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Digital Production BuZZ
Your essential resource for video production news, interviews, and insight.
Hosted by: Larry Jordan
Transcript: Digital Production Buzz – November 23, 2017
Larry Jordan
J.J. Kelley, Senior Producer and Correspondent, National Geographic
Tom Coughlin, President, Coughlin Associates, Inc.
John Pritchard, Founder/Director, The One Heart – One Spirit Project
Terence Curren, Founder/President, Alpha Dogs Inc.
James DeRuvo, Senior Writer, DoddleNEWS
Announcer: The Digital Production Buzz is brought to you by KeyFlow Pro, media asset management software, designed to meet the needs of work groups at an affordable price.
Larry Jordan: This week, we celebrate Thanksgiving here in the US and this holiday gives us an opportunity to share some of our most popular recent interviews with you. We start with JJ Kelley, he's a senior producer for National Geographic. We were fascinated by his stories of shooting video from the wilds of the world.
Larry Jordan: Tom Coughlin, president of Coughlin Associates, has had a long career in both engineering and storage. Tonight we hear his insights on Cloud storage.
Larry Jordan: John Pritchard is the producer and director of the documentary, One Heart, One Spirit. He explains what it takes for an indie film to win a film festival, and whether it's worth it.
Larry Jordan: Terry Curren, president of Alpha Dogs, continues our ongoing discussion of the impact machine learning is having on our industry and our jobs. There's both good and bad news here.
Larry Jordan: All this, plus James DeRuvo, with our weekly doddleNEWS update. The Buzz starts now.
Announcer: Since the dawn of digital filmmaking – authoritative – one show serves a worldwide network of media professionals – current – uniting industry experts – production – filmmakers – post production – and content creators around the planet – distribution. From the media capital of the world in Los Angeles, California, The Digital Production Buzz goes live now.
Larry Jordan: Welcome to The Digital Production Buzz, the world's longest running podcast for the creative content industry, covering media production, post production and marketing around the world.
Larry Jordan: Hi, my name is Larry Jordan. Today is Thanksgiving in the US, probably my favorite holiday because it reminds us to stop and say thanks to all the good people, and for all the good circumstances in our lives. For this reason, the Buzz team is taking the evening off to celebrate with friends and family. Because of the holiday, we decided it would be fun to share some of our favorite interviews from the last several months. These span from July through October of this year. We enjoyed them the first time we heard them, and hope you'll enjoy hearing them again.
Larry Jordan: By the way, I want to invite you to subscribe to our free weekly show newsletter at digitalproductionbuzz.com. Every issue, every week provides quick links to all the different segments on the show, plus articles of interest to filmmakers. And best of all, it's free and comes out every Saturday.
Larry Jordan: But though today is Thanksgiving, the news never stops, not even for holidays which means it's time for our weekly doddleNEWS update with James DeRuvo. Hello James.
James DeRuvo: Larry, let me be the first to wish you a happy turkey day.
Larry Jordan: A very happy Thanksgiving to you and your family.
James DeRuvo: And back to you.
Larry Jordan: So what have we got? We still have news happening this week even though most of the world has taken the day off. What have you got?
James DeRuvo: While everybody is watching football and filling themselves to the gullets with turkey, Kodak is announcing a new 360 degree camera called the Orbit360 4K. What makes it interesting is that whilst it has dual juxtaposed super wide angle lenses at 197 degrees, each one has a 20 megapixel CMOS sensor, so instead of sharing the load, they each have their own dedicated sensor which is pretty cool. It offers three different modes including standard 360, full frame 4K from its front facing camera, and a special dome mode which captures 235 degrees of the spherical spectrum, so you can get that kind of little planet dome action going.
Larry Jordan: How would you describe the camera itself?
James DeRuvo: It's really small. Kodak's 360, it's very action camera like. It's got this really tiny footprint, and like the GoPro Hero, it has the ability to attach to a wide variety of camera mounts. This makes it an interesting competitor to GoPro's Fusion which is twice as big and Samsung's Gear VR which has pretty much fallen by the wayside.
James DeRuvo: GoPro may still have a leg up when it comes to the over capture feature that comes in 2018 and their Angel view, but competition is always a great thing for users. Even in VR.
Larry Jordan: I'm so sorry, even in VR. I tell you that's an amazing statement from you sir. That's the Kodak Orbit360 4K camera, what else you got?
James DeRuvo: I've been into 3D printing for about a year and a half now where you can pretty much design and 3D print your own props and parts and camera tools. I've been looking around, there's a whole bunch of wide variety sites, and when you have an issue where like for me the other day, I lost a lens cap and I didn't want to wait two days to order one from Amazon, so I 3D printed my own lens cap. 3D printers can be a great tool for those last minute replacement parts and everyday filmmaking tools. I've been searching through the web and I've been finding tools like those cable locks that you can attach to the side of your DSLR so that your cables don't pull out and break. Follow focus gears, even grip heads and barn doors for your home brew lighting kits. Why not 3D make them? It's a pretty interesting little industry and hobby. There's a wide variety of 3D model sites out there offering designs for free including Thingieverse.com and myminifactory, and thanks to sites like Tinkercad and easy to use software like Fusion 360, you can even customize and make your own original designs.
Larry Jordan: You've been doing this printing for a while. What factors do you need to keep in mind when you're doing your printing?
James DeRuvo: I like to call it the high maintenance girlfriend of the creative process, because you have to juggle a whole bunch of different factors, including extruder temperature, bed temperature, keeping your filament free of humidity and being sure that even your 3D model's free of flaws. There's actually whole websites out there where you can upload your model, and it will analyze it and repair it if there's any sections missing. You have to juggle a lot of things, but when you 3D print a part that you broke within a few minutes, or that prop that you designed for your short film project, the benefit of this tool becomes abundantly clear and I honestly believe that it's going to change the world. There's going to come a point where we don't remember our life without a 3D printer in the home.
Larry Jordan: Well I'm expecting a bunch of 3D printed Christmas presents from you, so get to work on it.
James DeRuvo: Funny you should say that, I've already designed them.
Larry Jordan: Alright, so we've got 3D printing, and what else is going on?
James DeRuvo: DJI has announced a new drone partnership with State, Federal and local governments. It's called the Unmanned Aerial Vehicle UAS, Integrated Pilot Program, with the aim of standardizing and balancing regulations that don't stifle innovation and balancing it with keeping public safety always at the forefront. The program will develop safer drone flight technologies, evaluate regulations and test new forms of management procedures and DJI is even giving drones to local governments to test themselves, so that they can develop those new procedures.
Larry Jordan: Well what do you see as DJI's goal here?
James DeRuvo: I think their goal is to create a kind of balance between public safety and this emerging billion dollar industry. It's no secret that the use of drones has exploded and many government organizations are struggling to keep up with regulations that keep public safety in the forefront. We've had near misses of airplanes, we've had drones crash into crowds and we've got these idiots that fly their drones in forest fires so they can get footage to sell to CNN. DJI is seeking to develop a balanced approach that would manage public safety and preserve it without strangling this industry, so it's worth giving it a try because now it's kind of like the wild west out there.
Larry Jordan: That's DJI working with governments on regulations. What other stories are you covering this week?
James DeRuvo: Vimeo announcing support for the Mivo live streaming camera, it's a 4K camera that they call a TV studio in your pocket. Beginning Friday there are Black Friday deals galore, and we're looking for every single one of them.
Larry Jordan: What do you mean, beginning Friday? I think it started last week.
James DeRuvo: They really should call it Black November now. I've been getting emails nonstop for about the last week.
Larry Jordan: James, where can people go who want to keep track of the latest news in our industry?
James DeRuvo: All these stories and more can be found at doddlenews.com.
Larry Jordan: James DeRuvo is a senior writer for doddleNEWS, and joins us every week and James, have yourself a wonderful Thanksgiving, we'll talk to you next week.
James DeRuvo: You too, happy holidays.
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Larry Jordan: JJ Kelley is a twice Emmy nominated director and correspondent. He is also a senior producer at Explorer, which is National Geographic's flagship documentary series. His work has taken him to all seven continents, and he's currently hosting a new adventure series for the Travel Channel. Hello JJ, welcome back.
JJ Kelley: Hey Larry, it's a real pleasure.
Larry Jordan: You know, I was just calculating, it was six years since you and I last spoke on this show. It seems like it was at least six years ago. It's good to have you back again.
JJ Kelley: It's been far too long. Thank you so much.
Larry Jordan: How would you describe what you do?
JJ Kelley: Well, I get goose bumps when I go to work. I do really love what I do, so my job consists of being in an office for maybe 40 percent of the time, preparing to go out into the world and then the other 60 percent I'm out there on two week assignments, sometimes less, sometimes more, at various locations around the world.
Larry Jordan: How did you connect with National Geographic?
JJ Kelley: It has been a pretty long and amazing road with the company. It really goes back to doing an internship. 12 years ago I started to make my own films, and this was back when HTV was coming around and you could buy professional or prosumer cameras and they were at your fingertips and you could make your own film. Editing software, Final Cut Pro was coming up, so really the power was starting to be taken away from these big production companies, and put in the hands of the every person. I was the every person at the time that this was coming around, and I started to make my own films. My senior year in college, I took a film that I made and I sent it to National Geographic and said "Will you give me a job for this film?" They said, "Get lost buddy, you really haven't done a whole lot." I said, "Well OK, fair enough, would you give me an internship?" And they said, "OK, we'll give you that." So I got an internship and it led to production coordinator jobs, associate producer, producer and then senior producer which is what I do now.
Larry Jordan: Do you find yourself doing more producing or more reporting on camera?
