Analog Meets Its Match in Red Digital Cinema's Ultrahigh-Res Camera
<!--pageType= magazinewideslug= ff_redcamerasection= entertainmentsubsection= hollywoodheadline= Analog Film Meets Its Match in Red Digital Cinema's Ultrahigh-Res CameraauthorName= Michael BeharcreditType= photocredit= Christian Stollcaption= The Red One, an ultrahigh-res digital camera, is ready for its close-up.--><p><strong>A crowd has gathered in front of the Las Vegas Convention Center, where a security guard is about to unlock the main entrance. It's less than a minute before 9 am, the official opening of the 2008 National Association of Broadcasters Show&mdash;typically a sleepy sales and marketing event known more for schmoozing than buzz. But as the glass doors open on this April morning, a hundred people race toward a large crimson tent in the center of the hall.<p>The tent is home to <a href="http://www.red.com/">Red Digital Cinema and its revolutionary motion picture camera, the Red One. Standing nearby is the man who developed it&mdash;a handsome guy with a neatly trimmed goatee and a pair of sunglasses perched atop his clean-shaven head. He clutches a can of Diet Coke in his left hand, an unlit Montecristo jutting from between his fingers. <p>Jim Jannard, 59, is the billionaire founder of Red. In 1975 he spent $300 to make a batch of custom motocross handlebar grips, which he sold from the back of a van. He named his company Oakley, after his English setter, and eventually expanded into sci-fi-style sunglasses, bags, and shoes. In November of last year he sold the business to Luxottica, the owner of Ray-Ban, for a reported $2.1 billion.<p>Jannard won't say how much money he has poured into Red, but his target market clearly appreciates the investment. Supplicants swarm the tent, many of them with offerings&mdash;fine wine, gourmet coffee, single-malt whiskey&mdash;all to thank Jannard for building the Red One. "I guess they just like me," he says with a wry smile.<div class="feedroomstoryembedlarge" style="width: 601px; height: auto; align: left;"><object height="338"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://www.vimeo.com/moogaloop.swfclip_id=1340684&amp;server=www.vimeo.com&amp;show_title=0&amp;show_byline=0&amp;show_portrait=0&amp;color=00ADEF&amp;fullscreen=1" /><embed src="http://www.vimeo.com/moogaloop.swfclip_id=1340684&amp;server=www.vimeo.com&amp;show_title=0&amp;show_byline=0&amp;show_portrait=0&amp;color=00ADEF&amp;fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="338"><div class="storyimagecaption"><p>An example of video shot on the Red One. For a better look, <a href="http://www.vimeo.com/groups/redusers/videos/1340684">watch it in HD. <div class="storyimagecredit"><em>Video by <a href="http://www.vimeo.com/user600113pg=embed&amp;sec=1340684">opus magnum prod.<br /> More <a href="http://www.vimeo.com/groups/redusers/videos">Red One video at Vimeo.<p>It's more than that: His team of engineers and scientists have created the first digital movie camera that matches the detail and richness of analog film. The Red One records motion in a whopping 4,096 lines of horizontal resolution&mdash;"4K" in filmmaker lingo&mdash;and 2,304 of vertical. For comparison, hi-def digital movies like <cite>Sin City and the <cite>Star Wars prequels top out at 1,920 by 1,080, just like your HDTV. There's also a slightly higher-resolution option called 2K that reaches 2,048 lines by 1,080. Film doesn't have pixels, but the industry-standard 35-millimeter stock has a visual resolution roughly equivalent to 4K. And that's what makes the Red so exciting: It delivers all the dazzle of analog, but it's easier to use and cheaper&mdash;by orders of magnitude&mdash;than a film camera. In other words, Jannard's creation threatens to make 35-mm movie film obsolete.<p>Two years ago, Jannard brought a spec sheet and a mock-up of a camera&mdash;not much more than an aluminum box about the size of a loaf of bread&mdash;to NAB 2006. Even though it wasn't a working product, more than 500 people plunked down a $1,000 deposit to get their names on a waiting list. For months, industry watchers wondered if the company was for real. Today, there's no question. The Red One is being used on at least 40 features. Steven Soderbergh, the Oscar-winning director, borrowed two prototypes to shoot his Che Guevara biopics, which premiered at the Cannes Film Festival in May, and later purchased three for his film <cite>The Informant. Peter Jackson, the Lord of the Rings himself, bought four. Director Doug Liman used a Red on <cite>Jumper. Peter Hyams used one on his upcoming <cite>Beyond a Reasonable Doubt. Digital cinema that's all but indistinguishable from film is finally coming to a theater near you.<p><strong>The Red headquarters is in Lake Forest, California, a sprawling Orange County exurb consisting mainly of strip malls and office parks. The 32,000-square-foot facility, which Jannard recently bought for a reported $7.7 million, has a stark white exterior unbroken by windows except at the entrance, where a winged human skull is painted on the glass. Jannard, wearing blue jeans, black slip-on sandals, and a lime-green short-sleeve shirt, greets me in the lobby and ushers me through a set of gray metal doors. On the way into the workspace, there is a sign:<p><em>1 Please knock.<br/>2 Take two steps back.<br/>3 Kneel.<p>Since I'm getting a tour from the wizard himself, I'm apparently excused from genuflecting.<p>Behind the doors, the walls are festooned with camouflage netting&mdash;a nod, perhaps, to the postapocalyptic design of the steel-clad Oakley headquarters half a mile away.<div class="wide_img"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera2_f.jpg" alt=""><div class="wide_caption"><div class="wide_caption_txt">Jim Jannard in his Red screening room.<br/> <em>Photo: Amy Crilly<br/><br/><p>"I had been thinking about this project for a long time," Jannard says. "As a camera fanatic and a product builder, this was something I seemed destined to do." When businesspeople talk destiny, it can sound like bullshit. But at Oakley, Jannard not only ran the company, he personally shot one of its two TV spots and all of its print ads from 1975 to 1995. He owns more than 1,000 cameras, both still and motion picture, several dating back almost a century. "I have a Bolex, Aaton, Arriflex, Eyemo, Filmo, Mitchell, Photosonic, Beaulieu, Keystone&mdash;just about every movie camera you can think of."<style type="text/css">.nDiv width:300px;float:right;margin:0px 0px 12px 12px;.nTable color:#fff;font-size:0.87em;.nTable td padding:4px;border-right-style:solid;border-right-width:3px;border-right-color:#A3A3A3;.nTable img display:block;margin-bottom:12px;border:1px solid #A3A3A3;.nTable .cell1 width:20px;background-color:#464748;font-family:courier new;line-height:0.85em;font-weight:bold;text-align:center;.nTable .cell2 background-color:#716c66.nTable .cell3 background-color:#716c66.nTable .cell4 background-color:#d4201f;border-right-style:none;<div class="nDiv"><h3>Why The Red Rocks, Part I<div style="font-size:0.9em;margin-top:0.5em;margin-bottom:1em;">The Red One camera gives moviemakers the best of both worlds. It delivers the ease of use and editing flexibility provided by digital cinema cameras. At the same time, the Red's resolution and color fidelity rival that of 35-millimeter film, and it allows the same kind of control over focus. Bonus: Like HD and 2K digital, it's cheap.