on all of the available light in a photo to separate objects by depth and store them in a three-dimensional grid. In the future this technology will allow the simple creation of VR-ready navigable 3D spaces, but right now it’s enabling filmmakers the ability to achieve a level of detail and flexibility in gathering shots and making post-production edits that wasn’t previously possible.

Today, the company introduced Lytro Cinema, which is the company’s effort to woo those in the television and film industries with cool camera technology that makes their jobs easier."

Lytro's been around for a few years with some incredible imaging technologies. Novel though they may be, they've never quite "changed the game" in the consumer digital photography space.

So they're taking their wares to professional film. Their video talks a lot about the nitty gritty tech specs but at the end of the day, film makers should take away one thing and one thing only: 

"When you have the ability to never miss focus, and the ability to change your relative position; and you can do that with a push of a button; you always get the shot that you want."

This means the Cinema imaging device is going to be something of a "halo" product for Lytro - something that allows moviegoers a new cinematic experience. Hopefully when they see the Lytro name or marketing they'll be drawn to purchase the sort of camera that makes use of the Cinema's techniques. 

I'm excited to see this used in some sort of speculative fiction epic. Christopher Nolan, I'm talking to you.

Stern takes on the Universal Remote →

Joanna Stern recently published a piece in her personal technology column over at the Wall Street Journal that details her frustration with television remote controls in the age of increasingly complex set-top-box and audio set-ups. 

In typical awesome sauce Stern fashion, she surveys the best available products on the market and gives the user a recommendation- if one's warranted. 

Her conclusions however, throw me off. While the Ray Super Remote is impressive, it lacks something essential to a great experience-- tactile buttons for all of the major functions. The problem with the thing is that except for strange volume buttons the device is all screen, meaning that one has to look at IT rather than the content, when one wants to change an aspect of the viewing experience. God forbid that experience is taking part in a dark room, and suddenly you've got white LEDs shooting light at your face, violently throwing you out of your cinematic experience, along with anyone who may be sitting beside you. That's a problem. With any such device, one's fingers should be able to do the talking without their eyes having to get involved.

More problematic is the Ray Super Remote's $250 price. And old iPhone 5 or 5S does nearly everything the Ray Super Remote does and you've already paid it off and can easily power it since you've likely got chords lying around. If Ray made a Lightning-based IR dongle that would make more sense; which is why the Peel route seems the most proper for the touch-screen approach.

Still, you're forced to deal with a screen, which is less than ideal.

I'll extend that criticism to one of my fav devices, Google's Chromecast. As Stern rightly points out, the idea that I've got to unlock my device to get it to the remote function is a pain.

It may be that right now, Apple has the right of it with the Apple TV 4's remote. The touch -based navigation surface, tied to buttons is impressive. Voice is likewise impressive but frankly, talking is the last thing I want to do when I'm enjoying something in front of me. I also have to admit that I suffer from feeling a little silly talking to a computer in front of anyone but my cats.

Unlike most consumer technologies, there may not be a "winner take all" product in this category yet. Preference is everything here, so screens have their proponents. Some of those proponents aren't even watchers-- rather they're marketers hoping that the second screen, be it phone, tablet or remote, can be a place to grab eyeballs for advertisements in an age of increasingly ad-free digital streaming.

At the end of the day, this space is suffering from the frustration that many consumers are feeling in the connected home. These devices need a shared protocol not unlike ZigBee or zWave with which to communicate with one another. Are the speakers on or off? Set to the right input? Output? One thing is clear. The next generation of home theatre peripherals should incorporate that sort of communication functionality in order to make life much easier for the consumer. It would also represent a paradigm shift that would engender sales.

The New Yorker on the The Oscar Whiteness Machine →

Richard Brody writing for the New Yorker:

"The underlying issue of the Academy’s failure to recognize black artists is the presumption that baseline experience is white experience and that black life is a niche phenomenon, life with an asterisk. Many of the great classic jazz and blues recordings were marketed as “race records.” To this day, the Academy proceeds as if movies about black experience were race movies. The result is that only narrow and fragmentary views of the lives of African-Americans ever make it to the screen—and I think that this is not an accident. If the stories were told—if the daily lives and inner lives, the fears and fantasies, the historical echoes and the anticipations of black Americans were as copiously unfolded in movies as are those of whites—then lots of white folks would be forced to confront their historical and contemporary shame. They’d no longer be able to claim ignorance of what they’d like not to know—which includes their own complicity in a rigged system."

Remember Cool Runnings? Certainly not Oscar worthy, but certainly proof 20+ years ago, that diversity can be sold universally. Fast forward to the commercial success of the Fast and Furious franchise and the recent record-breaking Star Wars film, and it's clear that films do fine-- lo they do better than fine-- with multi-racial casts... Which is why there should be more of them, allowing for more $$$ and more representation across all genres of features.

Such action will inevitably lead to more roles for actors (of all types) in more prestigious films. The idea that accident of birth is the hallmark of talent is absurd. Access to opportunity is all that's needed to for the talented to rise. A walled garden in this respect keeps the entire art of cinema from achieving it's most impressive and vibrant expression.

Star Wars Episode VII: The Force Awakens →

In this continuation of the quintessential space opera, we find a forlorn heroine and a lost Stormtrooper on a journey that reconnects them with not only the not-so-distant past, but with the faces and personalities that lead to the Galactic Empires ruin. But there are new enemies rising, and it'll take new heroes to keep them at bay. 

The Force it seems, is not done with this particular part of the Galaxy.