I’ve had an epiphany about software protection. I was listening to a TWIT.tv podcast the other day and one of the topics that came up was Digital Rights Management (DRM) and the laws associated with intellectual property protection and copyright. One of the issues that arose was the success of software that wasn’t copy protected against those that were. Specifically 3D design and modelling packages and game design engines were mentioned.

I believe whole heartedly that there is a point where the investment in a piece of software requires some sort of serious licence management, especially for the really expensive software, the likes of Autodesk’s Alias, 3ds Max and Maya, Newtek’s Lightwave or SoftImage, and even high-end audio engineering packages. But how does the average Joe become proficient with these pieces of software if they’re so hard to get your hands on and so expensive that only the most profitable of studios can afford to purchase them?

(more…)

I was lucky enough to go to the Triple M preview of Miami Vice tonight, and what can I say, this was one of the better films I have seen this year. Michael Mann, who directed one of the original 1984 TV series episodes as well as some Starsky and Hutch before moving onto the big screen (as writer and director) with Heat, the Insider, and Ali to name a few, has bought this classic back with a fresh style and intensity to match.

I have to say I was almost expecting pink suits and cocktails, but this new Miami Vice is dark and gritty, and very much draws you into the reality of the action rather than portraying a shiny clean Hollywood version of a cop show that you might expect from a remake of such a cheesy classic (although they do drive a rather nice Ferrari). The acting was balanced and never over done; there were no stupid one-liners or comic relief. The illusion of reality was complete.

The photography was very nice, using slow film with a very grainy finish, and balanced light throughout worked well. The music was perfect, with only a single “song” in the movie (the opening), the score was very well chosen and served to enhance each scene rather than plug the soundtrack. Otherwise, the music they did utilise was live, and appropriate.

One other curious little technicality was the noticeable absence of obligatory swearing, and I was almost expecting the violent angry revengeful rampage – but it never happened, and it was better for it. The film was dramatic, lively and kept the level of pace, intensity and action fine without any of the cliche good cop angry cop.

Rating: 4.5