<table class="nTable" border="0" cellspacing="0" cellpadding="0"><tr valign="top"><td class="cell1" rowspan="2">C<br/>A<br/>M<br/>E<br/>R<br/>A<td class="cell2">Film<br/>Example: Panavision<br/>Millennium XL-2<td class="cell3">2K and HD Digital<br/>Example: Sony F23<td class="cell4">4K Digital<br/>Example: Red One<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_1.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_4.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_7.jpg" /><tr valign="top"><td class="cell1" rowspan="2">R&nbsp;M<br/>E&nbsp;E<br/>C&nbsp;D<br/>O&nbsp;I<br/>R&nbsp;U<br/>D&nbsp;M<br/>I&nbsp;&nbsp;<br/>N&nbsp;&nbsp;<br/>G&nbsp;&nbsp;<td class="cell2">Film<td class="cell3">Tape deck or disk<td class="cell4">CompactFlash and <br/>RAID<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_2.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_5.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_8.jpg" /><tr valign="top"><td class="cell1" rowspan="2">I&nbsp;C<br/>M&nbsp;A<br/>A&nbsp;P<br/>G&nbsp;T<br/>E&nbsp;U<br/>&nbsp;&nbsp;R<br/>&nbsp;&nbsp;E<td class="cell2">Silver halide emulsion<br/>on plastic<td class="cell3">3 sensors with <br/>colors split by prism<td class="cell4">1 propietary sensor<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_3.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_6.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_9.jpg" /><tr valign="top"><td class="cell1" rowspan="2">L&nbsp;R<br/>I&nbsp;E<br/>N&nbsp;S<br/>E&nbsp;O<br/>S&nbsp;L<br/>&nbsp;&nbsp;U<br/>O&nbsp;T<br/>F&nbsp;I<br/>&nbsp;&nbsp;O<br/>&nbsp;&nbsp;N<td class="cell2">No lines, but <br/>comparable to 4k<td class="cell3">HD: 1,920h x 1,080v<br/>2K: 2.048h x 1,080v<td class="cell4">4,096h x 2,304v<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_1.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_7.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_13.jpg" /><tr valign="top"><td class="cell1" rowspan="2">R&nbsp;N<br/>E&nbsp;E<br/>L&nbsp;G<br/>A&nbsp;A<br/>T&nbsp;T<br/>I&nbsp;I<br/>V&nbsp;V<br/>E&nbsp;E<br/>&nbsp;&nbsp;&nbsp;<br/>&nbsp;&nbsp;S<br/>&nbsp;&nbsp;I<br/>&nbsp;&nbsp;Z<br/>&nbsp;&nbsp;E<br/><td class="cell2"><td class="cell3"><td class="cell4"><tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_2.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_8.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_14.jpg" /><br/><em>Icons by Jason Lee<p>In 2004, Jannard bought a Sony HDR-FX1&mdash;the first hi-def videocam for consumers. When he found he couldn't use the files it produced without translation software from a company called Lumiere, he telephoned Lumiere's owner, filmmaker Frederic Haubrich. "I told Frederic that I couldn't even view my footage on a Mac and that this had pissed me off enough that I wanted to build my own camera. And he said, 'Jim, I know guys in the industry who can help.'" Haubrich introduced Jannard to interface designer Ted Schilowitz.<p>Schilowitz, Haubrich, and Jannard spent a year trying to design that dream camera, one that would combine the practical advantages of digital moviemaking with the image quality of analog film. They recruited mathematicians, programmers, digital imaging experts, hardware engineers, and physicists. "We needed a bunch of guys who were inventors to come up with entirely new ways of getting to the finish line," Jannard says. He kept the project quiet until his team could determine whether building the device was even feasible, but rumors swirled through Hollywood about some kind of mysterious supercamera in the works. "I didn't know who Jim was," Soderbergh says. "But I heard about Red because they were canvassing filmmakers and cinematographers, asking, 'If you could wave a magic wand, what camera would you design'"<p>Most of the work took place in what employees call Jim's garage, a 20,000-square-foot warehouse across the street from Red's massive headquarters. The team quickly concluded that existing technology was inadequate. The guts of the camera&mdash;the image sensor and all the accompanying circuitry&mdash;would have to be created from scratch. It was a daunting challenge, but the fact that Jannard's management style falls somewhere between Mr. T and Steve Jobs on the autocracy scale helped. "What separates us from other camera companies is that the vision guy is the decisionmaker," he says. "That was one of my biggest advantages at Oakley, and it's the same at Red&mdash;I'm in the trenches, in the product development, and I make the final call. Red is a benevolent dictatorship."<p><strong>The video revolution has been on pause in Hollywood. Just as digital still cameras now rule the photography market, hi-def digital movie cameras were supposed to replace film. But moviemakers never fully bought in. Typical digital videocams use prisms to split incoming light by color and send it to three separate sensors, which tends to soften images. Onboard software sharpens the footage but also introduces halos and exaggerated edges. Worse, the small sensors put too much of the picture in focus, giving it a canned look. Cinematographers hate that; the ability to guide the viewer's eye by selectively blurring focal planes is one of their favorite techniques. "That's a storytelling tool," says Pierre de Lespinois, a producer and director who spent three weeks in April filming a feature in the Mojave Desert with two Red Ones. "In HD, what's right in front of the lens and what's 20 feet away are both sharp, so the image looks flat."<p>To compete with celluloid, a digital cine-camera would need an image sensor identical in size and shape to a single frame of 35-mm motion picture film. Without that, the Red couldn't give filmmakers the control over depth of field, color saturation, tonality, and a half dozen other factors that 35-mm film provides.<style type="text/css">.nDiv width:300px;float:right;margin:0px 0px 12px 12px;.nTable color:#fff;font-size:0.87em;.nTable td padding:4px;border-right-style:solid;border-right-width:3px;border-right-color:#A3A3A3;.nTable img display:block;margin-bottom:12px;border:1px solid #A3A3A3;.nTable .cell1 width:20px;background-color:#464748;font-family:courier new;line-height:0.85em;font-weight:bold;text-align:center;.nTable .cell2 background-color:#716c66.nTable .cell3 background-color:#716c66.nTable .cell4 background-color:#d4201f;border-right-style:none;<div class="nDiv"><h3>Why The Red Rocks, Part II<br/><table class="nTable" border="0" cellspacing="0" cellpadding="0"><tr valign="top"><td class="cell1" rowspan="2">C<br/>A<br/>M<br/>E<br/>R<br/>A<td class="cell2">Film<br/>Example: Panavision<br/>Millennium XL-2<td class="cell3">2K and HD Digital<br/>Example: Sony F23<td class="cell4">4K Digital<br/>Example: Red One<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_1.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_4.