JJ Kelley: I have a short attention span and maybe that's a good thing or a bad thing. I've spent a couple of years of my career editing and assistant editing and learning the ins and outs of Avid and Premiere and Final Cut. I spent two years of my career being a director of photography shooting. For National Geographic I spent a little bit of time over at vice, and shot for Discovery, really working just as a DP, and then most of my career I've spent as a producer, but a lot of what I do is working with on camera correspondents and together we hash out the story. We decide what the important beats are and we tell it together. So it just became a natural evolution that working with them on what they should say, I kind of had a sense for what should be said, and my bosses took a chance on me and said "Why don't you step out from behind the camera and get in front of it?"
Larry Jordan: As you are looking at it from a producer's point of view, what were some of your more unusual destinations?
JJ Kelley: Oh my goodness. I love this question because I really get to go to some of the most incredible places in the world. Last year, for me it was probably my best year in terms of just getting out there. I went to all seven continents last year, and the coldest one really stood out as being the most challenging and rewarding in terms of video production, that was Antarctica of course. Going down there and deciding the camera equipment to bring, knowing that there is no B&H, there's no Adorama, there's no way to get replacement parts, basically you're going to be down there for four months. At times it'll be negative 40, negative 70 degrees and you need to have everything with you to make a television show.
Larry Jordan: Just trying to keep the gear warm enough to function at temperatures that low is a challenge in itself, separate and distinct from what you record. How did you do it?
JJ Kelley: I learned a ton. I'd never been to anything quite that cold. I grew up in northern Minnesota, so negative 40 wasn't completely foreign to me. But I really hadn't done a lot of filming in that environment. Cameras are incredibly robust. For that shoot we had the Sony FS7 and because any time you send a filmmaker down to the frozen continent, you have to boot out a scientist. So the science community down there wants to disseminate the information that they're learning down there, but they also want to continue to get information. So they only let a select amount of people down there. So me and five other really intrepid individuals went down to Antarctica and we were charged with making a six hour miniseries for National Geographic. We had to be our own one man band and that meant doing sound, sometimes three channels of independent audio, doing all the filming and producing a fully complete story.
JJ Kelley: So I had two of everything, and the cameras were incredibly tough. What wasn't as tough were the LCD screens. Sometimes it would be so cold, I'd be living in a tent, I'd be charging my batteries with a generator, and I remember it would dip to negative 50 and I couldn't feel my fingers, and there was a good scene going on, it was a crazy blizzard. I thought, this is going to be great film, great television, I got to stay with this, and then the entire monitor just goes white. It just goes white, and I can't see what I'm filming in front of me. So I bump to F16, there really are no trees, there's nothing in the background anyway. I'm thinking, whatever I'm filming is probably going to be in focus right now, let's just stick with it, and sure enough it ended up being a great scene. And the camera kept ticking. It was just I couldn't see what I was doing.
Larry Jordan: When you are going on location, clearly you have to take more than a camera. What do you feel is essential part of your kit if you exclude the camera?
JJ Kelley: I've been doing this for a little while now, about 12 years kind of out there in the world, and I've come to the point in my career where if I'm not using it every day, I am going to leave it back home because it is slowing me down. Sometimes on more risky assignments, if it's slowing you down, then it's putting your life at risk. So I really bring the bare bones, and it depends how many people are going to be with me, how many people I can hand the gear out to so everybody can have their own part. I was just in the Central Congo and I had a decent size crew. There were four of us that went over there, and I was able to hand bits and pieces out. So if I can bring a drone over today, I love a drone, I love the aerial perspective, I like to get up in the air whether it's an establishing shot for a scene, I love to have a drone with me.
JJ Kelley: I'm going to need to have wireless audio. Audio is so critical, it's so important camera side. You need to understand what people are saying otherwise the message is just completely lost. I always wear a little DSLR camera around my neck because I love to take photographs so I always have my A7S2 with a Leica 35 prime around my neck, so any time I shoot a scene, I can get a photo just to remember for myself. So you have those bare bones parts, you can do a lot with that. If you know you're going to be in a dangerous situation maybe you can leave that tripod behind, and you can get by with a … or you can just set the camera down. It's really deciding how much time I'm going to have, how many times am I going to be moving locations? Is my life going to be at risk if I bring too much stuff? So it really is tailor made to the very shoot that I go on.
Larry Jordan: Some shoots, they just let you wander on your own. Other shoots you've got minders, think of it as PR people that are keeping an eye on you. How does your shoot change when you're being minded?
JJ Kelley: Oh the minders. It definitely restricts the message that you're going to be telling. A lot of times if I'm going to a place, I was just in the Gaza Strip and going over there you have to apply for a film permit of what you're going to be doing, and you really have to be pretty vague when you're telling them what you're going to be doing if you think what you're going to be doing could be annoying to them. We went in these tunnels where there are goods that are brought in and out of the country and it's elicit travel through these tunnels. On our main film permit, you have to be honest, you can't lie when you're going into these places. But that doesn't mean you can't be a little bit oblique with what you're going to do. So when you're actually on the ground and you have these minders with you, there are various tricks that you can use.
JJ Kelley: You never want to lie because lying in a place like the Gaza Strip where you have a group like Hamas around, could get you at risk. We had an amazing situation where the correspondent was talking about these illegal tunnels, and said, sometimes the Israelis say that suicide bombers are going through the tunnels and the minder didn't hear us correctly and thought that we said, suicide bombers are going through these tunnels. We said, the Israelis say, so we qualified it. And they didn't quite catch the details because they didn't speak great English so they pulled us into a Hamas holding cell where we were surrounded by people with AK47s and then it was a matter of "We're going to play the tape, if you're lying, then potential orange jump suit consequences."
JJ Kelley: So the correspondent and I were really questioning ourselves. It's like, "Did you say the Israelis say that they do this?" and she's like, "Yeah, I'm a good journalist, I'm sure that I said that" and they weren't going to let us leave until they heard exactly what she said. So we said, "OK I trust you" and we played them the tape and sure enough she said the right thing, they understood it correctly, and they let us go. But you can't be deceptive in front of these minders because it really could have some pretty awful consequences.
Larry Jordan: A big challenge is just getting your gear across the border. How do you make sure that you come back with the gear that you went in with?
JJ Kelley: We hope and pray that everything comes back. Nothing's nipped. It depends on how much stuff you're bringing. National Geographic is known for taking beautiful images, pretty pictures, so sometimes that means bringing a good bit of gear. Sometimes that means bringing big cinema lenses, a long lens, a macro lens, it could mean bringing a bigger drone. So sometimes you're going through with anywhere from seven to 18 excess baggage cases and you really want to know the airline that you're flying on and make sure that they have a media rate, because otherwise that could cost you $10,000 if you go with the wrong airline and they charge you per kilo.
JJ Kelley: So once you get over there, I really rely on local producers. If I go to a place like the Congo, I'm hiring a solid local producer who I know, who I've worked with before, who's been vetted, who's going to have local porters that can help out, who's going to have the right vehicles that aren't going to break down, he's going to have back up vehicles. Then you need to go to a lot of countries in the world with something called a film carnet which lists every piece of gear that you have, and I live in New York, and when I fly out of JFK I go to customs and they'll look at this list, and they'll point to various items and I have to show them that I have those items, and I have to show them that I have those items when I get back as well, because if I don't, my company could get fined pretty heavily.
Larry Jordan: There's no shortage of excitement in your life that's for sure. For people that want to know more, where can they go on the web?
JJ Kelley: Go to JJKelley.com.
Larry Jordan: That's all one word, JJKelley.com, and JJ thanks for joining us today. This has been amazing.
JJ Kelley: Thanks so much Larry. Have a great night.
Larry Jordan: Take care, bye bye.
Larry Jordan: Tom Coughlin is a Silicon Valley consultant, a storage analyst, and the organizer of the Annual Storage Visions and Creative Visions Conferences. Storage is critical to media creation which is why it's always good to have Tom back on the show. Hello Tom, welcome back.
Tom Coughlin: Hi Larry, thank you very much. It's good to be back.
Larry Jordan: Tom, this week we're talking about storage, specifically Cloud storage, and before we get into that though, what got you interested in storage in the first place?
Tom Coughlin: Well I'm actually an engineer by background. I've worked on digital storage technologies and applications for three decades, so it's kind of in my blood.
Larry Jordan: How would you define Cloud storage?
Tom Coughlin: Well Cloud storage would be a digital content that's being stored in large data centers or on premise where it's accessible to the internet, with public networks.
Larry Jordan: What makes Cloud storage different from local storage?
Tom Coughlin: With local storage you're usually talking storage that's within a facility being used directly for an application or for instance, media and entertainment for post production. Generally when people are talking about Cloud storage, they're talking about storage that's accessible remotely and it could be used for things where people are trying to do collaborative projects and want to share content with somebody who's far away, to do collaborative workflows. The difference between what's in the Cloud and what's local is generally where the storage is actually located, and how you access that content.
Larry Jordan: Is gear for Cloud storage different than the gear we use for local storage?
Tom Coughlin: Generally, it's not. But one thing that is different about the Cloud storage, especially large Cloud storage providers, is because they have such a volume of equipment they buy, that many of these people, like Amazon or Google, or Facebook, they define to manufacturers what they want. They may have large IT departments themselves and a lot of times they'll buy off the shelf components, they'll use software to configure it and make it do what they want it to do. Especially for smaller facilities, you know, they oftentimes have a lot more resources than some … in house storage.
Larry Jordan: Who are the big players in Cloud storage today?
Tom Coughlin: There's a lot of people that are providing Cloud storage or have storage in the Cloud, folks who work particularly in the media and entertainment space. There are smaller ones, but the larger ones would be Google, Amazon, and Microsoft is also working in that area. There's a lot of smaller players as well who are doing various things in Cloud storage.
