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Geek Alert

ControllerMate and automatic fingers

September 5, 2006 Geek Alert

geek alertI recently upgraded to a Mac Pro, which I justified to myself thusly:

1. I’m doing effects for The Movie, and Motion runs much faster on it. (In truth, I only did one effect in the final cut.)
2. My G5 was actually slower than my laptop.
3. As a writer, I needed a quieter computer.
4. I deserve to throw some of my Hollywood money around.

The new computer is great, and almost all of my software works perfectly on it. Unfortunately, I’ve had some hiccups with my input devices.

keyboardAs I’ve [blogged about](http://johnaugust.com/archives/2004/my-new-keyboard-setup), I have a strange keyboard. It looks impossible to use, but I’m actually much faster typing on it than a traditional keyboard, with the added bonus that my arms don’t go numb in the middle of the night.

The Mac Pro isn’t thrilled with my keyboard, which connects through a serial-to-ADB dongle. On restarts, the computer asks me to confirm the keyboard layout, suspicious that I’ve swapped in a Klingon model. Nevertheless, it produces the correct letters every time.

While my odd keyboard is great for typing, it’s singularly awful for key commands, like Copy, Paste and Undo. While one’s fingers can always find the right keys to form words, there’s something different about multi-key combinations. It just doesn’t happen consistently.

nostromo keypadThat’s why I’ve been using a little gaming keypad, the Nostromo N52 by Belkin. Using the software that came with it, I set up keys for Copy, Paste and all the useful shortcuts one is likely to use. With my right hand on the mouse, and my left on the Nostromo, I’m an editing machine.

But the software for the Nostromo refuses to work with the Mac Pro.

At first, I wondered if I could live without it. I thought my fingers would stop reaching for the non-functioning keypad, but they wouldn’t. Thinking I was copying something, I’d be left with a single lower-case g, which is how the computer decided to interpret the chatter from the orphaned device.

Belkin hasn’t upgraded the drivers in years, so I’m not holding my breath that there will suddenly be a new version for Intel Macs like mine. One guy has taken it upon himself to create his own drivers, but it looks like even he’s given up.

Fortunately, there’s a program called [ControllerMate](http://orderedbytes.com/controllermate/) which can handle the Nostromo. For $15, it’s almost as good as free, and can do a lot of things that the Belkin software couldn’t. Like confound the hell out of me.

ControllerMate has an elaborate flow-chart-style programming language which looks great but is almost impenetrable. How do you assign a keystroke to a button? It’s as easy as…

1. Pick the controller from the list.
2. Double-click it to open the available controller buttons.
3. Press the actual button on the device to indicate which virtual button it corresponds to.
4. Drag the virtual button to the programming area.
5. But first, you might want to make a new programming page. Or a group. Why? You won’t know until you need it.
6. Now, pull down the menu to outputs, and select “Keystroke” or “Single Key.” What’s the difference? I couldn’t tell you, except that Single Key seems to work and Keystroke locked up my machine in a beeping loop.
7. Open the virtual keyboard palette and drag the desired key to the well, then add any modifier keys.
8. Then drag the whole thing to the programming area, and attach it to the virtual button.
9. Test to see if it works.

Repeat for all of the other keys. Uggh.

To be fair, there’s a benefit to all this abstraction. You can create some pretty elaborate logic by nesting groups and pages, so that hitting one key while another key is pressed performs a special function. But it’s a lot of work to get to Copy and Paste.

My fingers are just happy to be back on autopilot. Just in the course of writing and posting this blog, they’ll have reached for the Nostromo fifteen times. Which is fifteen times less I’ve had to curse under my breath.

Update on the promiscuous player problem

July 7, 2006 Big Fish, Geek Alert, The Nines

My plea for a DVD player with [loose morals and low standards](http://johnaugust.com/archives/2006/i-want-a-cheap-slutty-dvd-player) was answered by many thoughtful readers. I ended up picking the Philips DVP-642 ($49 at Amazon), which not only zips through questionably-recorded dailies, but even Peixe Grande e Suas Historias Maravilhosas, the Portuguese version of Big Fish.

Thanks again.

Making the geek movie

June 17, 2006 Geek Alert, Genres, QandA, Recycled

When you know computers pretty well, you start seeing certain things in certain movies as being rather idiotic. A huge amount of pictures scrolling by during a search, 3D graphics exploding out of an old laptop during hacking in [HACKERS](http://imdb.com/title/tt0113243/combined), people using Microsoft Word as a magical web search engine, etc. That stuff never happens in real life!

To a techie, it’s as realistic as trouts flying by in the background during a romantic love scene in a desert.

The good thing is, things are looking up. Real hacking is being shown in mainstream movies, a good example being the usage of NMap and an old SSH exploit in [MATRIX: RELOADED](http://imdb.com/title/tt0234215/combined). Sure, the movie wasn’t centered around it, but it was kind of neat. (There’s more such goodness in the original version of the [MATRIX](http://imdb.com/title/tt0133093/combined) script.)

[CONTACT](http://imdb.com/title/tt0118884/combined) was a movie built entirely around physics and technology that wasn’t afraid to use them and it was successful as well.

