#studio verter

[wildoute]

[therepublicofletters]

Ah, optime! Similis historiae meae. Cum in universitate fui, aestatem Romae cum discipulis latinitatis studui. Studio meo universitate perfecto, Romae unum annum habitavi studuique. Difficilimum inter linguas vertere! Lingua latina et italica in mente mea miscuerunt. Semper “facere” ob “fare” dicebam aut alia verba italica ob verba latina! Iam Roma et Italia careo. Non saepe latinitate (aut lingua italica) iam utor- metuo ne omnium obliviscar!

Haha, ego quoque metuo linguas meas perdere ... sed iam latinitatem utimur! haha

[capra-persa]

Un saluto dal covo delle vipere

Inizio del teatro del grottesco:

Andata via dal liceo classico ora tutto sembra essere diventato più lento e vivibile, aggiungeró che non sento il peso dell’ansia e l’oppressione delle verifiche vertere sulle mie spalle come Atlante (grazie classico per avermi permesso questa metafora). Ora sono a Scienze Umane, nel covo delle vipere: per gli ometti questo indirizzo è un manicomio, per le ragazze, un pollaio.

Brusio perenne in sottofondo, a volume altalenante (in base alla severitá del prof in questione, è chiaro), Urla, risate acute, a decibel capaci di violentare il timpano, Totale non curanza dell’autorità dell’insegnante e di conseguenza mancanza di rispetto.

Spero di imparare a diventare più umana con questa esperienza (ahimè) inevitabile, spero di poter alzare la mia soglia di sopportazione, o meglio, istituirla proprio. Spero di potermi dedicare alla parte umana che c’è nelle persone con lo studio della psicologia, completando la mia formazione umanistica di base. Spero di imparare prima di tutto a interessarmi agli altri, di conseguenza cercare di comprenderli e poi comprendere me stessa.

[teoriapoliticauab]

Adorno contra la voracidad del ratón

«Walt Disney es el hombre más peligroso de América». Esta conocida cita de Theodor Adorno, si bien probablemente sea apócrifa ya que no hay rastro de ella a lo largo de su obra ni constancia en archivo alguno de que fuera pronunciada por el filósofo alemán, ilustra de forma paradigmática lo que, a la postre, supuso la demoledora crítica de Adorno a la cultura de masas en el capitalismo. Así que, como diría un personaje de uno de los diálogos de Giordano Bruno, se non è vero, è molto ben trovato.

 Se trata esta de una de las críticas principales, y más vehementes, que la Escuela de Frankfurt articularía a lo largo de su etapa primigenia, conocida como Primera Generación, contra aquello que denominarían industria cultural. El concepto fue desarrollado por Adorno, junto con Max Horkheimer, en su artículo escrito entre 1944 y 1947 titulado La industria cultural. Ilustración como engaño de masas, y publicado como capítulo en su obra del mismo año, Dialéctica de la Ilustración. Su planteamiento de fondo denuncia la mercantilización que sufre el arte en el modo de producción capitalista, de modo que este pierde su autonomía, su voluntad crítica y se supedita a las demandas del mercado, convirtiéndose así en una herramienta más, cómplice de la alienación que el sistema capitalista produce en los individuos.

 Así pues, la industria cultural administra el tiempo de ocio de la misma forma que el capital organiza el trabajo, tratando a los seres humanos como meras máquinas, reificándolos, transformando la cultura y el arte en simples productos para ser consumidos pasivamente por las masas. Se configuran de esta forma las dos patas que sostienen el control sobre las vidas de cada hombre y mujer en la sociedad capitalista, por un lado la explotación en el trabajo, y por el otro la saturación de productos culturales ultraprocesados durante el tiempo de ocio que suministra la industria cultural. — Resulta, por lo menos curioso, que las teorías psicoanalíticas de Freud que los frankfurtianos emplearon para el análisis de estas cuestiones socioculturales, fueran usadas también por su sobrino Edward Bernays para iniciar el campo de las relaciones públicas, e influir en la conducta de los individuos para convertirlos en consumidores manipulables, a través de prácticas que perseguían la creación de necesidades prefabricadas que asentaron las bases de lo que hoy en día se conoce como marketing. Ironías de la historia.—