Larry Jordan: When we're debating what storage to use, when should we consider putting our data in the Cloud, and when should we keep our data local?
Tom Coughlin: The reasons why people put things in the Cloud is one, if they're doing something collaborative, and they want somebody to be able to access it remotely. Another reason that people put things in the Cloud is to basically move what otherwise might be a capital expense to buy storage equipment into an operating expense, where you're hiring a service including backup and all of the IT operations with the content. So there's a few different reasons why people will use Cloud for various applications.
Larry Jordan: What's interesting to me is your definition of a Cloud which is basically a remote server with web access, the issues that we deal with with storage, whether its local or Cloud, are pretty much the same. The gear is the same, it's just whether we need the collaboration aspect it sounds like is the key difference? True?
Tom Coughlin: Well there's two key differences. One is whether you want to manage the assets yourself, which you would do with on premise, or if you want to do something where somebody else is managing it, that's one reason. And the other thing is to enable collaboration and sharing of content.
Larry Jordan: How concerned should we be about the security over our data in the Cloud?
Tom Coughlin: There's always a question, you know, if you've got content available to the internet, how safe it's going to be. The folks that are providing these services though have done a lot to create encryption, other ways of ensuring privacy and that this data is not accessible to people who aren't supposed to get it. And also if you've got a larger facility with enough storage you can often get dedicated space within a data center, where the content's going to be kept. So there's various things to be done to make the Cloud more secure. But if you get down to it, if you don't want anyone ever to have the possibility of accessing it, keeping it local, keeping it unconnected would be the best idea.
Larry Jordan: As we're picking a storage vendor, what questions should we ask them to determine whether this is the right storage vendor for us?
Tom Coughlin: Things to look at would be what they call a service level agreement, which is the agreement that's made, what kind of service they're going to provide, what kind of availability they're going to have, how many … whether it's located in more than one place or the data's replicated geographically so that for instance if one site goes down, it's available from another site. There's a number of different things that can be in the service level agreements that have a lot to do with it. And of course the more things you're asking for generally the more expensive it's going to get, so those are some of the tradeoffs you make in getting those services.
Larry Jordan: I've had the great pleasure of speaking at some of your storage conferences, and you've been covering the storage industry with your conferences for many years. Why did you decide to start them?
Tom Coughlin: I decided to start them because I thought that visual storage is playing a very important role in the media space, and events that focused on that would be valuable to people in the industry, so that's why I started Creative Storage. The other conference Storage Visions I started because I think in general that storage is playing an extremely important role that the idea and the vision of where storage is going will have a lot to do with what we can do with the content we're creating. With so much unstructured content being created, particularly unstructured content not like data in databases, but data that doesn't have as much information on how to find things, how we deal with that in videos is one of those. How we deal with that's very important and the tools that enable us to do that I think are the cutting edge of what makes artificial intelligence and big video projects, big data projects in general, possible. So Storage Visions conference this year in Milpitas, California is going to have a particular focus on unstructured data storage and its application.
Larry Jordan: Who would benefit most by attending one of your conferences?
Tom Coughlin: Geared towards people with niches in technology, those that make technology and those that use the technology, whether it be from the component side or from the systems side, or people that are making applications, using storage content.
Larry Jordan: What are your attendees trying to accomplish when they attend the show?
Tom Coughlin: There's a number of different uses, all the way from people within the industry being able to connect, and for people who are making use of those tools and services to be able to find out and evaluate those tools and services on site, in an environment where they can catch a lot of things that are going on in the industry, digital storage and its applications in one place.
Larry Jordan: What do you see as the future of storage? Are we fading out on spinning disks and coming into something different? Or is it pretty much the same for the next several years?
Tom Coughlin: Well things are changing an awful lot. There's a big move towards solid state storage where you need the speed of the performance. But there's also still a place for people that are keeping content for a long period of time in which case, they may trade off the price for some longer latencies, or a bit slower performance, and that's places where … or even magnetic tape or optical disks can play a role. So I think we're going to see a lot of different storage technologies in place for some time to come, as long as they're cost effective, you have that tradeoff between cost effective as storage versus performance. Even some new technologies coming in, especially in the solid state area where there's things like non-volatile memories that may bring in architectures that would bring the computing power closer to the storage content which will dramatically change the way that we do computation, rendering, the analysis of data to create metadata, to be able to find new stuff and even to be able to create content in new and faster ways. For instance what if I could do CGI whilst …? If I could really fast rendering to fill in some content and make some changes I want to make. Those things may be possible with some of these new computer architectures.
Larry Jordan: Tom for people that want to attend your next conference, where is it, when is it and where do they sign up?
Tom Coughlin: So the Storage Visions Conference is going to be October 16th, 2017. It's going to be in Milpitas, California. The website is storagevisions.com and welcome everyone to come there. It's keeping stuff, or making use of the stuff you've got, this is the place you can find out the best tools, new visions and ideas of what people can do and in the not too distant future.
Larry Jordan: Tom, for people who want to keep track of all the stuff that you and your team are working on, where can they go on the web?
Tom Coughlin: You can go to tomcoughlin.com which is my site, and also you may be interested in the Entertainment Storage Alliance site which is entertainmentstorage.org.
Larry Jordan: So a couple of those websites, for the conference it's storagevisions.com, and to keep track of what Tom and his researchers are doing visit tomcoughlin.com and Tom Coughlin is the founder of Tom Coughlin and Associates. Tom thanks for joining us today.
Tom Coughlin: Thanks so much Larry. Glad to talk to you again.
Larry Jordan: John Pritchard is an award winning educational filmmaker, multimedia producer and publisher. His newest film, One Heart One Spirit, just won Best Indigenous Documentary at the 2017 Melbourne Documentary Film Festival in Australia. Hello John.
John Pritchard: Hey Larry, how's it going?
Larry Jordan: I'm talking to you, it's going great. By the way, congratulations on winning the award, we're going to talk about that more in just a minute.
John Pritchard: Many thanks.
Larry Jordan: How would you describe One Heart One Spirit?
John Pritchard: This is a film that has been in the making for a number of years, but it takes place in Northern Australia where there is a Festival of Aboriginal Wisdom that is shared with the outside world every August since about 1999 and a couple of thousand people come to this Garma Festival. Garma is an Aboriginal word that means coming together in harmony, and it's essentially the only place in the world where people from the outside can go and learn about the 40,000 year old traditions and culture of the Aboriginal people. My film is unique in the sense that a very close friend of mine who's a Native American elder, who is of Micmac and Mohawk heritage, travelled to Australia and was doing a storytelling tour and was invited up to this festival, and essentially a couple of filmmakers followed him around for three days, and that's where we got the footage. That's really the essence of the film which is the essence of indigenous wisdom, that we're all one human family, we're all connected and we took that message and are now bringing it to colleges and universities on a world tour.
Larry Jordan: I can understand the value of the festival, but why did you decide to turn it into a film?
John Pritchard: This was a long process that started with our executive producer who lives in Sydney and we worked together very closely in New York City back in the 90s and the Native American elder is someone that we worked with in a band called Sinh-Tala where he played his Native American flutes, Greg played guitar and I played drums, percussion and keyboard. We played all over New York City and put an album together which is the soundtrack for this album, but we all went our separate ways in the early days of the dot com era, 97, 98. Greg went back to Australia and he really had this vision of getting Ken to meet with the Aboriginal folks up at this festival and it took a number of years but it finally happened. The subject matter and content was very new to me being that it was an Aboriginal festival. I've gone to many Native American pow wows, but there's something very unique about Australian Aboriginal people, even finding out that our human heritage goes back to Australia, not to Africa. The folks that focus on the journey to Eve 180,000 years ago in Africa have now started to re-write their research and it's now going back to Australia interestingly.
Larry Jordan: What was the purpose of the film? Now that it's done, what are you doing with it?
John Pritchard: The purpose is to share the heart of indigenous people everywhere which is to have not only respect for each other, but also for the earth. So these are two very timely issues as we know with our current political scene, kindness is not necessarily an operating word, and certainly environmental justice has had to take a big slap in the face during the last year. But both these issues of human kindness and caring for the earth are at the earth of indigenous people all over the planet, and this message, we believe, as a filmmaking team, is crucial to bring to the world, and especially to college kids. People that are at the heart of their own career building, about to go out into the world, and as much as we can do to introduce them to these very simple indigenous principles of respect, being less materialistic, thinking seven generations ahead.
Larry Jordan: John, take a breath. We're going to run out of time, so I understand the film has value but I also want to talk about the fact you decided not just to send it to college kids, but you wanted to send it to a film festival. What was the role of the film festival?
John Pritchard: The big search that every filmmaker needs to go through is to find or create a festival lift that is going to be showcasing the subject matter that their film contains, and for us obviously looking at different film festivals in Australia, this one in Melbourne had an indigenous focus and we knew there would be quite a number of films that we would be competing against, but at the same time the director in particular there had a specific passion for helping get the indigenous message out. So what I recommend to all filmmakers, which is a little bit of stating the obvious, but if you can really go through the hundreds of film festivals and find the ones that really resonate with your message, the most important thing you can do is try to contact the director of that film festival and not unsurprisingly, they are accessible, and their goal is to get your film seen and if it's in a competitive category, to help you do as well as you can to win. We found the Melbourne film festival to be extremely helpful all the way through from the moment we entered to getting articles written by local magazines and online blogs. The critical component is really to search and find the festivals that match your film. Does that make sense?
Larry Jordan: Yes, what did you do to win? Did you have to do anything special in terms of marketing or the media?