Do you think there’s room in the amateur movie scene for a movie that not only portrays the hacker subculture, (and by ‘hackers’ we mean ‘really experienced computer users’ not just the ‘evil’ ones) but literally swims in it, twisting and turning around it, weaving in and out of it, wrapping itself around it and being wrapped inside it, like a [Klein bottle](http://www.kleinbottle.com/)?

I mean, there’s a market for it, yes, but the market consists of, well, people like us. Could a technical movie be a success on film festivals? And what advice would you give us? (Other than “get a life and do something useful.”)


— Elver

Estonia

Great question, and great home country. I only spent about twelve hours in lovely Tallinn, Estonia, but it completely lived up to its over-hype about being the next Prague (but quainter). Doubters, may I direct you to [this photo](http://johnaugust.com/Assets/tallinn.jpg).

Now, on to the matter of your proposed geek opus.

Yes, Elver, yes. There is definitely room in the film universe for a uber-geek movie, be it a thriller, a drama, a comedy or whatever. Film festivals would love it, and even if your film didn’t cross over to become a giant mainstream movie, who cares?

Let me offer proof by way of comparison. Take Jim Taylor and Alexander Payne’s excellent [SIDEWAYS](http://imdb.com/title/tt0375063/combined), which is overwhelmingly obsessed with wine in ways that no normal audience member could hope to fathom. Even though we don’t really understand the intricacies of what they’re discussing — I dare you to find a topic less cinematic than pinot noir grapes — we believe the characters know what they’re talking about, and that helps make it fascinating. Sideways is a wine-geek movie, and if it hadn’t been brilliant on all its other levels, it still would have had a following among oenophiles.

An even closer comparison is Shane Carruth’s [PRIMER](http://imdb.com/title/tt0390384). Although it only progressed slightly beyond the festival circuit, it’s certain to do great on DVD. Like [Pi](http://imdb.com/title/tt0138704/combined) before it, Primer consists of geeky people saying a lot of ponderous gibberish without any nod to audience understanding. I loved it.

So by all means, make your geek movie. Hell, shoot it in Tallinn. Just make sure that while you’re being accurate and honest with all the techie details, you’re also being accurate and honest with the human emotions in the story. Do it right, do it well, and I’ll be the first in line.

(Originally posted January 21, 2005.)

Why the Matrix trilogy ultimately blows

March 13, 2006 Geek Alert, Rant

Following a link from [digg](http://digg.com/movies/An_Engineer_s_Guide_to_The_Matrix), I just finished reading a [lengthy explanation](http://denbeste.nu/Chizumatic/tmw/TheMatrix.shtml) of the Matrix trilogy, written by an engineer, who attempts to deconstruct the films on a purely logical level. That is, he looks at what The Architect and The Oracle are trying to do, and how Neo fits into the plan, without any philosophical or pseudo-religious explanations.

I was originally just going to put a link to this in the Off-Topic list, but figured that might be construed as a tacit endorsement of incoherent blockbusters.

Thus, this short rant.

I should preface this by saying the engineer’s last name isn’t Wachowski, so there’s no way of knowing how his speculation fits with the writers’ original intention. But reading his essay, one thing becomes crystal clear: narratively speaking, those movies are a clusterfuck.

I remember going into a pitch meeting with Lorenzo Di Bonaventura at Warner Bros. shortly before Go came out. Before getting down to business, he played me the Matrix trailer. “This movie’s going to blow yours away,” he said. (I’m just barely paraphrasing. The point is, he was kind of a dick about it, and was absolutely right.)

I saw The Matrix in the theater, then bought the DVD, like every third person in America. And loved it.

Sure, there were nits to pick. For one, the idea of “humans as batteries” feels very
first-draft. But even beyond the special effects, there was a really interesting, compelling story. I especially liked the two worlds of it: scary, but you kind of wanted to be there. I even bought the animated Matrix mini-movie DVD, which was enjoyable (if uneven).

So I was psyched to see The Matrix Reloaded. And then disappointed. It felt sluggish and indulgent, with slo-mo dance orgies that didn’t feel like part of the world. But I was more than willing to accept one slow movie to build up for the exciting conclusion that would no doubt be The Matrix Revolutions.

And here’s how I knew that the final movie — and thus the trilogy — didn’t work: When it was over, I had no idea what had happened. Worse, I had no idea how to feel. Hopeful? Despondent? Unsettled? The Oracle and The Architect were having a conversation, and I couldn’t even process it.

Lord knows, I’m not pining for simplicity or tidy answers. I’m happy with some ambiguity. But “incomprehensible” is not a synonym for “clever.”

My friend Rawson has a good phrase for it: “Playing obscurity for depth.” It’s the tendency of a screenplay — or an actor — to make weird choices that the audience won’t understand. The audience, fearing that they just didn’t “get it,” will label the writing or performance brilliant.

But it’s a trap. Once you get away with it, you inevitably do it again. It leads to laziness, which ultimately leads to bad movies. The time, money and energy spent shooting those two movies back-to-back could have been vastly better channeled if the Wachowskis had buckled down and done a few more drafts.

However well-intentioned, I think the second and third Matrix movies were playing obscurity for depth. For whatever reason, I’ve been reluctant to call bullshit on them. Well, bullshit.

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