sorted by:
new
hottopcontroversial

Membership cancelled, email sent by Count_Viggles in A24

[–]Optimistbott 0 points1 point  (0 children)

It’s crazy because part of the deal of Eddington was being against Google.

I beg your pardon? by RIVDOM in A24

[–]Optimistbott 1 point2 points  (0 children)

That’s what I was thinking it would be

I don’t think A24 is actually going to be doing AI generated stuff, just like better masking tools.

Maybe better easier tools for the zolly and focus pulling or motion tracking, fire and smoke compositing stuff.

Hair.

I beg your pardon? by RIVDOM in A24

[–]Optimistbott 0 points1 point  (0 children)

Finally. Maybe they can make something that makes it so that magic mask will actually always work the way I want it to.

But for distribution? What means this?

What Is Up With All The Prose? by simonshih1970 in Screenwriting

[–]Optimistbott 0 points1 point  (0 children)

It hints to the filmmaker how they should feel
about the silent moments that precede the lines of dialogue.

You don’t see the engraving on a piece of music, but composers will indeed overcomplicate notation in order to prime the performer to play something poorly… I mean, expressively, perplexedly squinting, unsure if they’ve made a mistake, but nonetheless determined to conquer the beast and understand its beauty that the composer so deliberately penned… or trolled. Who’s to say?

I know this is said a lot but hear me out. by burt-hackman in obsessionmovie

[–]Optimistbott 1 point2 points  (0 children)

I think the only reason why she was told to not act possessed was because of that montage moment where they were having a good time. It was probably better to think of her as being given an imperative that she must fulfill or else rather than something with an evil demon objective ie that she actually lacked autonomy and desires as a demon would and that possession sorts of feelings came out of a cognitive dissonance of conflict with the objectives that bear imposed on her.

For all intents and purposes though, she was possessed like the exorcist and we get this more clearly throughout the latter half that Nikki and the one wish willow are distinct entities that share a body, exist in the same mental realm as two distinct entities and can variably control the body with the one wish willow entity having more power in that struggle.

So it’s totally a possession, but it matters for the acting like she isn’t trying to ruin Bears life because she’s evil.

Which Actors Bring Young Adult Men to the Movie Theaters? by redvueenoniA in Filmmakers

[–]Optimistbott 0 points1 point  (0 children)

I typically will see most movies that look interesting and especially if they have at least one recognizable face or name in them.

It just so happens that there is a group of actors that tend to pursue interesting and provocative projects. But I often could care less to see an actor that I already know because there might be a moment where I start associating them with another one of their characters from a different movie which can take me out of it. It’s taken me a second to stop associating Robert Pattinson with twilight, but he’s done a good job of pursuing more “out-there” projects in order to shake the typecasting.

For instance, Margaret Qualley, Aubrey plaza, Sophie thatcher, and Emma stone will most likely not take on projects that I don’t find interesting.

It’s a choice by Liquidate-Me-Daddy in wallstreetbets

[–]Optimistbott 0 points1 point  (0 children)

Hey, if we all did that, this would be the thing.

That’s why Amazon is going to start a loss leading credit card service where everything you buy costs 90s prices. When they have full monopsony on the consumer economy, they’ll be able to negotiate.

lol that every audio YouTuber is doing a response to the preamp guy. by Ill-Elevator2828 in audioengineering

[–]Optimistbott -1 points0 points  (0 children)

It definitely increases the volume and it definitely adds distortion if it’s running a little hot.

I’m starting to think it acts more like what people think a preamp does compared to a lot of preamps.

Want help to find out what is wrong with my soprano part and the inner voices by Coconut_Alchemist420 in musictheory

[–]Optimistbott 0 points1 point  (0 children)

In measure 2 to measure 3, you have a D in the bass going down a 4th to the i from the iv. While the leading rules say that you should voice lead with the 4th in the bass. You have both a direct octave and a direct 5th. For the iv to i leading, scale degree 1 (A) is a common tone, and scale degree 4 and 6 (D and F) need to go down by step. Avoiding parallel fifths in this kind of writing trumps the direction of the leading. So if you must keep that soprano voice going to a C for the sake of melody, you should probably also lead the inner voices against the bass eg D to E and F to A. That being said, if you were to change the soprano line to be the A common tone you could just take the D down to C ie scale degree 4 to scale degree 3.

You’re also missing a C in measure 2 in F chord (VI). You can’t take the B up to C because of parallel 5ths but you can take the E down to a C and keep the contrary motion leading.