John Pritchard: The main thing that we had to do was stay in the eye of both the film director and his team and once they went through their process of looking at all of the different films that were in this category of Indigenous Documentary films, they had let us know that we were high in the running. I think it's probably different for example with Sundance which we're entering in another week, and you have a much larger pool of films that are not necessarily in a particular category other than documentary and feature and so on.
Larry Jordan: For people that want more information about your film, where can they go on the web?
John Pritchard: createkinderworld.org is where people can go and also download a free guidebook.
Larry Jordan: That's all one word, createkinderworld.org not .com, and John Pritchard is the publisher and the director of One Heart One Spirit. John, thanks for joining us today.
John Pritchard: Thanks so much Larry.
Larry Jordan: Bye bye.
Larry Jordan: Here's another website I want to introduce you to. doddlenews.com. doddleNEWS gives you a portal into the broadcast, video and film industries. It's a leading online resource, presenting news, reviews and products for the film and video industry. doddleNEWS also offers a resource guide and crew management platforms specifically designed for production. These digital call sheets, along with their app, directory and premium listings, provide in depth organizational tools for busy production professionals. doddleNEWS is a part of the Thalo Arts Community, a worldwide community of artists, film makers and story tellers. From photography to film making, performing arts to fine arts, and everything in between, Thalo is filled with resources you need to succeed. Whether you want the latest industry news, need to network with other creative professionals or require state of the art online tools to manage your next project, there's only one place to go. doddlenews.com.
Larry Jordan: Terence Curren is the founder and president of Alpha Dogs, a Burbank based post production facility that he started back in 2002. Terry is also the host of the Editors Lounge, a regular gathering of post production professionals interested in improving their craft. Hello Terry, welcome back.
Terence Curren: Thanks Larry, I always enjoy these confrontations.
Larry Jordan: I always enjoy talking with you, because if there's one thing I can count on, it's the fact that you never ever have an opinion.
Terence Curren: I guess you know me well.
Larry Jordan: Terry, we've just discussed the basics of artificial intelligence with Philip Hodgetts, so what I'd like to do is to focus more on its impact in our industry with you. So, what are your thoughts? Is AI a good thing, or are we doomed?
Terence Curren: Wow, that's a great question. Well let me put it this way, ultimately we are doomed I think. But right now, what's really important is to focus on being creative. The reason I put it that way is that, yes, at some point in time, artificial intelligence will become as intelligent as human beings, and then one second later, it's smarter than we are, and a day later we're cockroaches compared to it. When that happens, which is hopefully a long way off, the rosy predictions are like 2040. The less rosy predictions are much later than that, so it's a ways off, but there are stages, as Philip's talked about of AI, and the ones that are going to immediately start replacing jobs in our industry are the mundane jobs, logging footage, syncing dailies, that kind of stuff, which is why I tell people, focus on the creative, because that's the hardest thing for AI to do, the creative thing. That muse that strikes and gives you an idea of how to put two things together that you shouldn't put together, that all the rules say don't put together, but somehow it makes an amazing end result. So that part is going to be the last thing to be replaced so if you want to be in this industry and to continue to work, focus on the creative.
Larry Jordan: Now when you say focus on the creative, it sounds like what you want us to do is look more at the craft of editing as opposed to the technology?
Terence Curren: Exactly. Because from the technology standpoint, that's going to be the easiest thing to replace, technologically so to speak. Philip ten years ago was showing his First Cuts which would string out footage into a basic rough cut and then the editor could go in and just fine tune it. That eliminates the mundane part which is what he was trying to do. But it also eliminates a job that an assistant editor would traditionally do. So if you're doing anything that's very repetitive, if it's something that someone can be taught within a few days, you're probably going to get replaced sooner than later. That's why I really recommend focusing on the creative side because that's the part that's going to be the hardest thing to replace with artificial intelligence in the long run.
Larry Jordan: Putting aside the emotional aspect of people losing their jobs which is very similar to the old joke of "Other than that, Mrs Lincoln, did you enjoy the play?" Is it really a bad thing that we're streamlining our workflow?
Terence Curren: No. I'm not a Luddite. I think that the technological improvements that we're making everywhere, not just in our industry, but in general, make our lives better and have the promise of making our lives better throughout. The problem is that we have a society based on a minimum of a 40 hour work week work ethic and we're moving to a society where there just won't be that much work that needs to be done, and how do we restructure our society so that we can enjoy the benefits of all of this technology, and not feel guilty that we're not working hard enough?
Larry Jordan: Or more importantly, how can we enjoy the benefits of all this technology, and live while making less money?
Terence Curren: Yes, which is the whole universal basic income discussion which is probably an entirely different show.
Larry Jordan: If you're a young editor starting out, what advice would you give? Should they embrace this technology, should they fight against the technology, and how should they structure their career?
Terence Curren: Ooh, well, if somebody was starting out now, and wanting to be an editor, I would tell them the same thing that I was saying back when I was teaching editing classes around 2000. That is, if you can imagine yourself doing anything else for a living, you should go do it, because our industry is so difficult and so competitive to get in and then make a decent living at, that unless you can't imagine doing anything else, you probably won't have the drive for the long run that it takes to build a career. That said, if you are one of those people who can't imagine doing anything else, then just do it. Edit as much as you can, edit for friends, look at your local film school and offer to edit director's projects. Wherever you can edit, and that's how you get the chops, and the connections that eventually will lead to a career.
Larry Jordan: Terry, for people that want more information about what you're doing and Alpha Dogs itself, where can they go on the web?
Terence Curren: alphadogs.tv for Alpha Dogs, editorslounge.com for the Editors Lounge, and theterenceandphilipshow.com for your dose of Philip and I debating various things.
Larry Jordan: Bring extra coffee when that occurs. That website is alphadogs.tv and Terence Curren is the founder and president of Alpha Dogs. Terry, this has been fun, thanks so much for joining us.
Terence Curren: Thanks for having me Larry.
Larry Jordan: You know, I was just thinking. It's easy in these days to get discouraged. It seems that each day brings its own share of bad news, and we certainly don't need to go out of our way to find it. That to me, is why Thanksgiving is so important. Bad news rises up and slaps us in the face, but good news, good friends and good family surround us so much that all too often we take them for granted. Thanksgiving reminds us to stop and give thanks. As folk who specialize in telling stories with moving images, there have never been better times than these. Yes, budgets are falling, but so are barriers that prevented many of us from even entering the industry. Gear is more affordable and higher quality than ever. Distribution channels that used to be controlled by the few are open to almost all of us, and audiences are eager for and receptive to new programming
Larry Jordan: Now I don't deny that as an industry we have major challenges, but I also want to affirm that we also have major opportunities. Every time I pick up an HD camera, I'm reminded of how hard it was to record a professional grade video image when I started in television. Equipment that used to require trucks to carry, now fits in my hand. Back then, getting an audience to see what I created required a broadcast television station. Now it simply requires uploading a file to YouTube. In the past, we could only work with the people who were near us. Now we can easily access creative talent from around the world.
Larry Jordan: Life is never perfect, nor easy, but it has also never been better. I prefer to think of the glass as half full, and growing. Have a very happy Thanksgiving, and thanks from me, for being part of the Buzz family.
Larry Jordan: I want to thank our guests for this week, JJ Kelley with the National Geographic, Tom Coughlin of Coughlin Associates, John Pritchard of One Heart, One Spirit, Terry Curren of Alpha Dogs, and James DeRuvo of doddleNEWS.
Larry Jordan: There's a lot of history in our industry and it's all posted to our website, at digitalproductionbuzz.com. Here you'll find thousands of interviews, all online and available to you today. Remember to sign up for our free weekly show newsletter that comes out every Saturday.
Larry Jordan: Talk with us on Twitter @DPBuzz and Facebook at digitalproductionbuzz.com.
Larry Jordan: Our theme music is composed by Nathan Dugi-Turner with additional music provided by Smartsound.com. Text transcripts are provided by Take1 Transcription. Visit take1.tv to learn how they can help you.
Larry Jordan: Our producer is Debbie Price. My name is Larry Jordan, and thanks for listening to The Digital Production Buzz and have a happy Thanksgiving.
Larry Jordan: The Digital Production Buzz is copyright 2017 by Thalo LLC.
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text:
El Incidente de Guang'anmen (en japonés: 広安門事件 Kōanmmon Jiken), o Incidente de Kuanganmen, fue un ataque al ejército japonés por parte del 29.º Ejército del Ejército Nacional Revolucionario que ocurrió el 26 de julio de 1937 en las etapas iniciales de la Segunda Guerra Sino-Japonesa en Beiping, ahora Beijing, que estaba bajo el control del Consejo Político de Hebei-Chahar. Ocurrió después del Incidente del Puente de Marco Polo del 7 de julio y el Incidente de Langfang del 25 de julio.

En ese momento, el ejército chino ya se estaba acumulando en grandes cantidades en Baoding y Shijiazhuang en la mitad sur de Hebei, y en Datong en Shanxi, y tenía al ejército japonés rodeado en el distrito de Fengtai, mientras que en el lado japonés, las recientemente movilizadas unidades del Ejército de Kwantung y del Ejército Coreano Japonés estaban en proceso de alcanzar el área de Tianjin y Beiping. El incidente de Kuanganmen fue un incidente que ocurrió mientras aumentaba el grado de tensión entre los dos ejércitos.

