![]() Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.I remember exactly where I was when I got the news that George A. I didn’t think anything else was actually that good or accomplished.” “I vote in the Academy, and I wound up voting for ‘La La Land’ just because I thought it set about a purpose and it accomplished it. “I had heard all the hype and all the stuff about, ‘It’ll make you weep,’ but I don’t know, there was something about it that just didn’t appeal to me. “I have to confess to not liking ‘ Moonlight,'” Romero said after being asked what recent movies he’s liked or disliked. It isn’t as difficult to choose between films he didn’t make. It’s hard to say - it’s like, ‘What kid do you like?'” READ MORE: George Romero Says Nobody Will Finance His Next Zombie Movie and ‘Night of the Living Dead’ Wouldn’t Get Made TodayĪs for his own movies, Romero reluctantly admitted that 1985’s “Day of the Dead” is his favorite, but “only because there was not a bad apple, not a bad moment on the set, everybody was there to make the movie and it was wonderful. “There was no way to prevent that from happening.” ![]() I felt that I almost found a niche, but it was bound to happen,” he said of the way the zombie genre has become something bigger and more unwieldy. It’s not gore, it’s not just horror - I’ve always tried to put a little something in there. “I’ve had a terrific run.” Asked whether it’s strange to step back and see what the genre he helped innovate with “Night of the Living Dead” half a century ago has taken on, he said, “Of course, but mine have always been political. “It’s not really resentment,” he clarified. I was ready to do another one, a $2-3 million one, and nobody will finance a zombie film now.” Hollywood is only interested in the undead when they have blockbuster potential, which something like “World War Z” ($540 million in box-office returns) does but a small-scale “…of the Dead” installment might not. “I harbor a lot of resentment…I used to be the only guy on the zombie playground, and unfortunately Brad Pitt and ‘The Walking Dead’ have made it Hollywood-ized. Romero considers himself more of “a story guy” anyway, and the stunt-intensive nature of “Road of the Dead” “isn’t cup of tea.” ![]() (The press notes cite “Ben-Hur” as a direct influence.)īirman is the zombie progenitor’s “best friend in the biz,” so co-writing the project together was an organic process Matt Manjourides and Justin Martell are also onboard as producers. (He lives in Canada, where he’s a permanent resident.) That setup is certainly in keeping with some of the biggest action movies in recent years, a connection Romero readily copped to: “It’s ‘Fast and the Furious’ with zombies at the wheel,” he said. “There was a sequence in ‘Survival of the Dead’ where there’s a zombie that’s behind the wheel of a car, and Matt proposed an idea: ‘How about zombies that know how to drive!?'” Romero explained over the phone during a 4th of July interview. ![]() It also serves to remind that, from “Dawn” to “Day” to “Land” and now “Road,” the decades-old franchise is ever-changing. The film’s premise - “In the darkest days of the zombie apocalypse, the last safe place on earth is anything but, as a mad despot uses the spectacle of high-octane carnage to keep control of his populace” - suggests a “Mad Max” vibe. The two are headed to Fantasia International Film Festival in Montreal later this month to change that, and Romero is excited about hitting the road and moving forward. ![]()
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![]() ![]() Baker III Institute research project using seven years of data from 50 intersections in Houston, Texas, concluded that red-light cameras reduced the monthly number of collisions by approximately 28 percent at intersections with a single camera. Matched control intersections were not used in this study. There was also an 11.4-percent increase in the number of rear-end crashes, although this increase was not as large as the 15.8-percent increase at the citywide level. Following an extensive public education campaign and the installation of the cameras, there was a 20.5-percent reduction in right-angle collisions at photo-enforced signals. Newman, 2010, presented findings at the Institute of Transportation Engineers (ITE) 2010 Annual Meeting and Exhibit on the effectiveness of 16 red-light cameras at the busiest intersections in Springfield, Missouri. Two other studies also found positive results, although their research designs were not as strong. Over the eight-month study period, the researchers found a significant and sustained reduction in the mean number of citations per week (from 2,428 violations per week to 356 citations per week) and a nonsignificant reduction in collisions (122 to 97, p = 0.18) at the one intersection. By examining citywide crash rates for cities with camera programs and using similar control cities, the study accounted for two common weaknesses of red-light camera research: regression to the mean and spillover effect.Īnother study focused on red-light citations at the intersection with the highest incidence of traffic crashes in Louisiana following the installation of red-light cameras (Wahl et al., 2010). During 2004–2008, the rate of fatal red light running crashes citywide and the rate of all fatal crashes at signalized intersections were 24 percent and 17 percent lower, respectively, than what would have been expected without cameras. The average annual citywide rate of fatal red-light–running crashes declined for both groups, but the rate for cities with camera enforcement declined more (35 percent versus 14 percent). cities with red-light camera enforcement programs and 48 cities without camera programs for the years 1992–19–2008. Hu, McCartt, and Teoh, 2011, analyzed data on fatal crashes from 14 large U.S. Several additional studies also found positive results in red-light camera studies. Intersections with high total volumes, higher entering volumes on the main road, short signal cycle lengths, protected left turn phases, and higher publicity may also increase the aggregate cost benefits of red