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table2_7.jpg" /><tr valign="top"><td class="cell1" rowspan="2">C&nbsp;&nbsp;<br/>O&nbsp;&nbsp;<br/>S&nbsp;&nbsp;<br/>T&nbsp;&nbsp;<br/><td class="cell2">Rents for about<br/>$25,000/month<td class="cell3">$150,000<td class="cell4">$17,500<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_3.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_9.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_15.jpg" /><tr valign="top"><td class="cell1" rowspan="2">L&nbsp;&nbsp;<br/>E&nbsp;&nbsp;<br/>N&nbsp;&nbsp;<br/>S&nbsp;&nbsp;<br/>E&nbsp;&nbsp;<br/>S&nbsp;&nbsp;<br/><td class="cell2">Proprietary or<br/>standard mount<td class="cell3">Proprietary mount<td class="cell4">Standard mount<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_4.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_10.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_16.jpg" /><tr valign="top"><td class="cell1" rowspan="2">C&nbsp;D<br/>O&nbsp;I<br/>S&nbsp;G<br/>T&nbsp;I<br/>&nbsp;&nbsp;T<br/>T&nbsp;I<br/>O&nbsp;Z<br/>&nbsp;&nbsp;E<br/><td class="cell2">$300,000 and up<td class="cell3">$0 already digital<td class="cell4">$0 already digital<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_5.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_11.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_17.jpg" /><tr valign="top"><td class="cell1" rowspan="2">E&nbsp;S<br/>D&nbsp;O<br/>I&nbsp;F<br/>T&nbsp;T<br/>I&nbsp;W<br/>N&nbsp;A<br/>G&nbsp;R<br/>&nbsp;&nbsp;E<br/><td class="cell2">&nbsp;<td class="cell3">&nbsp;<td class="cell4">&nbsp;<tr align="center" valign="top"><td class="cell2"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_6.jpg" /><td class="cell3"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_12.jpg" /><td class="cell4"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera_table_18.jpg" /><br/><em>Icons by Jason Lee<p>You'll find that kind of full-frame sensor at the core of any high-end digital single-lens reflex camera. But they're designed to shoot no more than 10 frames per second. That's warp speed for still photographers but barely first gear for filmmakers. Movies are shot at a minimum of 24 frames per second, with some scenes topping out at 120 fps for slow-motion effects. The Red's sensor would have to do everything a DSLR sensor does&mdash;and do it significantly faster.<p>The camera also had to be able to record in the same bulky file format that DSLRs use&mdash;called raw. The format preserves picture data in essentially unprocessed form, which gives photographers more latitude to tweak images with software the way they once did in a darkroom. Cinematographers do the same thing with 35-mm film, but it's a complicated, expensive process: The film must be scanned into digital to be manipulated, then converted back to analog for projection. Since a movie is just a long sequence of still pictures, using the raw format presented bandwidth and data-storage problems. A two-hour feature could run up to 7 terabytes. The Red engineers built a workaround, a lossless compression codec they call Redcode Raw.<p>Finally, in August 2006, Jannard's team flipped the switch on Red's first prototype, codenamed Frankie. It wasn't really a camera at all, just a mechanical test bed containing the new sensor. "Our whole business was predicated on this sensor," Jannard says. "If it didn't work, we'd be cooked. When it did, it was like giving birth and counting all the fingers and toes to make sure everything was there. It was phenomenal. Everybody went nuts." Schilowitz remembers that moment, which camera makers call first light, as mind-blowing: "Everyone started screaming like little kids, 'First light! First light! It's alive!' The thing actually worked."<p>Two weeks later, at an industry event in Amsterdam, Jannard showed test footage taken with Frankie&mdash;a clip of two perky women in '50s garb chugging milk from glass bottles&mdash;on a 60-foot screen. "People were stunned," Schilowitz says. "They were standing around scratching their heads. That moment made a lot of people into believers." Filmmakers didn't care how the Red One worked, but they liked what they saw. "The Red camera is the closest thing to film I've seen," says Tristan Whitman, a cinematography lecturer at USC.<div style="width:250px;float:left;margin:0px 12px 0px 0px;padding:6px;"><h3>The Analog Advantage<br/><div style="margin-bottom:6px;font-size:0.9em;">Typical 2K and HD digital movie cameras keep everything in focus. The 4K Red One is more like an analog camera, allowing depth of field control, which blurs the foreground or background.<div id="embed"><div id="pic"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera3_f.jpg" alt=""/><div id="caption">Analog film lets moviemakers control the depth of field.<div id="embed"><div id="pic" style="margin-bottom:12px;"><img src="http://www.wired.com/images/article/magazine/1609/ff_redcamera4_f.jpg" alt=""/><div id="caption">2K and HD cameras force everything into focus.<p><strong>By March 2007, Red had assembled two additional prototypes, named Boris and Natasha. But now, with three weeks to go before NAB 2007, Jannard wanted new footage to show what the camera could do. He emailed Jackson, asking if the director could recommend a good cinematographer in Los Angeles to help create a Red promo spot. Not long after, Jackson telephoned. "Jim, why don't you fly down here to New Zealand, and I'll shoot the footage for you," he said.<p>"Don't tease me," Jannard replied.<p>"No, I'm serious," Jackson said. "Bring the cameras down."<p>Jannard packed up Boris and Natasha, still crude machines with no features other than a run/stop button and a shutter, and headed south. When he got to Wellington, Jackson was ready. "Peter had put together an army," Jannard says. "He was going to shoot a mini-movie to put the cameras through their paces, using them on helicopters and Steadicams, crawling on the ground with them&mdash;and I'm thinking, 'Oh my gosh, I just hope they keep working through the weekend.'" Boris and Natasha performed flawlessly. "We stayed at Peter's house, and he was just beaming because he was having so much fun." Jackson delivered his 12-minute featurette, titled <cite>Crossing the Line, the night before the NAB Show opened.<p>Jannard shows me the film at Red headquarters. His desk is in an open workspace that he shares with six staffers and his puppy. Next to his computer there's a box of the Montecristos he favors and a pinewood crate from Napa Valley Reserve, the world's most exclusive wine club. Members reportedly pay up to $145,000 to join, in exchange for which they can partake in grape harvests and create their own blends. There's something oddly honorable about a billionaire with insanely expensive taste in wine but no office.<p>I watch <cite>Crossing the Line on Jannard's 30-inch HD display while he stands behind me. The film, set on the front lines of World War I, alternates between aerial dogfights and bloody ground combat. The screen resolution is about half what it would be in a theater. Nevertheless, it's like looking through a window onto a battlefield. I can barely discern a single pixel. The detail is stupefying; the colors are rich and sensual.<p>After NAB 2007, Jannard showed <cite>Crossing the Line at the Directors Guild in LA. "I rearranged my travel plans to be there," Soderbergh says. After he saw the film, he called Jannard.