El ataque
El 2.º Batallón del 2.º Regimiento de Infantería de la guarnición china bajo el comandante Hirobe estaba destinado con 26 camiones en los cuarteles japoneses dentro de las muralla de Beijing para brindar protección a los residentes japoneses. Takuro Matsui, el jefe de la Agencia de Servicios Especiales había tenido conversaciones previas con las autoridades del Consejo Político de Hebei-Chahar sobre el paso de tropas a través de las puertas de Guang'anmen a las afueras de Beiping y había obtenido la aprobación del alcalde Qin Dechun. Sin embargo, cuando el comandante Tokutaro Sakurai, un asesor militar y político del Consejo, se dirigió a Guang'anmen aproximadamente a las 6:00 p. m. para establecer contacto, las tropas chinas en guardia mantuvieron la puerta cerrada. Finalmente, después de más conversaciones, las puertas se abrieron alrededor de las 7:30 p. m. y las unidades japonesas comenzaron a pasar, pero una vez que los primeros 3 camiones habían cruzado, los chinos comenzaron a disparar contra ellos. Dos tercios de las unidades lograron pasar cuando la puerta se cerró repentinamente, dividiendo a las tropas de Hirobe. Recibieron inesperadamente un intenso fuego de ametralladoras y granadas, y debido a que los asesores japoneses y chinos no lograron calmar a las tropas chinas, a las 8:00 p.m. los japoneses atacaron en respuesta tanto dentro como fuera de las puertas.

Las tropas chinas recibieron refuerzos y rodearon a los japoneses, pero a pesar de que Masakazu Kawabe, comandante de la brigada en el distrito de Fengtai, envió una columna de ayuda a las 9:30 p. M., las negociaciones con los chinos produjeron una propuesta según la cual el ejército chino mantendría su distancia, mientras que los japoneses dentro de las puertas se moverían a los terrenos de su jurisdicción dentro de las paredes y los japoneses que quedaban afuera regresarían a Fengtai. Poco después de las 10:00 p. m., los combates cesaron y alrededor de las 2:00 a. m. del día siguiente, la unidad de Hirobe entró en el cuartel. Las bajas totales del ejército japonés en la lucha fueron 2 muertos y 17 heridos. Los dos muertos tenían el rango de soldado primero, y el desglose de los heridos era de un comandante, un capitán, un sargento, dos soldados primero, un soldado de primera clase, siete soldados de segunda clase, dos civiles adjuntos y un reportero. El intérprete que viajaba con Tokutaro Sakurai también fue asesinado.

Impacto del incidente
El Ejército Japonés de Guarnición de China juzgó este incidente y el choque en Langfang, por lo que las perspectivas de una resolución pacífica habían terminado y, a las 2:00 AM del 28 de julio, rechazaron una solicitud del día anterior en respuesta al Incidente de Langfang por el que cada miembro de la unidad del 29.º Ejército de China retrocedería según un plazo de tiempo, y en su lugar notificó a Song Zheyuan, jefe del Consejo Político de Hebei-Chahar y comandante del 29.º Ejército, que "las actividades agresivas frecuentes de China y las violaciones de acuerdos son algo que nuestro ejército ya no puede soportar pacientemente. "Por encima de todo, no podemos perdonar en absoluto sus actos engañosos en Guang'anmen, que convirtió en un grave evento que insultó a nuestro ejército, nuestro ejército ahora actuará de acuerdo". Los japoneses además recomendaron a los chinos que retirasen todas sus fuerzas dentro de Beiping para evitar los estragos de la batalla venidera.

Desde la madrugada, el Ejército Japonés de Guarnición de China preparó los puestos necesarios para atacar a los chinos alrededor de Beiping y Tianjin y proclamó que no veían a la gente de Hebei como sus enemigos y no tenían la intención de adquirir el norte de China, sino que estaban considerando los derechos y los intereses de todas las naciones, la seguridad, la vida y propiedad de sus ciudadanos. El mismo mensaje fue anunciado como discurso por el secretario en jefe del gabinete.

Los japoneses lanzaron su asalto contra el ejército chino en el área de Beiping el 28 de julio, y en Tianjin los chinos atacaron a medianoche. Los japoneses salieron victoriosos en todos los frentes y en dos días se completaron las operaciones de limpieza.

Referencias

Segunda guerra sino-japonesa
China en 1937

redpajama_set_name: RedPajamaWikipedia


Mayne Island, penny whistle red&green Brachiosaurus, Pete Seeger, recorder consort, piano lessons theory lessons practising drawing treble clefs, identifying the sound of an upright bass for the first time in the cob-recording studio where Roaring Jelly was making plaid pants and learning to juggle rocks and then to blushing hard playing clarinet in grade 8 and losing my vest, the taste of bamboo, an electric bass in the back of the toyota tercel after a day of work at a bakery, wrapping up the day olds, bmmsking with shelder wearing deflated soccer balls on our heads and playing saxophone and piano duets from beginner duet books, singing playing with Marley and Adam, Bell Jar, tape recorder, highschool choir, late slips, Howard Shore malfunction concert band performance and off to Toronto with advice and two pairs of shoes, beginning to write songs and go to shows and discover Jeff Buckley and Brad Mehldau and access to falafels and 24 hr stores, the first callous on my thumb from playing in regions of the bass i never braved, the dingy practise rooms at humber the light fading on dirty carpets the crappy caf food the influential performance in the student lounge where the fourth year kids were improvising based on flash cards and reading out loud from far-out books and the girl with the silver saxophone and black mark on her eyeball, now currently playing with Fish & Bird and touring canada while my lover Words Around the Waist is in toronto and i still haven't passed my road test.
joni mitchell, carla bley, wayne shorter, elvis costello, robert starer, the beatles, nina simone, of montreal, mary margaret o'hara, maurice ravel, nick teehan, beck, neil young, james jamerson, neil swainson, oscar peterson, the bad plus, john coltrane, chet baker, buena vista social club, billie holiday, burt bacharach, the o darling, gary wilson, lauryn hill.
Walking in the pounding rain on Mayne Island with my dog Mooky smelling the dirt and cedar trees and ocean upturning rocks on the beach and watching crabs scuttle away.
Christian appreciates my strong hugs.
My address book and my copy of Alden Nowlan Selected Poems.
I was always nervous to meet the neighbours whose orchard we used to raid on Mayne and whose locked barn we'd sneak into. We never did.
With my dad driving around the Ring of Kerry.
I'd like to have a garden one day and can stuff for the winter. I'd like to be better at sewing and learn to make clothes.
Singing to my sleeping child.
I will be checking this band out!


To contact or see more work by Pearl Photography by Elena, please visit her Facebook Page or Instagram.
In this digital age, memories have become less fleeting. Especially with sacred wedding moments such as the first dance or that smile he wore when you walked down the aisle, preserving memories from your day means being able to reminisce for years to come.
Music can take you back. It is likely that you'll put a lot of thought into each tune played at your wedding – from the first dance to the song that will get your friends out of their seats. Don't let the beat go forgotten. Burn a CD or keep a digital playlist online (whichever way you are less likely to lose it). However way you choose to store your songs – you won't have to worry about the music you'll play during your next anniversary.
Digitally-produced photo albums have made it easier than ever to organize your snapshots. Pull the digital downloads from your photographer and load them up. Easy-to-use programs let you convert to black and white, make collages, add quotes and more. When compiling your pictures, keep it semi-organized in the order of the day (getting ready first, reception last). Your album will tell a story from beginning to end. This is your personal book, so focus on using the pictures that are most likely to make you laugh, smile or cry in the years to come.
It can be especially rewarding to see an event through someone else's eyes. There are plenty of ways to include your guests in the preservation process. You can have your loved ones sign a guest book of warm wishes and advice before they leave, take photos on disposable cameras, or write down a memory.
"One of my favorite memories from my wedding day was seeing my soon-to-be husband's face when we did our "first look." When I finally got up to him, we lingered for what felt like an eternity to take a couple pictures before he turned to see me. As he turned, his face instantly lit up! His eyes got big and he got the biggest smile on his face! After that moment, all of my wedding jitters and anxiety melted away and I felt nothing but pure joy and excitement for the rest of the day." – Katherine F.


A circuit for driving a plurality of light emitting units includes a current biasing unit that biases a light emitting current with an overshoot current and supplies the resultant current to each of the light emitting units. The light emitting current is determined based on an amount of light emitted from each of the light emitting units.
The present application claims priority to and incorporates by reference the entire contents of Japanese priority document 2007-052254 filed in Japan on Mar. 2, 2007.
The present invention relates to a light-source driving device for driving a plurality of light emitting units in an image forming apparatus.
An electrophotographic image forming apparatus that employs a laser as a light source is widely used for forming an image on a recording medium. Typically, the image forming apparatus includes an optical scanning device that forms an electrostatic latent image on a photosensitive drum by scanning the photosensitive drum with a laser beam in an axis direction of the photosensitive drum via a polygon scanner (e.g., a polygon mirror) while the photosensitive drum rotates. There has been a demand to increase image density, processing speed, and image quality, and improve operability of image forming apparatuses.
For this purpose, a method of scanning a plurality of lines on the photosensitive drum with a plurality of laser beams simultaneously has been proposed.
For example, an image forming apparatus disclosed in Japanese Patent Application Laid-open No. 2000-012973 includes a light emitting element array in which a plurality of light emitting elements, to which a first electrode and a second electrode for applying a current are connected, are two-dimensionally arranged in a rectangular area, and first wires as a row wiring aligned in a longitudinal direction of the rectangular area and second wires as a column wiring aligned in a lateral direction of the rectangular area are arranged in a matrix form. The first electrodes are connected to the first wires, and the second electrodes are connected to the second wires. The light emitting element array is divided into a plurality of groups each of which can be driven independently, the row wiring and the column wiring are provided for the light emitting elements in each group, and the wires in the row wiring are drawn in the column direction.