 Entonces, desde la perspectiva de la teoría crítica de los frankfurtianos, lo que resultaba más aterrador acerca de esta realidad era el reconocimiento del poder alienante que se incrementaba con la consolidación y estabilización cada vez mayor de la industria cultural en las vidas de las personas. La continuidad entre la alienación en el trabajo y en el ocio se sustancia pues en la distracción que este último supone para los trabajadores, transmitiendo un mensaje oculto de refuerzo del statu quo, que subyace tras la ideología presentada en forma de inofensivos productos de entretenimiento.

 Siguiendo la estela de la crítica de la Escuela de Frankfurt, en este aspecto resulta paradigmático destacar el papel que la Walt Disney Company ha jugado a lo largo del siglo XX como entidad transmisora de los valores del capitalismo estadounidense en Occidente y, muy especialmente tras la desintegración del bloque socialista y la caída de la URSS, a lo largo y ancho del globo. En el nuevo siglo, este gigante del entretenimiento no hizo sino acrecentar su tamaño y capacidad de influencia, con la compra de estudios y compañías bien conocidas en la industria como Pixar en 2006, Marvel Entertainment en 2009, LucasFilm en 2012, y más recientemente la adquisición en marzo de 2019 de la 21st Century Fox, transacción que situó a la compañía del ratón en una posición de dominio mundial absoluto en lo que respecta a industria del entretenimiento.

 No resulta extraño pensar que, ante este panorama, los postulados planteados por Adorno resulten, cuanto menos, interesantes por lo certero de algunas de sus afirmaciones en lo que respecta al desarrollo de la industria cultural como motor de la desintegración de la cultura en un mercado de consumismo desbocado que afectaría a la calidad de las obras artísticas, conllevando la producción de obras mediocres y banales, casi de producción en serie. En este ambiente de estandarización y homogeneización, se desarrollan arcos narrativos reiterados hasta la saciedad, a partir de lo que el antropólogo Joseph Campbell acuñó monomito o periplo del héroe, en maneras manidas y simplistas, que apelen a un público universal con el mínimo grado de subversión posible. Esta versión actual del monomito, recurrente en las historias que se pueden contemplar en películas  de la cultura dominante como las de Marvel Studios, persigue el objetivo de la realización absoluta de la individualidad como máxima a la que aspirar en la vida de cualquier individuo, estableciéndose así un mismo relato cultural en cada obra creada por la razón instrumental del capitalismo.

 Del mismo modo, en el éxito de taquilla de películas como Black Panther, se vislumbra la capacidad de resiliencia y adaptación que el sistema capitalista tiene para absorber y resignificar cualquier tipo de crítica que se pueda verter sobre las condiciones de vida y problemáticas que afectan a los individuos, transformándolos en productos que puedan ser vendidos como muestra de la solidaridad con causas tan legítimas como la lucha contra el racismo que sufren los afroamericanos en Estados Unidos. Esto no significa que el mayor protagonismo e inclusión de colectivos que históricamente han tenido poca representación en este tipo de contenidos sea algo reprochable, el problema reside en la perversión que en esto subyace. El capitalismo inclusivo y sus luchas cosméticas no persigue un cambio estructural en el sistema, simplemente vender un producto aprovechando el tirón que ciertos discursos puedan tener en momentos y contextos determinados, en definitiva, que todo cambie para que nada cambie.

 Otros casos que muestran la capacidad de la industria cultural para inserirse en la vida de los individuos en este nuevo siglo, es el de las compañías de vídeo a la demanda como puede ser Netflix, la plataforma de streaming por antonomasia. El ingente poderío de esta empresa, que se ha erigido como productora y no solo distribuidora, ha conllevado un nuevo giro de tuerca en el bombardeo constante de productos de entretenimiento, y ha asentado las bases para lo que será el consumo audiovisual en los próximos años, transición que se ha visto acelerada por la pandemia de COVID-19 de 2020.

