Khoury's block on that toss play - wow. That was one of the best blocks I've seen all year - on film or in person.

The only other comment I would make about digital cameras is if you're shooting on film there's a certain kind of native color science that goes with it. There's a certain kind of look characteristic that film has got. Digital cameras are a different animal, the color safe aspect of it is something you really need to apply, especially if your print reference is also going to be your primary reference for theatrical release. So, 709 color space doesn't necessarily cut it as a reference.

The Nucoda Film Master and datamill combination is the modern replacement
for the traditional telecine suite. It is cost-effective and supports
video and data workflow without compromising quality.

[The most recent addition of film music record labels, Mellowdrama Records, is run by Rick Clark who is also a Silva Screen's producer. He is a bit more reserved when it comes to the impact of the deal.] Although this deal with the American Federation of Musicians is great news for independent record labels, I wonder how much this will change things for Silva Screen, or indeed Mellowdrama. Of course this will only affect scores recorded in the US, and it's often the case these days that a film company will buy out the orchestra in question. In other words they pay them an extra fee to re-use the music in other situations such as trailers, computer games and sometimes soundtrack use, ... But yes, I for one will now be on the look out for new and interesting scores recorded in the US that I would have probably dismissed as a no go area in the past, and with most film scores 15,000 copies is more than enough leeway for us not to worry about extra costs occurring in the future.

The more I watched him play, the more film I watched, the more I realized there was going to be a hell of a lot more good doing it his way than my way. And at the beginning of this season, we made the commitment that we're going to eat a couple of turnovers, or we're going to eat a bad shot here and there, and we're going to see where it goes. And this is where it's gone.

We've just got to play through it. Looking back, watching film, watching where we break down and what's actually going wrong on every play — that's how you get better.