Moreover, a light emitting element array disclosed in Japanese Patent Application Laid-open No. 2002-314191 includes a plurality of light emitting elements arranged on a substrate and a plurality of electrode pads that are individually connected to the light emitting elements through a plurality of wires provided on the substrate. In the light emitting element array, the stray capacitances of the wires are approximately the same.
In recent years, attention has been paid to the use of a surface-emitting laser element as a light source of an image forming apparatus, such as a vertical-cavity surface emitting laser (VCSEL) element.
For example, a VCSEL element disclosed in Japanese Patent Application Laid-open No. 2002-217488 includes a multiple quantum well (MQW) structure between an active layer and a top mirror, a first electrode for injecting a current into the active layer, and a second electrode for applying an electric field into the MQW structure. The electric field is applied to the MQW structure, so that a refractive index of the MQW structure is changed, thereby making an oscillation wavelength variable. A GaInNAs compound crystal is used as a material of a well layer of the MQW structure in the surface-emitting laser element.
If a light source including a plurality of light emitting units and a driver for supplying a driving current to each light emitting unit are provided on the same substrate and a wiring is conducted between the light source and the driver, it becomes difficult to keep the length of each wire the same between each light emitting unit and the driver as the number of the light emitting units increases.
If the lengths of the wires are different, rise characteristics of lights emitted from the light emitting units differ from each other. In addition, fluctuation in the rise characteristics can arise due to fluctuation in characteristics between the light emitting units, such as thermal characteristics and a resistance.
According to an aspect of the present invention, there is provided a circuit for driving a plurality of light emitting units that includes an overshoot-current generating unit that generates an overshoot current; and a current adding unit that biases a light emitting current that is determined based on an amount of light emitted from each of the light emitting units with the overshoot current, and supplies resultant current to each of the light emitting units.
According to another aspect of the present invention, there is provided an optical scanning device that scans a target surface with a light. The optical scanning device including a light source that includes a plurality of light emitting units; a deflector that deflects the light emitted from the light source; an optical system that focuses the light deflected by the deflector toward the target surface; and the circuit for driving the light emitting units, the circuit including an overshoot-current generating unit that generates an overshoot current; and a current adding unit that biases a light emitting current that is determined based on an amount of light emitted from each of the light emitting units with the overshoot current, and supplies resultant current to each of the light emitting units.
According to still another aspect of the present invention, there is provided an image forming apparatus including at least one image carrier; and at least one optical scanning device that scans the at least one image carrier with a light carrying image data. The optical scanning device including a light source that includes a plurality of light emitting units; a deflector that deflects the light emitted from the light source; an optical system that focuses the light deflected by the deflector toward the target surface; and a circuit for driving the light emitting units. The circuit including an overshoot-current generating unit that generates an overshoot current; and a current adding unit that biases a light emitting current that is determined based on an amount of light emitted from each of the light emitting units with the overshoot current, and supplies resultant current to each of the light emitting units.
FIG. 21 is a schematic diagram of a tandem-type color printer.
FIG. 1 is a schematic diagram of a laser printer 1000 as an image forming apparatus according to one embodiment of the present invention. The laser printer 1000 includes an optical scanning unit 1010, a photosensitive drum 1030, a charging unit 1031, a developing roller 1032, a transfer charger 1033, a neutralizing unit 1034, a cleaning blade 1035, a toner cartridge 1036, a feeding roller 1037, a feeding tray 1038, a pair of registration rollers 1039, a fixing roller 1041, a discharging roller 1042, and a discharge tray 1043.
A photosensitive layer is formed on the surface of the photosensitive drum 1030, and the surface of the photosensitive drum 1030 is scanned with light. The photosensitive drum 1030 rotates in a direction indicated by an arrow in FIG. 1.
The charging unit 1031, the developing roller 1032, the transfer charger 1033, the neutralizing unit 1034, and the cleaning blade 1035 are arranged in this order along the direction of rotation of the photosensitive drum 1030 and near the surface of the photosensitive drum 1030.
The charging unit 1031 uniformly charges the surface of the photosensitive drum 1030.
The optical scanning unit 1010 irradiates the uniformly charged surface of the photosensitive drum 1030 with light that is modulated based on image data sent from an upper-level device such as a personal computer. As a result, an electrostatic latent image representing the image data is formed on the surface of the photosensitive drum 1030. The latent image moves toward the developing roller 1032 with the rotation of the photosensitive drum 1030.
The developing roller 1032 picks-up some toner from the toner cartridge 1036 and applies the toner to the surface of the photosensitive drum 1030. The toner adheres to the latent image on the surface of the photosensitive drum 1030 thereby developing the latent image. The latent image with the toner adhered thereto, hereinafter "toner image", moves toward the transfer charger 1033 with the rotation of the photosensitive drum 1030.
Recording sheets 1040 are stacked in the feeding tray 1038. The feeding roller 1037, which is arranged near the feeding tray 1038, picks up the recording sheets 1040 one by one from the feeding tray 1038, and feeds it to the registration rollers 1039. The registration rollers 1039 arranged near the transfer charger 1033 temporarily holds the recording sheet 1040 picked up by the feeding roller 1037, and feeds the recording sheet 1040 to a space between the photosensitive drum 1030 and the transfer charger 1033 in synchronization with the rotation of the photosensitive drum 1030.
The transfer charger 1033 is applied with a voltage opposite in polarity to the toner, so that the toner on the surface of the photosensitive drum 1030 is electrically attracted to the recording sheet 1040, thereby transferring the toner image onto the recording sheet 1040. The recording sheet 1040 with the toner image transferred thereon is fed into the fixing roller 1041.
The fixing roller 1041 applies heat and pressure to the recording sheet 1040 whereby the toner image is fixed to the recording sheet 1040. The recording sheet 1040 with the toner image fixed thereto is discharged into the discharge tray 1043 by the action of the discharging roller 1042. Thus, recording sheets 1040 with the toner image fixed thereto are sequentially stacked on the discharge tray 1043.
The neutralizing unit 1034 neutralizes the surface of the photosensitive drum 1030.
The cleaning blade 1035 removes toner (residual toner) remaining on the surface of the photosensitive drum 1030. The residual toner removed is reused. The surface of the photosensitive drum 1030 from which the residual toner is removed is moved back to the position of the charging unit 1031 again.
The configuration of the optical scanning unit 1010 is explained below. A Y-axis direction corresponds to a main-scanning direction, a Z-axis direction corresponds to a sub-scanning direction, and an X-axis direction corresponds to a direction that is perpendicular to the Y-axis direction and the Z-axis direction.
As shown in FIG. 2, the optical scanning unit 1010 includes a light-source unit 1011, a cylindrical lens 1012, a half mirror 1013, a light receiving element 1014, a polygon mirror 1015, an fθ lens 1016, a toroidal lens 1017, a reflecting mirror 1018, and a synchronization (sync) sensor 1019.
The light-source unit 1011 includes a light source LA having a plurality of light emitting units, a control unit 400 that controls the light source LA, and a coupling lens CL.
As shown in FIG. 3, the light source LA, for example, includes a two-dimensional VCSEL array in which 32 light emitting units are formed on a substrate.
As shown in FIG. 3, the two-dimensional array has four rows of light emitting units. In each of the rows, eight light emitting units are aligned at equal intervals in a T direction that is inclined by an angle θ with respect to a direction corresponding to the main-scanning direction (hereinafter, "M direction") toward the Z direction that is the sub-scanning direction. The four rows are aligned at equal intervals in a direction (hereinafter, "S direction") perpendicular to the T direction. In other words, 32 light emitting units are two-dimensionally aligned along the T direction and the S direction. For the sake of explanation, the four rows are denoted as a first light-emitting-unit row, a second light-emitting-unit row, a third light-emitting-unit row, and a fourth light-emitting-unit row from top to bottom in FIG. 3. The term "a light-emitting-unit interval" denotes an interval between the centers of two adjacent light emitting units.
For the sake of explanation, the light emitting units in the first light-emitting-unit row are given reference numerals v1 to v8, the light emitting units in the second light-emitting-unit row are given reference numerals v9 to v16, the light emitting units in the third light-emitting-unit row are given reference numerals v17 to v24, and the light emitting units in the fourth light-emitting-unit row are given reference numerals v25 to v32, from left to right in FIG. 3.
The coupling lens CL makes the light emitted from the light source LA into an approximately parallel light, so that the approximately parallel light is output from the light-source unit 1011.
As shown in FIG. 2, the cylindrical lens 1012 focuses the light from the light-source unit 1011 on an area near a deflection surface of the polygon mirror 1015 with respect to the sub-scanning direction.
The half mirror 1013 is arranged on the light path between the cylindrical lens 1012 and the polygon mirror 1015, and reflects a part of the light that passes through the cylindrical lens 1012. The ratio of the amount of light between a transmitted light and a reflected light at the half mirror 1013 is set to any one of 9:1, 8:2, and 7:3.
The polygon mirror 1015 is formed of a regular hexagonal cylindrical member that is low in height, and a deflection surface is formed on each of the six sides. The polygon mirror 1015 is rotated at a constant angular velocity in a direction indicated by an arrow in FIG. 2 by a rotation mechanism (not shown), so that the light that is radiated from the light-source unit 1011 and is focused on an area near the deflection surface of the polygon mirror 1015 by the cylindrical lens 1012 is deflected at the constant angular velocity.
The fθ lens 1016 has an image height proportional to an incident angle of the light from the polygon mirror 1015, and moves an image plane of the light deflected by the polygon mirror 1015 at a constant rate in the main scanning direction.
