Basically, in the middle of everything else that has been going on, my printer started p*ssing me off this morning and I couldn't print one page without it jamming. I wanted to huck it through the window. So I went to Office Depot and ordered the best office-grade all-in one printer-fax-scanner-copier they had. $500. It is too big and too nice for the little rinky-dink stand I had my old printer on, so I bought a new credenza to put it on. Which meant I had to move my desk and my computer, which meant I had to disconnect everything. I just got it all cleaned behind and moved and put back together. I still can't print, because the printer wont be here till the 23rd, but when it gets here I will be ready!
Hope you all had fun.
I am so glad LOTR got Hugo nominations--although it doesn't surprise me. If they hadn't, there might have been war, lol. ;)
Thought you all might be interested in this article from Cinematographer Magazine, about the different methods they used in the movie. I thought the discussion about lighting was particularly interesting, and they even mention the lights in Galadriel's eyes that we were talking about the other day:
American Cinematographer Magazine
Here's the bit about Galadriel's eyes:
To achieve a glowing, luminescent quality for the Elvish Queen Galadriel (Cate Blanchett), Lesnie used soft light exposed at key. Lesnie also extended Jackson's predilection for eyelights. "Peter likes to see eyelights, and to create that effect we usually used 'wands,' which were two 2-foot Kino Flo tubes taped together. In close quarters, these wands are ideal and virtually instantaneous tools; they have four intensity levels, they're cool and very flexible, and they're perfect for handholding. For the character of Galadriel, however, I wanted to create a special eyelight, because Tolkien describes her by saying 'no sign of age was upon her, unless it were in the depths of her eyes; for these were keen as lances in the starlight and yet profound, the wells of deep memory.' In order to achieve that quality, we created the 'Galadrilight,' which was simply a rig of hundreds of Christmas-tree lights mounted next to the camera. This technique placed many reflections in Cate's eyes, creating a wonderful otherworldliness. Her skin is so luminescent that sometimes I didn't have to use any fill, because the Galadrilight was doing the work."