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Jon Uleis
3.5K posts

Jon Uleis
@MovingToTheSun
Web maker, pic taker • aka CapitalQ @tmbw
Brooklyn انضم Nisan 2009
240 يتبع1.2K المتابعون


Today we have an amazing roundtable interview from 1989 with Shigeru Miyamoto, Shigesato Itoi, and author Seikou Itou. Conducted shortly after the release of Mother, it's full of deep musings and observations about realism, creative exhaustion, the moral panic over kids and gaming, and prescient visions of the future.
shmuplations.com/itoimiyamoto/
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Thank you Peter Jackson, now PLEASE FIX GET BACK
IndieWire@IndieWire
Baz Luhrmann on "EPiC: Elvis Presley Live in Concert" “There’s not a frame of AI in this film. There’s not a visual effect. What Peter [Jackson] and his team do is take the negative and take the abrasions out of it and reproduce it at its highest quality. Then we take it back for color grading, which is a very sensitive art. It’s just spending hours and hours, which I did with our colorist.”
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@janbican2 @lennonpube It changed their expressions and facial structure
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@lhateshrlmp @favoriteveg there is a way to do this without talking to anyone
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@VaporSoup7 @CommanderHales1 @lukasdrawsart The show sucks, just download it from archiveorg and nobody loses money
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@CommanderHales1 @lukasdrawsart I wish all the rights holders would quit being a bitch and properly release these
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Crafted a beta of the next one. With the rename I need a bit more feedback.
curl -fsSL molt.bot/install.sh | bash -s -- --beta
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@MovingToTheSun @cowboyfelix_ @froggycrossing Thats not it though? If it is about school grades, then how does a sea bass relate to school grades
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@cowboyfelix_ @froggycrossing This isn't it, lol. The jokes are localized and do not require knowledge of Japan fish markets. It's about school grades
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@goodtechorno @bitfloorsghost This is good because it's teaching some principles of programming
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last night my son told me he wanted to make a game or an app, so he came over to my desk and I explained the whole process between claude, github, vercel, etc., the best I could, walked him through step by step
he’s 9 and he ended up making two legit browser based games that we played last night
first thing he said when he woke up was he wanted to make more games after school
this is an unbelievable unlock
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@MovingToTheSun mine wasn't in a folder I had them defaulted to desktop - don't ask me why lol but I've avoided cleaning for months
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@tedscavingpage "am I terrible for not giving a shit about the bad green screen shots"
Damn, twitter has done a number on you
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@JohnnyFocal ChatGPT please write me a whining post about Criterion and make me sound like an expert
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Criterion, how have you managed to do this to Eyes Wide Shut?
This should have been a definitive 4K release — a reference-grade presentation of one of Kubrick’s most precise, most controlled, most intentional films. Instead, what you’ve put out feels like a compromise dressed up as prestige: a substandard home-video version that flattens the image into something lifeless, electronic, and fundamentally wrong.
A 10-bit, Dolby Vision minimal-enhancement, TV-version approach to a film that demands cinema-grade 12-bit full 4:2:2 treatment, this is not “good enough.” It isn’t even close. Compared to the DCP, the disc looks drained of depth — the texture, the nuance, the delicacy of shadow and colour separation are gone. The atmosphere that is the storytelling in this film has been thinned out until it feels generic. That isn’t “a different look.” That’s damage.
And the most infuriating part is what this disrespects: the work.
Larry Smith’s cinematography and grading choices weren’t accidental decoration — they’re the film’s bloodstream. Every subtle tonal decision, every controlled shift in warmth and cold, every balance between glamour and dread was crafted to serve Kubrick’s intent. When you blunt that, you don’t just change the picture — you change the film.
I worked on this film. I know what it’s meant to be. And I’m appalled at how casually this release treats that legacy — not just Kubrick’s, but everyone who carried this to the finish line: Larry Smith DoP, Jan Harlan Producer, Joe Dunton cameras and the Deluxe lab teams, the entire chain of authorship. This isn’t “Criterion being Criterion.” This is the physical-media market slipping into a depressing new normal where “4K” becomes a badge, not a promise.
And it’s the same rot everywhere: compromised masters, missing premium audio, releases pushed out that feel like the minimum viable product rather than a definitive archival edition. If physical media is supposed to be the last refuge of quality and permanence, why are we accepting versions that are visibly and audibly second-rate?
Eyes Wide Shut is not a casual catalogue title. It’s a landmark. A final statement. A defining piece of cinema. If you’re going to put that “C” on the box, then act like it means something.
Because right now, Criterion, this is not preservation.
It’s vandalism. @Criterion @warnerbros @mdbmhk #EyesWideShut @Dolby @BrightSideHT @LegalBeagleOK @RalphAVSreviews

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@cracker_island i'm still so confused how that ended up there like what did they do to get that??
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