<p>"Jim, I'm all in. I have to shoot with this."<p>"OK, great," Jannard said. "But what does that mean"<p>"I'm making two movies with Benicio del Toro. Come to my house, and we'll do a test. If it looks as good as what I saw in Peter's film, I want these cameras for my movies."<p>Soderbergh took two prototypes into the Spanish wilderness. "It felt like someone crawled inside my head when they designed the Red," he says. What impressed him most was the cameras' sturdiness. Movie sets are often a flurry of crashes and explosions, which can vibrate sensitive electronics, introducing visual noise known as microphonics into images. "A lot of cameras with electronics in them, if you fired a 50-caliber automatic weapon a few inches away&mdash;which we did&mdash;you'd get microphonics all over the place," Soderbergh says. "We beat the shit out of the Reds on the Che films, and they never skipped a beat."<p>Then there's the economics: The Red One sells for $17,500&mdash;almost 90 percent less than its nearest HD competitor. The savings are even greater relative to a conventional film camera. Not that anyone buys those; filmmakers rent them, usually from Panavision, an industry stalwart in Woodland Hills, California. Panavision doesn't publicize its rates, but a Panavision New Zealand rental catalog quotes $25,296 for a four-week shoot&mdash;more than the cost of <em>purchasing a Red. "It's clearly the future of cinematography," Peter Hyams says. "You can buy this camera. You can own it. That's why people are excited."<p>Even so, traditionalists cling to film's reliability. Film is tangible. Hard drives crash; files get corrupted. "You put film in a can and stick it on a shelf, and it costs $1,000 a year to store," says Stephen Lighthill, who teaches cinematography at the American Film Institute. "With a project that starts as data, you have it on a hard drive, which has to be nursed and upgraded. It's an electronic, mechanical device that can't be left unplugged." Preserving a 4K digital master of a feature film would cost $12,000 a year, according to a report by the Academy of Motion Picture Arts and Sciences. And that doesn't address the reliability of the camera itself. "In the slammin', jammin' world of production, you want a really tough machine that takes very simple approaches to problems," Lighthill says. "I'm not sure Red is the way to go. It's a supercomputer with a lens on it."<p>Proponents dismiss such criticism as Luddite drivel. "Hollywood is just used to shooting on film," says Bengt Jan J&ouml;nsson, cinematographer on the Fox TV show <cite>Bones. "Honestly, if you proposed the film work-flow today, you'd be taken to the city square and hung. Imagine I told you we're going to shoot on superexpensive cameras, using rolls of celluloid made in China that are a one-time-use product susceptible to scratches and that can't be exposed to light. And you can't even be sure you got the image until they're developed. And you have to dip them in a special fluid that can ruin them if it's mixed wrong. People would think I was crazy."<p><strong>As Reds infiltrate Hollywood, the typical filmgoer might not notice much difference at first. After all, once they're projected onto a cineplex screen, movies shot with Jannard's camera will look like the analog movies audiences are used to. But the camera's ease of use and lower cost are sure to change the industry. "There's talent on the streets, kids with ideas who have stories to tell and never get a chance," Jannard says. "Up to now, they've been limited to tools that confine their stories to YouTube." Access to this kind of tech will make it easier for aspiring auteurs to break in and could ultimately expand the range and variety of films that get made.<p>Of course, most theaters still show movies the old-fashioned way, running analog film in front of a bright light. For now, pictures shot with the Red must be transferred to celluloid for distribution. It's a cumbersome system: A full-length feature might take as many as five heavy, expensive to print reels. A major release goes to at least 3,500 theaters. Plus, the celluloid stock gets damaged and dirty and has to be sent in for cleaning and repair after every few dozen screenings.<p>Luckily, analog projection seems to be on the way out. In March, four big Hollywood studios announced plans to retrofit 10,000 screens&mdash;about a quarter of the US total&mdash;for digital projection at 2K. Movies shot with Red's 4K camera will look every bit as good as those shot on film, and they'll all be ads for the company's next camera, the Epic, with more than 5,000 lines of resolution. That's a knockout pixel punch. I ask Jannard if Red plans to develop a 4K projector or perhaps even a 5K that it would market to theater owners. He's cagey. "I will say that the future of motion-capture will be digital," he says, "and I think you can extend that to say the future of presentation will be digital."<p>Jannard is doing his best to fulfill that prophecy. He spends nights on the company's Internet user forums sifting through customer feedback, answering technical questions, and addressing rumors about upcoming products. "I'm passionate about this because I'm building the camera I've always wanted to shoot with," he says. "When my grandkids and great-grandkids look back, they're going to say I was a camera builder. I did handgrips and then goggles and then sunglasses to prepare myself. But cameras are magic."<p><cite>Michael Behar <a href="mailto:michael@michaelbehar.com">michael@michaelbehar.com wrote about computer graphics guru Jos Stam in issue 16.01.<br style="clear: both;"/> <a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.phphfmm=v2:3132e0d17699397a6800044c148cca8f:g6TBwyYcKObadcY3qvA6GQ4q66EMPr2FzmrrXVebqKXaFDWVzv+j7+iReJOXH5wZFGWAIeMxrqf5HJEqW3mgO4nhFn1U74pgGobSo0MGb8I='><img border='0' title='Add to Facebook' alt='Add to Facebook' src='http://www.pheedo.com/images/mm/facebook.gif'/> <a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.phphfmm=v2:abf476072eb7ae9e638a2747399097c4:xFNApt4db2kJoyiPACltX1mFRBtl77yP0aFzH5AYNXGYBUAnmtjL4HRQURsiXHVp79cPFknEUzc12yyVioGmTgEZAkOEK7bj2lB4NS/6N60='><img border='0' title='Add to Reddit' alt='Add to Reddit' src='http://www.pheedo.com/images/mm/reddit.png'/> <a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.phphfmm=v2:9d89f871fe89f41db2296d3f652dbb4e:nqj1ZJqhtwDem5OoEkoGXnVMQfKwqbbVe08FNzv0eiozp78Lnvx5A1LXAUvejRaFUeCL5iQiBJ3sKVNF7Ly0CEzCuvWv4eVsVwCMYK7Q338='><img border='0' title='Add to digg' alt='Add to digg' src='http://www.pheedo.com/images/mm/digg.gif'/> <a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.phphfmm=v2:1489c90ea28d845c0b9a583ebcf40f86:tzi56XZPBoxFPhE6hubKEx6aExX3Pv62MSdFar8U+M71EcVcfzFONwFixKJQMPF8BNJTvHuJPHNjRgcqq3R+22k3Uz+ztPNp7oQIRJNlKsQ='><img border='0' title='Add to Google' alt='Add to Google' src='http://www.pheedo.com/images/mm/google.png'/><br style="clear: both;"/> <img alt="" style="border: 0; height:1px; width:1px;" border="0" src="http://www.pheedo.com/img.phdoi=4f172454267afdbc784c2592bc2e1740" height="1" /><img src="http://www.pheedo.com/feeds/tracker.phpi=4f172454267afdbc784c2592bc2e1740" style="display: none;" border="0" height="1" alt=""/><p><a href="http://feeds.wired.com/~a/wired/indexa=eGy6xN"><img src="http://feeds.wired.com/~a/wired/indexi=eGy6xN" border="0"><img src="http://feeds.wired.com/~r/wired/index/~4/373947073" height="1" />