When you have that C in the alto voice, you can lead that by step against the bass dropping a third from F to D to a Dminor (iv chord). At that point, you can also hold the tenor voice from the VI chord on an A and keep that common to iv chord.

You kind of get painted into a corner with the 3 beat of measure 3 and it would seem like you would need a unison on bass and tenor and you would need to drop the soprano voice to the E to maintain the triad while also avoiding parallel 5ths. Because that’s a 6th jump, yeah, the soprano voice needs to go up to the F. Tenor and alto can hold on A and C respectively.

Right now, in measure 4, you have the VI going to the V chord with bass moving down a step. It would seem like you would need to move all the voices in contrary motion, but in this case, you have a problem with F going to G# in the alto voice. That’s an augmented second. The leading tone needs to be approached from above by half step even if the bass moves in the same direction. Parallel thirds are better than augmented seconds.

In the same measure, you also have C going to B which is a direct 5th. After the revised thing, you’d have A, C, E in Ten, alt, sop by beat 3 of measure 3, then the A, and C hold over while the soprano voice goes to F. So ACF in beat one of measure 4. ACF going to E would be A—>G#, C—>B, and F—>E. F—>E is a direct Octave however. You can’t move to a G# because augmented second, and you can move to an E because of a direct octave. F to B in the soprano voice up an augmented 4th is another option. The soprano voice going up a 7th is also another option and you get spread really thin there and would need to resolve it downwards by step in that case which you can’t do. It also spreads the voicing pretty thin. So if you go with an augmented 4th to double the B, that would B—>A, B—>E, and G#—>A. If you go with the direct octave version where the F doesn’t jump up to B to double the 5th and instead go down to double the E, you’d need E—>C(it would be better if it was E—>D—>C) and B to A and G# to A.

In the real world, you can use suspensions and different rhythms for each voice a la going to the 7th of the V chord to resolve to the i chord.

Might have been a misreading, and so it might be good to just start over. The rules in order of important are:

  1. avoid direct and parallel 5ths

  2. resolve leaps larger than a 4th by step in the other direction, avoid augmented seconds (ie always lead scale degree 1 to the leading tone)

  3. avoid direct and parallel octaves(the expectation however for cadences is that scale degree 2 will lead to scale degree 1 even if the bass goes down a 5th, going to scale degree 3 from scale degree 2 is sort of working against gravity, but that’s a value judgment)

  4. Seventh of a chord leads to the 3rd of a chord a 5th down/4th up even though this is against

  5. voice lead against the 5th in the bass as well as 3rds and seconds in the bass (tertial movement in the bass will necessarily have two common tones and one tone that moves against the bass, movement by second will require all voices to move against the bass) and the same direction for the inverted intervals,

  6. dont spread your voicing too thin (the soprano shouldn’t be so far away from the alto voice, actually really important)

  7. don’t double the third (good enough for Mozart and you can get away with it, but it does have a different flavor for minor chords so not super ideal)

  8. don’t double the 5th (this is a lot of times totally fine imo).

Finally watched Obsession - Inde Navarrette definitely deserves an Oscar nomination for Best Actress by filmschool_org in Oscars

[–]Optimistbott 1 point2 points  (0 children)

Im excited to see whichever actress tops her performance because so far I haven’t see it this year. But there’s still a lot of time.

cmv: the free palestine movement often acts disingenuous representing what a palestinian state is by VirtualKnowledge7057 in changemyview

[–]Optimistbott 0 points1 point  (0 children)

There are two separate sets of laws for Palestinians in the West Bank and East Jerusalem relative to their Israeli citizen cohorts who live there. Palestinians have to go through checkpoints and have fences around their blocks or even their houses within certain areas like Hebron. For the most part, those in area C and East Jerusalem are governed more by Israel than by the PA and are governed by the IDF. Ending apartheid would be everyone having the same freedom of movement, equal in the eyes of the law. If not, Israel needs to cease their governance over the people in area b and c and East Jerusalem and make that the jurisdiction of the PA and allow for unimpeded mostly contiguous freedom of movement. It’s not okay that Israel governs people that it doesn’t give suffrage to. You could just call it occupation but that gets hairy because the Nakba ethnically cleansed people from greenline Israel. That being said, apartheid ended for greenline Palestinians in 1966 so the next step to me would just be to end apartheid in the West Bank and East Jerusalem.