The light transmitted through the fθ lens 1016 is imaged on the surface of the photosensitive drum 1030 through the toroidal lens 1017 and the reflecting mirror 1018.
The sync sensor 1019 is arranged at a position of the same level as the image plane, at which the light just before scanning, which is reflected by the reflecting mirror 1018, enters. The sync sensor 1019 outputs a signal (an optical-to-electrical conversion signal) corresponding to the amount of light received. Therefore, the start of the scanning on the photosensitive drum 1030 can be detected based on the output signal from the sync sensor 1019.
The light receiving element 1014 is arranged on the optical path of the light reflected by the half mirror 1013, and outputs a signal (an optical-to-electrical conversion signal) corresponding to the amount of light received.
As shown in FIG. 4, the control unit 400 includes a pixel-clock generating circuit 405, an image processing circuit 407, a frame memory 408, line buffers 410-1 to 410-32, a write control circuit 411, and a light-source driving circuit 413. Arrows in FIG. 4 indicate flows of typical signals and data, and do not indicate all the connection relations between the components.
The pixel-clock generating circuit 405 generates an image clock signal.
The frame memory 408 temporarily stores image data that was subjected to a raster development (hereinafter, "a raster data").
The image processing circuit 407 reads out the raster data stored in the frame memory 408, generates write data for the light emitting units after performing a predetermined halftone process and the like, and outputs them to the corresponding line buffers 410-1 to 410-32.
When the write control circuit 411 detects the start of the scanning based on the output signals from the sync sensor 1019, the write control circuit 411 reads out the write data for each light emitting unit from each of the line buffers 410-1 to 410-32, superposes the write data for each light emitting unit on an image clock signal from the pixel-clock generating circuit 405 to generate specific modulated data for each light emitting unit.
The light-source driving circuit 413 includes a light-source driver 413 a and overshoot-current generating circuits 413 b. In FIG. 5, only the light-source driver 413 a and the overshoot-current generating circuit 413 b for the light emitting unit v1 are shown for easy understanding.
The light-source driver 413 a applies a drive voltage Vd to a base of a transistor TR that is connected to each light emitting unit, based on the modulated data from the write control circuit 411. Therefore, a light emitting current corresponding to the drive voltage Vd is supplied to each light emitting unit.
The overshoot-current generating circuit 413 b includes an RC circuit formed by combining a resistor R2, a capacitor C, and a variable capacitance diode Cv as a variable capacitance element, and an RC circuit constant of the RC circuit can be changed by changing the capacitance of the variable capacitance diode Cv by a control voltage Vc from the light-source driver 413 a. An amplitude of an overshoot current generated by the overshoot-current generating circuit 413 b is determined according to the ratio between a resistance of the resistor R1 and a resistance of the resistor R2. The overshoot current generated is added to the light emitting current.
The light-source driving circuit 413 adjusts the drive voltage Vd based on the output signals of the light receiving element 1014 every predetermined timing so that the intensity of the light emitted from each light emitting unit is approximately constant.
There are various kinds of packages for providing a light-source driver on a substrate (in some cases, referred to as "integrated circuit (IC) packages") and packages for providing a light source on a substrate (in some cases, referred to as "light-source packages") such as a ball grid array (BGA) and a quad flat package (QFP). Pins on any package have parasitic capacitances, and wires have coupling capacitances depending upon a width between wires and a wiring pattern. Therefore, even when an ideal rectangular current (or voltage) is generated in the light-source driver, an RC circuit is created by the above capacitances and a resistance of the light source. Consequently, the waveform of the light emitting current supplied to each light emitting unit is distorted by a time constant t calculated by R×C.
The time constant t is almost the same between pins in an IC package and between pins in a light-source package; however, the length of all wires for connecting both packages on the substrate may not be the same due to the limitation in layout on the substrate. Therefore, there is a high possibility that the coupling capacitance is different in each light emitting unit.
For example, if a light source including a two-dimensional VCSEL array is used as the light source with a plurality of light emitting units, the resistance may be different between the light emitting units because of a device-by-device fluctuation of the VCSEL elements or the arrangement pattern of the VCSEL elements.
Because the time constant depends on the resistance and the capacitance, the rise characteristics of the light emitting current supplied to each light emitting unit vary, which causes an optical waveform to vary. When the lights with different optical waveforms are used in the optical scanning unit, the amount of light for scanning varies. Moreover, when the lights with different optical waveforms are used in the image forming apparatus, unevenness occurs in density of an image, making it difficult to form an image with high quality.
FIG. 6 is a schematic diagram of the light-source driver, the light source including light emitting units 1 to 3 (refer to FIG. 7), the substrate on which the light-source driver and the light source are provided, and the wires L1 to L3 for electrically connecting the light-source driver and the light emitting units. The IC package for supplying the light emitting current to the light emitting units 1 to 3 includes IC pins 1 to 3, and the light-source package includes light-source pins 1 to 3. The wire L1 connects the IC pin 1 and the light-source pin 1, the wire L2 connects the IC pin 2 and the light-source pin 2, and the wire L3 connects the IC pin 3 and the light-source pin 3.
FIG. 7 is a schematic diagram of capacitances C11, C21, and C31 of the IC pins 1 to 3, coupling capacitances C12, C22, and C32 of the wires L1 to L3, capacitances C13, C23, and C33 of the light-source pins 1 to 3, and resistances R1, R2, and R3 of the light emitting units 1 to 3.
A capacitance C1 (C11+C12+C13) is applied to a channel from the light-source driver to the light emitting unit 1, so that the time constant t1=R1×C1 occurs in the channel. For example, if C11=2 pF, C12=1 pF, C13=2 pF, and R1=300 O, t1 is about 1.5 ns.
FIG. 8 is a graph representing a relation between the time constant and the rise characteristics. For example, when a constant pulse current is applied to the light emitting unit with a unity absolute value, the time constant t indicates the timing at which an amplitude of the current is (1-e−1). When the rise characteristics are calculated by the 10%-90% method, a rise time ta indicates the time during which an amplitude of the current changes from 0.1 to 0.9. Response characteristics of a pulsed waveform are easily understood by considering the rise characteristics. The relation between the rise characteristics and the time constant is defined by ta=2.2×t based on a relational equation between the response characteristics and the rise characteristics. The same goes for a fall time.
Therefore, the rise time ta in this example is about 3.3 ns.
A capacitance C2 (C21+C22+C23) is applied to a channel from the light-source driver to the light emitting unit 2, so that the time constant t2=R2×C2 occurs in the channel. For example, if C21=2 pF, C22=2 pF, C23=2 pF, and R2=300 O, t2 is about 1.8 ns. The rise time ta in this example is about 3.96 ns.
Therefore, if the coupling capacitance of a wire changes from 1 pF to 2 pF, the rise time ta changes about 0.7 ns.
FIG. 9A is a waveform schematically representing a current (or a voltage) generated in the light-source driver, and FIG. 9B is a waveform schematically representing a current supplied to the light emitting units through the wires. For example, if length of the wire L1<length of the wire L2<length of the wire L3, and the capacitances of the IC pins, the capacitances of the light-source pins, and the resistances of the light emitting units are each do not show much difference among the light emitting units, the waveform of the current supplied to the light emitting unit through the shortest wire (the wire L1) shows the best rise characteristics, and a distortion in the waveform increases in the longer wires (the wires L2 and L3).
In the present embodiment, as shown in FIG. 10A as one example, an overshoot current is added to the light emitting current that is determined based on the light emitting amount with an overshoot time constant tov. Therefore, the rise characteristics of the current supplied to the light emitting unit can be improved as indicated by a solid line in FIG. 10B as one example. Dotted lines in FIG. 10B represent the rise characteristics of the currents in the case in which the overshoot current is not added to the currents.
When the RC circuit is used as a circuit for generating the overshoot current, the peak value and the time constant of the overshoot current to be generated are determined according to the resistance and the capacitance of the circuit.
In the overshoot-current generating circuit 413 b, an amplitude of the overshoot current is determined according to the combination of the resistors R1 and R2, and an adding time during which the overshoot current is added is determined according to the time constant of the RC circuit.
In the overshoot-current generating circuit 413 b, each of the resistances and capacitances is set so that the time constant calculated based on the capacitances of the IC pins, the coupling capacitances of the wires, the capacitances of the light-source pins, and the resistances of the light emitting units is approximately the same in each light emitting unit.
The light-source driving circuit 413 includes the light-source driver 413 a for applying the drive voltage Vd to the base of the transistor TR connected to each light emitting unit based on the modulation data from the write control circuit 411 and the overshoot-current generating circuit 413 b that includes the RC circuit constituted by combining the resistor R2, the capacitor C, and the variable-capacitance diode Cv. Because of such a configuration, it is possible to add an overshoot current to a light emitting current determined from a light emitting amount. As a result, it is possible to make the rise characteristics of all the light emitting units substantially same.
The optical scanning unit 1010 includes the control unit 400 that in turn includes the light-source driving circuit 413. As a result, it is possible to suppress fluctuation of the light emitting amount between the light emitting units and enhance the accuracy of optical scanning.
The laser printer 1000 includes the optical scanning unit 1010. As a result, it is possible to increase the image quality and processing speed.
If the capacitances of the IC pins, the capacitances of the light-source pins, and the resistances do not differ much among the light emitting units, it is conceivable to set the resistances and the capacitances in the overshoot-current generating circuit 413 b depending on the length of the wire between the light emitting unit and the overshoot-current generating circuit 413 b.
Furthermore, if the capacitances of the IC pins, the coupling capacitances of the wires, and the capacitances of the light-source pins do not differ much among the light emitting units, it is conceivable to set the resistances and the capacitances in the overshoot-current generating circuit 413 b depending on the resistance of the light emitting unit.