2008-08-25 05:00:00Gallery: High-End Cycling Gear Juices Your Ride
<img src='http://www.wired.com/images/slideshow/2008/08/gallery_summer_bike/_G7I5767_t.jpg'>: Photo: Jon Snyder/Wired.com<p>The dog days of summer are upon us and if you're anything like the crew here at Wired.com, you still haven't logged as many miles as you had hoped. <p>Well, there's no better motivator than new gear to get you back on track. After all, isn't that why you're a cyclist, not some sad-sack runner pounding the pavement in a pair of worn Adidas You need something shiny and new to put you in the mood for a few late summer spins. <p>Look no further: We tested out a handful of trick toys to help you crank your way into fall. <p><strong>Capoforma Signature Series Diavolo Jersey<p>Grunting up Kings Mountain Road in Woodside under the hot California sun, the top-end Capoforma Signature Series Diavolo jersey from Upland Sports Group kept me comfortable and dry. Pity it didn't do anything for my climbing. Costing a cool $150, you'd think it should.<p>The Capoforma is a snazzy piece of sport kit made from <a href="http://www.uplandsg.com/capoforma/technology.htm">Capoforma Carbon, which, according to the company, is a dual-knit microfiber with a thread of carbon woven through it. Upland says the microfiber is quick drying, while the carbon thread makes it static resistant -- unlike many polyester jerseys.<p>The Capoforma fits well, with three roomy pockets in back. And the wicking worked, keeping me mostly dry even on the longest, hottest rides. <p>Best of all, it looks the bomb. The Caporforma makes you feel like Mario Cipollini -- even if you look more like a fat sausage. The first day I wore it, a hottie commented on what a nifty jersey it was -- and at my age, that's worth $150 right there. <br><em>-- Leander Kahney<img src='http://www.wired.com/images/slideshow/2008/08/gallery_summer_bike/_G7I5808_t.jpg'>: Photo: Jon Snyder/Wired.com<strong>Chris King ISO Singlespeed Wheels<p>The first thing you notice about <a href="http://www.chrisking.com/hubs/hbs_sspeed_disc.html">Chris King ISO Singlespeed disk wheels are how unbelievably beautiful they are. The workmanship is flawless. Available in a vast range of colors, the metalwork is stunning, even in punky pink and black. <p>While other wheelsmiths keep trotting out new improvements like aero spokes and ceramic bearings, this cult company keeps things functional, not faddish. This $800 wheelset retains tradition wheel design, with regular rims, regular spokes.<p>Once they're mounted on your bike, you'll notice their noise: The hub has 72 teeth on the drive ring instead of the standard 24, making the rear wheel sound like a swarm of angry bees. There's nothing like riding up behind an unsuspecting biking partner and unleashing the bees -- it makes them nearly jump out of their shorts.<p>Being a big man, I also appreciated these wheels' bomb-proof construction. I'm confident these babies are not going to buckle under my 230-pound bulk, while making everyone around me jealous of my tricked-out ride. <em>-- Jim Merithew<img src='http://www.wired.com/images/slideshow/2008/08/gallery_summer_bike/_G7I5702_t.jpg'>: Photo: Jon Snyder/Wired.com<strong>Sidi Dragon 2 SRS Shoes<p>Who knew I needed a Heel Security System on my mountain bike shoes For that matter, what <em>is a Heel Security System<p>Turns out it's an adjustable cinch that locks your heel firmly into the shoe. Result: no more floppy heel.<p>Trouble is, this is an expensive breakthrough in shoe-cinching technology. The <a href="http://www.sidiusa.com/dragon2.html">Sidi Dragons that sport this feature cost $500, and who's going to pay such a premium to keep their heels snug <p>After riding these -- that would be me. Heel security is a feature I never knew I needed. I had no idea that my heels were flopping around so much until they weren't flopping around any longer. Now, I don't know how I'll live without it.<p>I've always been crazy for Sidi's Euro aesthetic and vibe. I think Sidi consistently makes some of the hottest kicks on the market. The Dragon is no exception. My feet were as happy at the end of the ride as they were at the start. <p>And that $500 is actually a long-term investment: Almost every part on the shoe that can wear out is replaceable, from the stiff carbon inserts to the rubbery treads and optional toe spikes. <p>The only niggle is with the newly designed buckle, which is tougher to tighten while riding than my other mountain-bike shoes -- a pair of Sidi Dominators. <em>-- Jim Merithew<img src='http://www.wired.com/images/slideshow/2008/08/gallery_summer_bike/_G7I5908_t.jpg'>: Photo: Jon Snyder/Wired.com<strong>Crank Bros. Acid 2 Pedals<p>If you're ready to break free from the big S's grip on your bicycle components, <a href="http://www.crankbrothers.com/acid.php">Crank Bros.' Acid 2 pedals are a good place to start. <p>Crank Bros. calls them enduro/gravity pedals, but since my days of "lift up, rocket down" are over, I just took them out for a couple of laps around Camp Tamarancho, in Marin, California. <p>Coming from Shimano's SPDs, there's a bit of a learning curve to use the cinching mechanism. The snap-in, snap-out is not as obvious as with SPDs. I found myself squirming around trying to determine whether I was firmly snapped into place or not. But the more miles I put in, the more confident I became with the ins and outs of this platform. <p>Also, despite being made of carbon fiber, these pedals are still a bit too heavy for the weight-obsessed, and their white-plastic trim is completely out of place on a mountain bike pedal.<p>The other problem is that, at $240, these pedals are total overkill for the type of riding I do slow and labored, but the hipster factor cannot be overlooked. They are cooooool. <br><em>-- Jim Merithew<img src='http://www.wired.com/images/slideshow/2008/08/gallery_summer_bike/_G7I5904_t.jpg'>: Photo: Jon Snyder/Wired.com<strong>Ergon GX1 Grips<p>Keeping your hands happy is key to keeping your steed under control. With aging mitts like mine, it'd seem that keeping them happy would mean more padding. But beware: As is often the case with super-padded saddles, more padding sometimes means more chafing. <p><a href="http://www.ergon-bike.com/en/grips/gx1.html">Ergon's GX1s are ergonomic grips designed for mountain-bike racing, and though there's little padding, these grips stay comfortable all day. The grips have a distinctive wing that is designed to relieve stress on your wrists. Though some people don't like the design of ergonomic grips, they certainly work for me. <p>Costing about $40, the Ergon GX1s are simple to install and clamp securely onto your bars, which is where they are staying on my bike.