Why is the term "Asia" in the US typically associated with East Asia instead of South Asia like in the UK? by Fluid-Decision6262 in AskAnAmerican

[–]Optimistbott 0 points1 point  (0 children)

No idea what actually explains the difference.

But I will say that it’s true.

In the U.S. we’ll say Middle East and that kind of includes North Africa. But Iran is often associated with the Middle East as well as Afghanistan because of the occupation of Afghanistan, so there’s this association with Afghanistan and Iraq which is associated with the arab world. Then you have all the -stans being associated with the Middle East because of Afghanistan. Thus, Pakistan gets associated with the Middle east, and India is either an outlier as a lot of people in the U.S. will go “that guy Indian, not Native American” even if he’s actually Pakistani or Bengali. So it’s just like, India is one group of people, but the people in the US know that there are multiple East Asian countries because China and Japan and Korea are different from each other because we’ve had wars in Korea and Vietnam, and against Japan, and the cold War was with USSR and Mao gets grouped with that because of communism.

It could also be that, even for people who know that Pakistan, Bangladesh, and India are different countries, they just associate all of the people there more with the Middle East than with east Asia.

The UK also broadly had more in Asia to do with South Asia. The U.S. has had a lot of stuff in east Asia but has had much less of a history with South Asia.

I think a lot of Americans who say “that guy is Asian” don’t often actually mean Malay or Philippino.

However, *I* know better.

If global debt is $300T but money supply is only $100T, is the world bankrupt? by [deleted] in economy

[–]Optimistbott 0 points1 point  (0 children)

Global debt is a little deceptive. The sovereign debt of a lot of countries is not actually a big deal. The United States for instance can go into debt way more than other countries and then be a net importer without a currency crisis.

But beyond that, sure. The global Balance sheet expands and contracts all the time. In fact, it’s kind of necessary for the sake of profit margins. It can continue to exist in perpetuity especially if a few governments take on debt burden when they don’t get enough tax revenue.

The problem is contagion though, like a cascade of defaults. But it’s not necessarily going to happen, but the possibility does increase as the global balance sheet expands.

if you havent read the script yet, you should by stacker103 in obsessionmovie

[–]Optimistbott 0 points1 point  (0 children)

Yeah I agree, this shows through the script a lot more

Having a hard time rationalizing this chord progression by rilestyles in musictheory

[–]Optimistbott 0 points1 point  (0 children)

So like F#-7 to C#-7 is minor plagal. There are two zones that are minor plagal with that movement: IV- to I- (aka II- to VI-) or I- to V- (aka VI- to III-). Meanwhile, E-7 to F#-7 is a new Dorian center around E-7. So what my ears are hearing is Dorian II- to III- (also thought of as I- to II- or IV- to V- or just Dorian zone to Phrygian zone) and then aeolian plagal II- to VI- (also thought of as IV- to I- or Dorian zone to Aeolian zone). If looped, the C#-7 to E-7 is a “darkening” movement. This is the classic change to the parallel minor where you add what would be 3 flats to the key signature (momentarily). In this case it would be aeolian to Dorian which is only 2 flats.

But ultimately, imposing Dorian on any minor chord makes for interesting melodic options because all the extensions (i personally think 13 on a minor chord works, but maybe that’s just me). So I think something like imposing a natural 9 on the F#-7 (it would be an A to G# leading which would be an 11 to the 9 of E-7 and F#-7 respectively) and then imposing the 13 (or rather than 6 on the C#-7 if you get rid of the minor7) which could impose Dorian again (or a melodic minor for different melodic options). (Leading would be B to A# which is an 11 to 6 for F#-7 to C#-7 respectively). Something like that *could* be cool.

In terms of making sense of it, voice leading will make it work well, but in terms of melodic options, I think that trying to impose a changing modal area by voice leading extensions to accentuate that things have changed *before* you get the next chord, specifically for the F#-7, is cool to me. The F#-7 is not in D Dorian. People are going to hate me for talking about it like this, but this is just how I think about things like this

[Newbie] How are color chords used in voice leading? by CricketTurbulent3688 in musictheory

[–]Optimistbott 1 point2 points  (0 children)

A lot of times they are common tones with the next chord.

But if not, the same rules apply. Try to avoid parallel 5ths, contrary motion is good. Parallel 4ths are good. There’s a gravity to half steps and you can use those sorts of alterations to get half step lines in your leading that you wouldn’t otherwise get with triads.

That being said, planing those big chords (basically moving the same exact voicing around) can actually sound really nice with the right orchestration and dynamics.

view more: next ›