 Más allá de esto, el rechazo profundo y absoluto de Adorno a cualquier forma de arte o producto cultural que no resultara en una exigencia de gran calado intelectual para el receptor, adolecía de cierto elitismo que no ha estado exento de crítica. No en vano el semiólogo italiano Umberto Eco en su ensayo Apocalípticos e integrados, situaba a Adorno y a parte de la Escuela de Frankfurt junto a otros pensadores en el el grupo que denominó como apocalípticos, esto es, aquellos intelectuales críticos y pesimistas en exceso con el desarrollo de la cultura de masas, y cuyas críticas no carecían de cierto carácter aristocrático.

 En dirección contraria apuntaba otro pensador frankfurtiano menos prominente pero igualmente válido como Walter Benjamin. Para él, en la técnica estaban contenidas las potencialidades de emancipación y liberación. El cine y su reproducción mecánica podían ser usados como vectores de transmisión de manifestaciones revolucionarias, como forma de emancipación de la dependencia que históricamente la cultura había tenido de espacios de acceso privilegiado, de manera que se podría democratizar el acceso a esta. Los medios de comunicación serían pues los instrumentos idóneos para divulgar otras producciones artísticas y culturales posibles. El filósofo berlinés habría sido pues probablemente un ferviente partidario de las potencialidades de internet como herramienta de transmisión de conocimientos horizontal y abierta en este nuevo siglo.

 Como hemos visto, el panorama de la industria del entretenimiento actual resulta desolador desde la perspectiva de la Teoríca Crítica. Es más, esta ni siquiera podría ser considerada como productora de arte, en el sentido en el que directores como Martin Scorsese, Francis Ford Coppola o Ken Loach han manifestado en los últimos tiempos. Sin embargo, no todo producto de entretenimiento comercial carece de valor per se, el problema radica más bien en una tendencia que resulta cada vez más acuciante para la producción artística original y atrevida, que persiga nuevas formas de expresión sin miedo al riesgo, sin el lucro como meta última a alcanzar. Como auguraba Benjamin, la existencia de canales alternativos más allá de los grandes circuitos y los millones de las grandes productoras, todavía garantiza que existan reductos en los que el pensamiento crítico y la exploración de otras vías de producción artística y cultural no solo sea posible, sino que sea indispensable. Parece que no todo es tan negro ni tan blanco. La verdad, como suele ocurrir, se encuentra en algún punto intermedio.

   Adrià Comet Martínez

[gazemoil]

RECENSIONE: Hozier - Wasteland, Baby! (Columbia, 2019)

Cinque anni fa un brano intitolato Take Me To Church diventava virale sul web e si diffondeva a macchia d’olio nelle radio, fino ad arrivare alla nomination ai Grammy come canzone dell’anno in mezzo a Meghan Trainor, Ed Sheeran e Taylor Swift. Quel brano ha avuto così tanto successo e risonanza negli anni a venire da scostare le tende dell’anonimato su un artista che era andato totalmente controcorrente riuscendo ugualmente a farsi ascoltare. Non era per nulla scontato che Hozier - cantautore irlandese, voce profonda e scura, vicino alle atmosfere del blues, gospel e soul - potesse generare un tale impatto sul mercato discografico. Take Me To Church era musica potente che reggeva un testo pesante che affrontava senza peli sulla lingua e con amaro sarcasmo la piaga dell’omofobia e la forza dell’amore. Con un manifesto di tali proporzioni, Hozier si era eretto a cantautore di cause importanti, pronto a contestare religione, vita e morte, nonché nuovo volto dell’anti-pop. Forse farsi carico di tali responsabilità non era sua intenzione, perché se nell’unico EP fino a quel momento disponibile si era meritato dei complimenti, non si era dimostrato altrettanto brillante nell’affrontare l’eponimo album d’esordio, in cui il suo singolo fortunato si perdeva tra un’infinità di tracce che poco avevano a che fare con quel tipo di aspettative. 