<p>And they look pretty sweet, too. <em>-- Jim Merithew<img src='http://www.wired.com/images/slideshow/2008/08/gallery_summer_bike/_G7I5647_t.jpg'>: Photo: Jon Snyder/Wired.com<strong>Fizik Tundra Saddle<p>Your bike can have all the high-end tech wares you can afford, but if the ol' tuckus isn't happy your cycling experience is going to rub you the wrong way. <p>Though my racing days are far behind me, I recently laid my hands -- er, buttocks -- on the new race-ready <a href="http://www.fizik.it/newProducts.aspx">Fizik Tundra in bright white. <p>While I didn't love the Tundra, it's a pretty sharp design. It has a nice long nose with just enough padding to make hammering out a cross-country race a little more pleasant. Plus, it's light enough to make a weight weenie grin.<p>If you're looking to crush the competition at your next XC race and you want to look trick doing it, give the Tundra a go. But if you're looking to beat up on your buddies during your weekly run to the woods and keep your hiney happy doing it, you might want something a little less racy. <em>-- Jim Merithew<img src='http://www.wired.com/images/slideshow/2008/08/gallery_summer_bike/_G7I5941_t.jpg'>: Photo: Jon Snyder/Wired.com<strong>Mirrycle Woodpecker<p>Mountain bikers get a bad rap by almost everyone on multiuse trails. Flying down the trails, big smiles on our faces, we can be a pretty discourteous bunch. We often scare the crap out of hikers, horseback riders and just about everyone we come in contact with, including other mountain bikers. <p>The addition of a little noisemaker to your rig can go a long way to making friends on the trail. Just give a little tinkle when you come up behind -- or as you fly into a blind single-track corner. <p>My new personal favorite is the $18 <a href="http://www.mirrycle.com">Mirrycle Woodpecker top left in this photo. Made from a bell-shaped piece of wood, the Woodpecker makes a pleasant clunk, clunk sound instead of the harsh ring-a-ding-ding of most bells. <em>-- Jim Merithew<img src='http://www.wired.com/images/slideshow/2008/08/gallery_summer_bike/_MG_5962_t.jpg'>: Photo: Jon Snyder/Wired.com<strong>Polar CS600 HR with Power Output<p>Pro bike racers know that the biggest mistake made by newbie riders is that they're never going hard enough when they think they're going full-out -- and that they're going too hard when they should be taking it easy. <p>One of the easiest ways to fix this is to become more in tune with your body via a heart-rate monitor. A good HRM will tell you when you need to go harder, and when to slow it down.<p>For years, veteran HRM-maker Polar has been helping athletes tune their bodies. The $420 <a href="http://www.polarusa.com/Products/cs/cs600.asp">Polar CS600 is their current top-of-the-line model. <p>For those who aren't fluent in their own body language, this little fella will translate. The CS600 gives you the usual bike computer functions -- speed, distance and time -- but also throws in dozens of functions, from an altimeter, barometer and compass to your BMI index, training programs, and enough heart data to give you palpitations.<p>Throw in the optional Power Output Sensor for another $290, and the CS600 will measure the power output of your legs -- and it is sensitive enough to tell you which leg is doing most of the work.<p>I found the CS600 to be too much computer for me. Turns out I wasn't all that interested in defining my training zones. But if you're a gadget fiend who wants to track every conceivable data point of a workout regime, this computer will do it for you. <em>-- Jim Merithew<br style="clear: both;"/> <a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.phphfmm=v2:2fed948f486ef5543ab9ad2ee5bcba34:NUu6QWIv/VqIfmOMrusU5p2EPgepT1WmRy3+Vs9UUyfC0MRq+louyKeUt8wKW979jjwZm/7cLSKu5h5jiQKqHTDZ/ecdAczAJ2SIcfYMWGU='><img border='0' title='Add to Facebook' alt='Add to Facebook' src='http://www.pheedo.com/images/mm/facebook.gif'/> <a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.phphfmm=v2:2712bf8dd936efde6236143046e46a19:FbbpX6yHimPE6fvmLo5TDMhNz5ASmQZW3VXqxaqfBCYB675mKLO81RqHQFa4QZOa2iVi8c6O2eSeArmKCdyCPSDU/1UGPgBDxV0pIk5mDDI='><img border='0' title='Add to Reddit' alt='Add to Reddit' src='http://www.pheedo.com/images/mm/reddit.png'/> <a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.phphfmm=v2:7d2a3ee556250f69af1335cabe50ba3a:bhJ4hUQqUzF9MJpkwEPOlSwasjD6EMBv4YDPc7wISyBvaLsM8XSZqJ1ZD4+7cZ5F0f8Cfse1KZh/atPCQDstR92t/m4Q+KTskKUutR62MDA='><img border='0' title='Add to digg' alt='Add to digg' src='http://www.pheedo.com/images/mm/digg.gif'/> <a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.phphfmm=v2:0061b7ab029db4868701ac290ba35500:g3pZc7PHf9FmKKdsYmJHfohJeEPPqb19pLyqocCTehoTN2N95/+Xa6NvsE112xe7mrYK7seYcEU3iuuIO14JA2kYdhjmYqX4EiR58j3naI4='><img border='0' title='Add to Google' alt='Add to Google' src='http://www.pheedo.com/images/mm/google.png'/><br style="clear: both;"/> <a href="http://www.pheedo.com/click.phdos=4b3a26242203a569591795f63d6cb35a"><img alt="" style="border: 0;" border="0" src="http://www.pheedo.com/img.phdos=4b3a26242203a569591795f63d6cb35a"/> <img src="http://www.pheedo.com/feeds/tracker.phpi=4b3a26242203a569591795f63d6cb35a" style="display: none;" border="0" height="1" alt=""/><p><a href="http://feeds.wired.com/~a/wired/indexa=5rypin"><img src="http://feeds.wired.com/~a/wired/indexi=5rypin" border="0"><img src="http://feeds.wired.com/~r/wired/index/~4/362599075" height="1" />
2008-08-12 05:00:00Hot Styles feat Yung Joc, Lookin Boy - New Longer Video
Lookin Boy Hot Styles feat Yung Joc Verse 1: Raydio GWeak lookin' boy, you slow lookin' boy,Dirty white sock on your toe lookin' boy,You rat lookin' boy, will you marry me, splat lookin' boy,Whoopi Goldberg black lip lookin' boy,Midnight train Gladys Knight lookin boy,You poor lookin boy, Don Imus ol' nappy headed ho lookin' boy,Dick in your booty that smell lookin' boy,Do you run with the KY jelly lookin' boy,Getchya Riiiickkyy!! Morris Chestnut shot in ya back lookin' boy,Valtrex brand new gay lookin' boy,You in house L Cool J lookin' boy,Getchya No Mama! No Mama! Penny off good times big J.J. lookin' boy,Hook X4Point Em' OutGet Em'Verse 2: Yung JocOh L.L. I need love lookin' boy,Fake I.D. can't get in club lookin' boy,Remember me from school Hell no you gets no love lookin' boy,Gangsta homo thug lookin' boy,Ring around yo tongue lookin' boy,Oh it's the first of the month, Bone Thug lookin' boy,Got yo hand off the chain lookin' boy,This yo brain on drugs lookin' boy,Jang-A-lang, Jang-A-lang, Jang-A-lang, Bernie Mac lookin' boy,No eyelids can't blink lookin' boy,You are the weakest link lookin' boy,No Chris, no Chris, no! Raz B lookin' boy,Hook X4Point Em' OutGet Em'Verse 3: KrazeeYou better getchya weak lookin' boy,Geek lookin' boy, Pepe Le Pu you stink lookin' boy,You don't do nothin' but wash my feet lookin' boy,Bang, bang, bang, skeet, skeet, lookin' boy,Tight lookin' boy, I fight lookin' boy,Had to retaliate, Mike lookin' boy, you dike lookin' boy,Your momma so slow she can't cook Minute Rice lookin' Boy,Flop lookin' boy, Stop lookin' boy,Can't take off her top lookin' boy,Women be shoppin, women be shoppin, black Chris Rock lookin' boy,Case lookin' boy, Horse and carriage, Cam'ron and Mase lookin' boy,You ape lookin' boy, Can I help you Yea put 2 on eight lookin' boy,Hook X4Point Em' OutGet Em'Verse 4: MeatballCome on man!You'ze a broke lookin' boy, joke lookin' boy,Let me clear my throat lookin' boy,Spongebob on your shirt lookin' boy,I play in dirt lookin' boy,All dirt K-Swiss lookin boy,Brown dookie