Moreover, in the present embodiment, a plurality of variable capacitance diodes can be combined and used instead of the variable capacitance diode Cv. For example, as shown in FIG. 11, a combination of two variable capacitance diodes Cc1 and Cc2 having characteristics represented in FIG. 12 can be used instead of the variable capacitance diode Cv. How to combine a plurality of variable capacitance diodes has been disclosed in Japanese Patent Application Laid-open No. 2006-261461.
Furthermore, in the present embodiment, the overshoot-current generating circuit 413 b can be configured such that the resistance in the overshoot-current generating circuit 413 b is changed by an analog switch that works as a resistance switching unit as shown in FIG. 13 as one example. With this configuration, an amplitude of the overshoot current and the time constant can be changed.
Moreover, in the present embodiment, a light-source driving circuit 413A including a current-adding-type circuit can be used instead of the light-source driving circuit 413 as shown in FIG. 14. The current-adding-type circuit, for example, includes current sources I1, I2, I3, and I4, and an amplitude of the overshoot current and a current adding timing are controlled by a current control signal.
FIGS. 15 and 16 are schematic diagrams representing methods of adding the overshoot current using the current-adding-type circuit. In this case, the distortion of the current can be corrected in digital fashion by controlling each current source by the current control signal so that a total current I takes the maximum value just after the rise of the current and takes a predetermined value (a light emitting current determined according to the light emitting amount) as the time elapses.
FIG. 15 represents a case in which the current sources I2 and I3 are turned on at different timings. FIG. 16 represents a case in which the current sources I2 and I3 are turned on at the same timing.
Although only the overshoot current is added to the light emitting current in the present embodiment, an undershoot current can also be added to the light emitting current as shown in FIG. 17A as one example. Therefore, the rise characteristics of the light emitting units can be approximately equal to each other as shown in FIG. 17B as one example.
In this case, as shown in FIG. 18, a light-source driving circuit 413B including a current-adding-type circuit can be used. The current-adding-type circuit includes current sources Iov1, Iov2, Iov3, and Iov4 controlled by an overshoot-current control signal, and current sources Iun1, Iun2, Iun3, and Iun4 controlled by an undershoot current control signal.
FIGS. 19 and 20 are schematic diagrams representing methods of adding the overshoot current and the undershoot current using the current-adding-type circuit. In this case, the current sources Iov1, Iov2, Iov3, and Iov4 are controlled by the overshoot-current control signal so that the total current I takes the maximum value just after the rise of the current and takes a predetermined value (a light emitting current determined according to the light emitting amount) as the time elapses, and the current sources Iun1, Iun2, Iun3, and Iun4 are controlled by the undershoot current signal so that the total current I takes the minimum value (negative) just after the fall of the current and becomes zero as the time elapses. Thus, the distortion of the current can be corrected in digital fashion.
FIG. 19 represents a case in which the current sources Iov2 and Iov3 are turned on at different timings, and the current sources Iun2 and Iun3 are turned on at different timings. FIG. 20 represents a case in which the current sources Iov2 and Iov3 are turned on at the same timings, and the current sources Iun2 and Iun3 are turned on at the same timings.
In the present embodiment, a VCSEL is used as the light source; however, for example, a laser diode (LD) outputting a red light can be used as the light source. A red laser diode has a high internal resistance.
Furthermore, in the present embodiment, the light source LA includes 32 light emitting units; however, the light source can include any number of light emitting units more than one. The light emitting units can be arranged in a line.
Moreover, in the present embodiment, the laser printer 1000 is used as the image forming apparatus; however, it is not limited to this. Any image forming apparatus including the optical scanning unit 1010 can form high-quality images at high speed.
For example, an image forming apparatus that includes the optical scanning unit 1010, and directly irradiates a photosensitive medium (e.g., a sheet) with a laser light, of which color is changed with irradiation of the laser light, can be used.
Alternatively, the image forming apparatus can be the one in which a silver halide film is used. In this case, a latent image is formed on the silver halide film by scanning with a light, and the latent image can be developed by performing a process that is the same as a developing process in a typical silver halide photographic process. Then, the developed latent image can be transferred onto a printing sheet by performing a process that is the same as a printing process in a typical silver halide photographic process. The image forming apparatus with such configuration can be employed as an optical plate making apparatus, a photolithographic apparatus for drawing a computed tomography (CT) scan image, or the like.
The image forming apparatus can be a tandem-type color printer, which includes a plurality of photosensitive drums to form color images, as shown in FIG. 21 as one example. The tandem-type color printer includes a photosensitive drum K1 for black (K), a charging unit K2, a developing unit K4, a cleaning unit K5, a charging unit K6 for transfer, a photosensitive drum C1 for cyan (C), a charging unit C2, a developing unit C4, a cleaning unit C5, a charging unit C6 for transfer, a photosensitive drum M1 for magenta (M), a charging unit M2, a developing unit M4, a cleaning unit M5, a charging unit M6 for transfer, a photosensitive drum Y1 for yellow (Y), a charging unit Y2, a developing unit Y4, a cleaning unit Y5, a charging unit Y6 for transfer, the optical scanning unit 1010, a transfer belt 80, and a fixing unit 30.
The optical scanning unit 1010 includes light emitting units for black, cyan, magenta, and yellow.
Lights from the light emitting units for black, cyan, magenta, and yellow are radiated to the photosensitive drums K1, C1, M1, and Y1 through scanning optical systems for black, cyan, magenta, and yellow, respectively. The optical scanning unit 1010 can be provided for each color.
Each photosensitive drum rotates in a direction indicated by an arrow in FIG. 21. The charging unit, the developing unit, the charging unit for transfer, and the cleaning unit are arranged in this order in the direction indicated by the arrow. Each charging unit uniformly charges the surface of the corresponding photosensitive drum. The uniformly-charged-surface of each photosensitive drum is irradiated with a light from the optical scanning unit 1010, so that an electrostatic latent image is formed on the surface of each photosensitive drum. The latent image on each photosensitive drum is developed by the corresponding developing unit, so that a toner image is formed on the surface of each photosensitive drum. The toner image of each color is transferred onto a recording sheet by the corresponding charging unit for transfer, and then, four color toner images on the recording sheet are fixed thereto by the fixing unit 30.
According to one aspect of the present invention, because the overshoot current is added to the light emitting current that is determined according to the light emitting amount of each light emitting unit, the rise characteristics of the light emitting units at the time of emitting light can be equal to each other.
According to another aspect of the present invention, the optical scanning can be performed with high accuracy by using the light-source driving circuit.
According to still another aspect of the present invention, because the image forming apparatus includes at least one optical scanning unit, high quality images can be formed at high speed.
a current adding unit that biases a light emitting current that is determined based on an amount of light emitted from each of the light emitting units with the overshoot current, and supplies resultant current to each of the light emitting units.
2. The circuit according to claim 1, wherein the current adding unit determines an amplitude and a timing for biasing the light emitting current with the overshoot current based on lengths of wires between the circuit and each of the light emitting units.
3. The circuit according to claim 1, wherein the current adding unit determines an amplitude and a timing for biasing the light emitting current with the overshoot current based on characteristics of each of the light emitting units.
the current adding unit determines an amplitude of the overshoot current for biasing the light emitting current so that a time constant, which is obtained based on a resistance of each of the light emitting units, a capacitance of each of the packages, and a coupling capacitance between each of the light emitting units and a wire, is equal among the light emitting units.
5. The circuit according to claim 1, wherein the overshoot-current generating unit generates the overshoot current by combining outputs from a plurality of current sources.
6. The circuit according to claim 1, wherein the overshoot-current generating unit includes a resistance-capacitance circuit, which includes a resistor and a capacitor, that generates the overshoot current.
7. The circuit according to claim 6, further comprising at least one of a resistance switching unit and a variable capacitance element to change a resistance-capacitance circuit constant of the resistance-capacitance circuit.
8. The circuit according to claim 1, wherein the current adding unit biases the light emitting current with an undershoot current.
11. The image forming apparatus according to claim 10, wherein the image data is a data of a multiple color image.


Certified authentic alphabetica. Made by hand just for you with love and Crayola Anti-Dust Chalk.
These cards are wonderful! So beautifully done.
And I love your idea of a chalkboard in the dining room, advertising the menu!
The cards make a nice change from the mass-produced so-so ones around.
Very special, Jama. What a talent, and what beautiful drawings. Thanks for sharing about Valerie's work!
Glad you enjoyed seeing Valerie's work, Linda. She makes it look so easy.
I love these! Thank you for the introduction, Jama. Now please excuse me — I'm headed on over to the Etsy store . . .
The Ferris Bueller quote — ha! When our children were little, we made a chalkboard with special paint and some wood moulding to frame it. Sometimes, they still leave each other drawings and messages there. I'll be sad when it's time to paint over it.
I've always wanted to use chalkboard paint on something. Love the idea of your kids leaving messages and drawings there.
I have a chalkboard in my dining room also Jama. I look at the saying on it several times every day. Thank you for introducing us to the work of Valerie and Lily.
I left Scotland with a piece of Scotland slate – real deal, what blackboards were made of, and still are in rural areas. It takes chalk beautifully, and it's not big enough for a full menu, but it's nice for a Quote of the Day or a "welcome" sign. I love it.
That Scotland slate sounds fantastic. What a nice keepsake!
What a coincidence — we are supposed to be having a month of no spending, too, and I also want the wrapping paper! I don't have any Scotland slate, though.
Adorable! So warm and homey. .


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Before partying with Filipino fans at In The Mix 2017, DNCE sat down with VJ Donny for a MYXclusive interview!