light camera enforcement (). Because there tend to be increases in lower-severity rear end crashes that somewhat offset reductions in the target group of higher-severity crashes, cameras were found to be more beneficial at intersections with a higher ratio of angle crashes to rear-end crashes. Increase rear-end crashes, reduce side-impact crashes (the target ), and reduce overall crash severity 40 ( ). In one review of the literature, the UNC Highway Safety Research Center, 2011, p. The methodologies used to assess effectiveness have varied, as have the conclusions drawn from different studies. The effectiveness of red-light camera programs has been a source of controversy in the research community. (UNC Highway Safety Research Center, 2011, p. 3-12) Effectiveness ![]() ![]() Information on States’ laws authorizing or restricting use of automated enforcement is provided by the GHSA () and by IIHS (). ccording to the Insurance Institute for Highway Safety, red-light cameras are used in nearly 500 United States communities in 25 States and the District of Columbia. . . ![]() Red-light cameras are used extensively in other industrialized countries. . . (UNC Highway Safety Research Center, 2011, p. 3-12) Use Maccubbin, Staples, and Salwin (2001) provide more detailed information on programs operating in 2001. Red-Light Camera Systems Operational Guidelines (FHWA, 2005) provides information on red-light camera program costs, effectiveness, implementation, and other issues. Citations are sent to the vehicle’s registered owner. Since then, many states and local jurisdictions have adopted red-light cameras, known along with speed cameras as automated enforcement.Īt intersections with traffic lights, automated cameras take photographs of vehicles entering the intersection on a red light. The first red-light camera bill was signed in New York City in 1993 after several years of testing (Retting, 2010). ![]() ![]()
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![]() ![]() Quan said the existing requirements had made it too difficult for grassroots candidates to obtain the public money in a timely way, especially in neighborhoods where it is harder to drum up donations.Įven with the proposed changes, council candidates would not see a dime of matching funds until they had raised a minimum of $25,000 that meets a complicated set of requirements - an amount much higher than what is required in other big cities, several groups complained Friday. “We want candidates to be able to build grassroots campaigns,” said Rob Quan, an organizer of the Unrig LA Coalition, which has supported such changes. ![]() The package of changes, approved by the Ethics Commission last month, has been billed as a way to help amplify the voices of ordinary Angelenos in city campaigns. In addition to lowering the number of donations needed, the committee also recommended increasing the maximum amount of matching funds each candidate can receive, hiking the rate at which they can receive taxpayer money, and tweaking an existing requirement for candidates to agree to debate. And others do not believe that the move is a reform at all.Ī council committee backed the proposed change Friday. Los Angeles City Ethics Commission staff argued that easing the requirement would allow more candidates to participate and reduce the time needed for city staffers to vet funding applications.īut many say the city needs to go further to level the playing field between grassroots candidates and their well-funded opponents. Reducing the number to 100, they say, would make it easier for candidates in less-affluent areas to qualify for matching funds. ![]() ![]() ![]() Happily for our features producer James Davenport, he ran Horizon at a mostly consistent 60fps at 1440p resolution on an RTX 2080 GPU. Several of the team have played the game across a variety of hardware, and the results are somewhat patchy. Snow-covered wastelands that outdo Rise of the Tomb Raider’s tundras eventually give way to baking prairies that could pass for one of Red Dead Redemption 2’s sweltering deserts.Įarly signs point to Horizon being a slightly inconsistent PC port, though. While the opening hours point to the sort of generic, frost-covered environment so many hypothermia-courting games have already covered, Horizon’s gorgeous world quickly proves itself to be one of the most visually varied around.Īs the story progresses and the restrictions Aloy has been bound by lift, the hunter quickly finds her feet scampering across a hugely diverse landscape. Alongside The Witcher 3, this is one of the most intriguing, believably lived-in open worlds on PC. Horizon Zero Dawn’s world is a lot more interesting than Hope County, though. Horizon’s gorgeous world quickly proves itself to be one of the most visually varied around. Aloy is great at swiping oversized machines down in wide open plains, but plonk her in a boxy camp with guards who can swarm from all sides, and she’s nowhere near as competent a fighter. These base-conquering quests appear all over, so it’s a shame they never showcase the sort of streamlined sneaky confidence Ubisoft finally hit with Far Cry 5. Want to earn that fancy stealth drop that will let you plummet 50ft without being heard, or open up that skill that lets Aloy draw her bow in slow-motion whenever she jumps? You better murder every primitive bad guy in that nearby camp with the minimum of fuss. What makes these samey, if inoffensive assaults worthwhile? The dangling promise of more XP and unlocking fresh machine-taming abilities. Clearly Aloy copied Far Cry 3 when they were both taking that course in Enemy Strongholds 101, because her map is dotted with encampments you’re encouraged to capture through repetitive stealth takedowns and silent bow kills. In 2020, those overly familiar notes are even more out of tune. When Horizon first launched on console three years ago, there’s no denying it was a little derivative. The first time I encountered one, I may as well have been a flummoxed Alan Grant fumbling to shake off his shades after drinking in the sight of Jurassic Park’s grazing brachiosaurus.