stains in drawers lookin' boy,Scooby Dooby-Dooby-Doooo!!! Mike Vick lookin' boy,I won't need no rent lookin' boy,Lookin' real ugly in the face lookin' boy,Jail lookin' boy, weave lookin' boy,Need to brush yo teeth lookin' boy,Boot lookin' boy, soup lookin' boy,Wearin' green Joc in suit lookin' boy,Say it again! Say it again! Ol' pinky lookin' boy,Hook X4Point Em' OutGet Em'Verse 5: Raydio G Yung Joc Krazee MeatballJust letchya soul gllloooowww!! Curl lookin' boy,I know you wanna leave me, David Ruffin lookin' boy,Anywhere you meet me goin' down lookin' boy,Hot Stylz and Young Joc lookin' boy,Ha-ha-ha-ha-ha-ha tickle me Elmo lookin' boyYou'ze a brawl lookin' boy,If I was a little bit tall lookin' boy,Sniff, Sniff, Sniff, Sniff now that's the smell of cleanol' Pine-Sol lookin' boy,This is the song that doesn't end, lamb chop lookin' boy,Bang-bang, bang-bang, bang-bang, ol' pops lookin' boy,Hook X8Point Em' OutGet em'I look like I eat tuna casserole all day lookin' boyAuthor: 4216KiraPerryKeywords: Hot Styles Lookin Boy official music video hiphop hip hop rapAdded: August 7, 2008
2008-08-08 22:00:00Hot Styles feat Yung Joc, Lookin Boy - New HQ Video, Lyrics
Lookin Boy Hot Styles feat Yung Joc Verse 1: Raydio GWeak lookin' boy, you slow lookin' boy,Dirty white sock on your toe lookin' boy,You rat lookin' boy, will you marry me, splat lookin' boy,Whoopi Goldberg black lip lookin' boy,Midnight train Gladys Knight lookin boy,You poor lookin boy, Don Imus ol' nappy headed ho lookin' boy,Dick in your booty that smell lookin' boy,Do you run with the KY jelly lookin' boy,Getchya Riiiickkyy!! Morris Chestnut shot in ya back lookin' boy,Valtrex brand new gay lookin' boy,You in house L Cool J lookin' boy,Getchya No Mama! No Mama! Penny off good times big J.J. lookin' boy,Hook X4Point Em' OutGet Em'Verse 2: Yung JocOh L.L. I need love lookin' boy,Fake I.D. can't get in club lookin' boy,Remember me from school Hell no you gets no love lookin' boy,Gangsta homo thug lookin' boy,Ring around yo tongue lookin' boy,Oh it's the first of the month, Bone Thug lookin' boy,Got yo hand off the chain lookin' boy,This yo brain on drugs lookin' boy,Jang-A-lang, Jang-A-lang, Jang-A-lang, Bernie Mac lookin' boy,No eyelids can't blink lookin' boy,You are the weakest link lookin' boy,No Chris, no Chris, no! Raz B lookin' boy,Hook X4Point Em' OutGet Em'Verse 3: KrazeeYou better getchya weak lookin' boy,Geek lookin' boy, Pepe Le Pu you stink lookin' boy,You don't do nothin' but wash my feet lookin' boy,Bang, bang, bang, skeet, skeet, lookin' boy,Tight lookin' boy, I fight lookin' boy,Had to retaliate, Mike lookin' boy, you dike lookin' boy,Your momma so slow she can't cook Minute Rice lookin' Boy,Flop lookin' boy, Stop lookin' boy,Can't take off her top lookin' boy,Women be shoppin, women be shoppin, black Chris Rock lookin' boy,Case lookin' boy, Horse and carriage, Cam'ron and Mase lookin' boy,You ape lookin' boy, Can I help you Yea put 2 on eight lookin' boy,Hook X4Point Em' OutGet Em'Verse 4: MeatballCome on man!You'ze a broke lookin' boy, joke lookin' boy,Let me clear my throat lookin' boy,Spongebob on your shirt lookin' boy,I play in dirt lookin' boy,All dirt K-Swiss lookin boy,Brown dookie stains in drawers lookin' boy,Scooby Dooby-Dooby-Doooo!!! Mike Vick lookin' boy,I won't need no rent lookin' boy,Lookin' real ugly in the face lookin' boy,Jail lookin' boy, weave lookin' boy,Need to brush yo teeth lookin' boy,Boot lookin' boy, soup lookin' boy,Wearin' green Joc in suit lookin' boy,Say it again! Say it again! Ol' pinky lookin' boy,Hook X4Point Em' OutGet Em'Verse 5: Raydio G Yung Joc Krazee MeatballJust letchya soul gllloooowww!! Curl lookin' boy,I know you wanna leave me, David Ruffin lookin' boy,Anywhere you meet me goin' down lookin' boy,Hot Stylz and Young Joc lookin' boy,Ha-ha-ha-ha-ha-ha tickle me Elmo lookin' boyYou'ze a brawl lookin' boy,If I was a little bit tall lookin' boy,Sniff, Sniff, Sniff, Sniff now that's the smell of cleanol' Pine-Sol lookin' boy,This is the song that doesn't end, lamb chop lookin' boy,Bang-bang, bang-bang, bang-bang, ol' pops lookin' boy,Hook X8Point Em' OutGet em'I look like I eat tuna casserole all day lookin' boyAuthor: MayaP9191Keywords: Hot Styles Lookin Boy official music video hiphop hip hop rapAdded: August 5, 2008
2008-08-06 22:00:00The guru’s school of thought
Pramita BoseMusic is the medicine of the mind — John A. LoganImagine an open-air music school, sprawling across a vast expanse of land worth 40 cottahs in the lap of lush greenery girdled with coconut trees, bamboo thicket, mango groves and a tiny little pond with gurgling water on the surface of which, ducks swim about in indolent pleasure. The guru teacher is seated in a staid posture. All the while, his devoted disciples are glued to his soul-stirring renditions. They imbibe the subtle nuances of the conjured up strains to inculcate the same into their recitals with practised precision. The idea is to teach music to the talented yet economically challenged students who flock in droves from far-flung quarters to harness their latent skills and hone them to perfection.Such a seat of art and learning, situated away from the maddening din of the city into the distant corners of a sylvan setting might sound like a thing of the past. But some seasoned maestros of the Indian classical music — though a meagre few — still stick to this premise of ashram-shiksha boarding education in this new era of electronic age. One of them is ace santoor exponent Pandit Tarun Bhattacharya and his musical precinct, Santoorashram."The essence of learning Hindustani classical music lies in the age-old-tradition of Guru Sishya Parampara, that the pristine heritage of Indian art and culture has witnessed through eons. The guru has to impart his teachings in person to his avid disciples and the latter needs to spend a considerable time with his master and coalesce a close bonding with him. However, thanks to our breakneck speedy lifestyles that prompt the eminent musicians to be on toes throughout the year," concedes this internationally acclaimed player.Having established the school with a difference in 2005 at West Bengal’s Howrah district in Domjur, the ashram resorted to no strategised gimmick for publicity but simple registration formalities. "Incidentally in India, without sounding pompous, this is the only gurukul-system based fortress on the vocational stringed instrument of santoor," notes Bhattacharya. Besides this desi instrument, the only other doyen maestro to conceptualise and create a similar ashram on the conventional mode of teaching is Pandit Hariprasad Chaurasia.A 30-minute drive from downtown Kolkata at Bipranna para, this institution offers a serene haven of musical learning. The classes are being held under the canopy of a tree quite unlike a dampy, claustrophobic concrete classroom. The pupils residing at the abode take delight in performing all the domestic chores like cooking in earthen pots on clay oven from coconut leaf fire and then sit in a circular alignment for meals with the guruji on banana leaf plates and in earthen utensils and pans. This site may also ring a truth of similarity with the Tagorean abode of bliss and a centre of holistic learning of