It Looks like MST3K creator, Joel Hodgson, is running a Kickstarter to try and get MST3K back on the air.
Check it out: Bring Back MST3K
I was fortunate enough to meet Joel a few years back when he joined us at work for a Flecks screening of Zardoz.
For those who don’t know, Flecks is a screening event I started back in 1999 that’s basically MST3K where all the audience participates. We watch some truly horrible movies and riff on them as fast as we can. It was quite a thrill to sit in the “Tom Servo” chair next to Joel during Zardoz. He seemed to have a great time with everyone and went on to bring his latest venture, Cinematic Titanic, to ILM to do a live riffing of their first film. Apparently the feedback from that live performance was so helpful – they went back and re-recorded the first video they had produced for CT. I’m pretty sure that changed the model of how they produced those shows by incorporating live performances before recording the DVD for each episode.
It was the cold, wet winter of 1995 when I started at Industrial Light & Magic. I remember my first days so clearly. I was stationed in an old audio recording room called “Mix B”, so far away from the rest of the company that no one might even accidentally walk by. The training instructor walked in that first day, dropped a stack of papers on my desk, said “Don’t eat at Foodles” ( a local restaurant) and walked out. Thus began my training. I started with compositing since I had just been doing that at PDI. Their text file based approach was very similar to what I had already learned. The elements I was given to work with were a sunset beach background, a dinosaur rendered in bright sunlight and a cartoon carrot. I don’t think any compositor could ever make these disparate images look like they were part of the same scene. After a couple of days of this I tracked down Sandy Karpman who was the CG Supervisor on Congo (the show that I was going on to after training). I asked if she could give me a real shot to train with so that I might at least have some elements that were intended to work together. Four days later I finaled my first ILM shot.
Since those first days, I’ve seen so many friends come and go. Some moving on to bigger and better things, some leaving the business entirely and some passing away. I’ve learned so much from the wonderfully talented people I work with everyday. Having no formal training, I literally learned about computer graphics on the job. So to everyone who has helped me along the way and who continue to answer my questions, I’d like to say “Thank You” for your support and your friendship.
Legendary makeup effects pioneer Dick Smith passed away.
I’ll never forget the time I got to meet him and showed him some of my makeup effects work. He was very kind and after looking it over said “You might want to think about doing something else.”
I’m very glad I took his advice.
Looks like The Onion News outdid themselves with this “ComicCon Exclusive” look at Teenage Mutant Ninja Turtles.
Might be a little NSFW…
I bought myself a used Fender Squire Jazz Bass for my birthday.
It complements the Fender Squire Stratocaster that I bought about 25 years ago.
Thanks to Rocksmith 2014, I’ve really improved my guitar playing and it made me want to try my hand at playing the bass. After messing around with the guitar/bass emulator, I decided it I liked it enough to pick up a modestly priced bass. Instead of buying it off the Internet, I went to my local music store, Tall Toad Music and got some great help and advice from them and walked out of there a happy customer. 🙂
I got home and hooked it up to Rocksmith and gave it a try:
Not bad for my first time on a real bass.