Įncounters with Aloy’s fellow humans don’t fare quite so well. They’re among the most awe-inspiring creatures I’ve seen in any game. These magnificent leviathans more or less work like walking versions of Far Cry’s antenna towers, uncovering areas of the map once you clamber up and hack their satellite skulls. Most captivating of all? Those moments where you crane the camera skywards to admire a lumbering Tallneck leisurely stomping around a set perimeter. The next, you might witness a group of smaller machines scurrying out of the path of a deadly Ravager, as Horizon’s three-ton puma sniffs around for its next likely mechanised meal. One moment you might observe jittery packs of elk-like Broadheads munching on knee high grass, because apparently robots need to eat too. Well, if you can call a 45-foot android crocodile slithering into a lake natural. Like the odd magic moment where you come across a wild stallion playfully rolling around in the morning dew of Red Dead Redemption’s wetlands, Horizon’s beasts can enthrall with the same style of naturalistic behaviour. It’s also fascinating to see these mechanical wonders simply interact with their environment when they think you’re not looking. ![]() ![]() ![]() Hajo's » Blog Archive » Korg 01/W “no sound” repair Of course, it is not state of the art to replace an SOT89 SMD component with a TO92 through-hole component, but firstly it would have taken some amount of effort to get the SOT89 variant, and secondly it is yet a robust and well-functioning replacement in this case (fitting pinout and leads, no thermal or mechanical aspects to be considered). As you can see on the photos, I also replaced IC53, which stabilised at 4.5 volts and not 5.0 volts. So I replaced C100 and patched the broken trace by scraping off a bit of solder resist and bridging it with solder. Then I noticed that one of the C100 capacitor’s leads had been “eaten” by the acid and – more important – the +12 volt trace below the lead had also been etched away. While measuring I found that the negative leg around the IC52 (79L05) was operational, but IC53 (78L05) floated around at 0 volts on it’s output and input. I replaced the two evil caps, connected the mainboard and powered up the 01/W, but there was no sound. What has been left over from the “acid attack” on my 01/W did not look dramatic at first. And the cleaning should be repeated a few times with fresh swabs. There’s no need to spare with the isopropanol, it does not do any harm to electronic components and evaporates without residue. To clean this type of mess, I prefer cotton swabs heavily soaked with isopropanol (isopropyl alcohol). See the “overgrown” capacitor C100 or the diode D3 on the photos for an impression of how this affects and proceeds. And the really bad thing about leaked electrolyt on a printed circuit board is, that it causes corrosion and damage of metallic parts and circuit traces. The caps C95 and C96 had ruptured, and the sub-PSU and even more distant parts were spattered with electrolyt. ![]() This ±5 volts sub-PSU with two 100 mA voltage regulators is disposed behind the ☑2 volts stabilisation circuitry of the main PSU and supplies stable and noisefree local voltages. When I opened the housing, I found two leaked electrolytic capacitors on the mainboard’s sub-PSU for the DAC and analog stages. But then, on the next day, all analog outputs were dead. ![]() After a short power off it recovered without further action. I knew I was going o be limited with my current setup and plan to bu a new gaming computer for music only so it is not bogged down and stays fresh and clean.Hajo's » Blog Archive » Korg 01/W “no sound” repair Hajo's … somewhat really new something « Torwarnleuchte Lautsprecherschalter »Ī few weeks ago my 01/W started sounding “hissy” and distorted, and the output level dropped audibly. Is that something that is preventing me from functioning fully right now? As far as I know, the sound card won't recognize both programs accessing the card simultaneously. I know eventually, I am getting an external audio card and midi recording interface. HAve you encountered the same issues with the wave station? And if so what is the best way to interface it with reason? DO I use a 3rd part DAW like Ableton or Logic to mix it down in a master file after both sides are ready to go? How does it know to access the soundcard for both and can it even do that in my computer when I have just a simple Soundblaster DX card. I also noticed the Wavestation plugin does not easily connect to midi seems I have to trigger it on the screen which is a pain because I really like the tools that specific machine has. and the ability to combine two such awesomely specifically badass synths into one and them a 2 eq filter to modulate the effects. For example, the M20 setting for soundcard were completely different then the settings for the M1 and when my M1 did not work it was because I had opened the M1 while the legacy cell was open, which includes both the M-20 and the M1 as well as FX and their really amazing preset programs and endless possibilities to make your own combination. Also for some reason, the same settings don't apply to all the synths. The one that was patched give me issues and when I used the keygen to input the lock code and generated the license for 30 days it worked just fine. I had 2 versions one was already patched, one was a generator. I noticed my controller was dead also when I tied to install the M20 software. The Legacy cell is the most advanced easy to use out the gate vintage synth plugin I have played on in decades. ![]() So I have a s#!+ ton of VST plugin synths for various needs in sound development. I want all legit legal software to make my music with. I learned on Reason 5 so now that I am getting the hang of things and stepping up my commitment I am buying a pro version of 10 instead of dicking around. I need to upgrade to Reason 10 so that the plugin VST setup is available. so I am versatile as they come across the board. I use an Akai MPKMini 25 controller with reason and Ableton Live. ![]() |
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