fine arts, crafts, music and academics — Shantiniketan. Or in the more recent times, the late famous Odissi danseuse Protima Gauri Bedi’s Nityagram spread over a barren plot of 30 mile tracts of land on the outskirts of Bangaluru or the renowned Kuchipudi dancer Raja Reddy’s dance and music institution Natya Tarangini in Andhra Pradesh that has expanded in stature with persistent efforts and dedicated service for over two decades.Based on the guru shishya parampara, these revered seats of Indian art and culture have survived the test of times to emerge with flying colours even in this contemporary cyber-savvy period. "I feel that the ideal education can be disseminated between a mentor and his protégé if the latter comes in close proximity with the former. I want to equip the financially starved youngsters who have the zeal and passion to learn the craft with integrity but feel a pinch on their pockets to enrol in a school, with the power of musicology," he avows.Dwelling on the motto of dispensing free education and bearing the expenses of fooding plus lodging to students who can’t afford to pay off their fees, this erstwhile gurukul system, Bhattacharya recalls, was imperative to springboard a prodigious talent. "I was fortunate to have received my taalim from the stalwart sitar whiz Pandit Ravi Shankarji. You may say that it was he who had sown the seeds of a music ashram in my mind. He’s been my ultimate inspiration in behind this noble endeavour. And I’ve just been instrumental in germinating his idea into a sweet fruition," he reminisces.From a modest two students at its inception, now Sangeetashram boasts of a batch of around 30 pupils at one go during a single music session. Having neither received any grants nor funds from the government level, Bhattacharya is reluctant to appeal to the administration for pooling in the much-required capital resources."I can’t run around with petitions pleading with the authorities for subsidies. Moreover, the red-tapism of bureaucratic offices would jeopardise everything. Also, I don’t want to add a political colour to it," he reasons.Â
2008-07-31 20:11:53The guru’s school of thought
Pramita BoseMusic is the medicine of the mind — John A. LoganImagine an open-air music school, sprawling across a vast expanse of land worth 40 cottahs in the lap of lush greenery girdled with coconut trees, bamboo thicket, mango groves and a tiny little pond with gurgling water on the surface of which, ducks swim about in indolent pleasure. The guru teacher is seated in a staid posture. All the while, his devoted disciples are glued to his soul-stirring renditions. They imbibe the subtle nuances of the conjured up strains to inculcate the same into their recitals with practised precision. The idea is to teach music to the talented yet economically challenged students who flock in droves from far-flung quarters to harness their latent skills and hone them to perfection.Such a seat of art and learning, situated away from the maddening din of the city into the distant corners of a sylvan setting might sound like a thing of the past. But some seasoned maestros of the Indian classical music — though a meagre few — still stick to this premise of ashram-shiksha boarding education in this new era of electronic age. One of them is ace santoor exponent Pandit Tarun Bhattacharya and his musical precinct, Santoorashram."The essence of learning Hindustani classical music lies in the age-old-tradition of Guru Sishya Parampara, that the pristine heritage of Indian art and culture has witnessed through eons. The guru has to impart his teachings in person to his avid disciples and the latter needs to spend a considerable time with his master and coalesce a close bonding with him. However, thanks to our breakneck speedy lifestyles that prompt the eminent musicians to be on toes throughout the year," concedes this internationally acclaimed player.Having established the school with a difference in 2005 at West Bengal’s Howrah district in Domjur, the ashram resorted to no strategised gimmick for publicity but simple registration formalities. "Incidentally in India, without sounding pompous, this is the only gurukul-system based fortress on the vocational stringed instrument of santoor," notes Bhattacharya. Besides this desi instrument, the only other doyen maestro to conceptualise and create a similar ashram on the conventional mode of teaching is Pandit Hariprasad Chaurasia.A 30-minute drive from downtown Kolkata at Bipranna para, this institution offers a serene haven of musical learning. The classes are being held under the canopy of a tree quite unlike a dampy, claustrophobic concrete classroom. The pupils residing at the abode take delight in performing all the domestic chores like cooking in earthen pots on clay oven from coconut leaf fire and then sit in a circular alignment for meals with the guruji on banana leaf plates and in earthen utensils and pans. This site may also ring a truth of similarity with the Tagorean abode of bliss and a centre of holistic learning of fine arts, crafts, music and academics — Shantiniketan. Or in the more recent times, the late famous Odissi danseuse Protima Gauri Bedi’s Nityagram spread over a barren plot of 30 mile tracts of land on the outskirts of Bangaluru or the renowned Kuchipudi dancer Raja Reddy’s dance and music institution Natya Tarangini in Andhra Pradesh that has expanded in stature with persistent efforts and dedicated service for over two decades.Based on the guru shishya parampara, these revered seats of Indian art and culture have survived the test of times to emerge with flying colours even in this contemporary cyber-savvy period. "I feel that the ideal education can be disseminated between a mentor and his protégé if the latter comes in close proximity with the former. I want to equip the financially starved youngsters who have the zeal and passion to learn the craft with integrity but feel a pinch on their pockets to enrol in a school, with the power of musicology," he avows.Dwelling on the motto of dispensing free education and bearing the expenses of fooding plus lodging to students who can’t afford to pay off their fees, this erstwhile gurukul system, Bhattacharya recalls, was imperative to springboard a prodigious talent. "I was fortunate to have received my taalim from the stalwart sitar whiz Pandit Ravi Shankarji. You may say that it was he who had sown the seeds of a music ashram in my mind. He’s been my ultimate inspiration in behind this noble endeavour. And I’ve just been instrumental in germinating his idea into a sweet fruition," he reminisces.From a modest two students at its inception, now Sangeetashram boasts of a batch of around 30 pupils at one go during a single music session. Having neither received any grants nor funds from the government level, Bhattacharya is reluctant to appeal to the administration for pooling in the much-required capital resources."I can’t run around with petitions pleading with the authorities for subsidies. Moreover, the red-tapism of bureaucratic offices would jeopardise everything. Also, I don’t want to add a political colour to it," he reasons.Â
2008-07-28 20:14:49
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