Hozier sparisce dalla scena dopo aver esaudito gli obblighi contrattuali del tour e risentiamo parlare di lui solo all’avvenire del secondo disco Wasteland, Baby!. Sfortunatamente sembra che la storia sia destinata a ripetersi. Com’era successo in precedenza nel formato EP - col quale ha presentato nuovi brani e ha annunciato l’imminente ritorno - si è fatto apprezzare, offrendo una prima metà piuttosto soddisfacente ed una seconda accettabile, ma con l’album è tutto un altro discorso. Pare sia proprio un problema per Hozier riuscire ad essere sé stesso senza lasciarsi distrarre dalle formalità di un lungo formato e trasporre tutta l’anima dei live in una registrazione in studio. 

Nina Cried Power è il timone del disco, canzone d’apertura e primo singolo, vanta la collaborazione del pilastro del soul Mavis Staples che con la sua voce inconfondibile e screziata dal tempo duetta con Hozier mettendo insieme una serie di santini, a partire da Nina Simone fino a John Lennon, volti ad omaggiare la loro lotta per la difesa dei diritti umani ed il loro immenso contributo alla musica. Il padrone di casa sviscera la sua bellissima voce e si dimostra all’altezza della sua ospite, i cori gospel e l’organo fanno letteralmente levitare la strumentale, le percussioni sono teatrali ed è tutto un grande ruggito evocativo. Anche se sfoderato alla prima occasione rinunciando ad un qualsiasi effetto sorpresa, è un ottimo inizio. “Power has been cried by those stronger than me / Straight into the face that tells you to / Rattle your chains if you love being free” dice ad un certo punto, peccato sia un fuoco fatuo e le premesse dell’artista che sembrano di nuovo vertere su tematiche politicamente e socialmente rilevanti vengono subito scansate a partire dalla successiva Almost (Sweet Music) che parla d’amore con la stessa profondità e pretestuosità con cui lo farebbero i Maroon 5 e adotta le patinature ritmiche adolescenziali di Ed Sheeran. Da qui in avanti gli sbagli si susseguono, dalla produzione eccessivamente pulita e plastificata fino al taglio stilistico che persino nei testi predilige toni sensazionalistici alla spontaneità. C’è quell’artificio che si insinua in tutte le strumentali, dalle percussioni sintetiche che si ripetono in ogni traccia e ti incitano a battere le mani come un’idiota, alla chitarra ridotta a semplice gingillo e buttata nel mucchio, fino alla parte vocale che può essere interpretata con tutta l’enfasi e la bravura del mondo, ma che non viene valorizzata nella sua semplicità, anzi imbandita di mille riverberi, effetti e cori infestanti. E questi sono solo i problemi d’esecuzione musicale. Dal lato contenutistico e stilistico riutilizza qualche riferimento biblico e mitologico dall’album precedente, facendo leva su un linguaggio ormai collaudato - e aggiungerei, già bocciato - ci mette in mezzo una cornice apocalittica giusto per creare atmosfera su un’amore che, per carità, se non è struggente non è interessante e continua a richiamare soul e blues, generi musicali con un ampio bagaglio culturale, cosiddetti “di protesta”, evitando però quasi del tutto questa loro valenza a favore di una furbissima ed alienata versione politicamente corretta.

Il folk gioca il suo ruolo all’interno del disco ed in particolare nel fingerpicking di Would That I che con la magniloquenza della sua grancassa viene imbevuta nel solvente à la Mumford And Sons con tutto ciò che di finto si può produrre con questo tipo di approccio, poi finalmente quasi spogliato da tutte le costruzioni in As It Was in cui si assapora leggero quel gusto scuro e cupo più autentico. Con la sua aria vagamente celtica, Shrike è forse il tentativo più riuscito nell’incorporare questa influenza, anche se la frequentissima aggiunzione di violini e note gravi di pianoforte forzano un pathos emotivo che risulta innaturale. Talk, Be e Dinner & Diatribes sono i cavalli di battaglia blues, tracce carine ma, giusto per essere ripetitivi tanto quanto l’offerta musicale del disco, finte. 

In poche parole, Wasteland, Baby! è la versione più costruita del suo disco precedente. Costruita a tavolino per intingersi di una patinatura pop nel tentativo di guadagnarsi le classifiche mondiali, volendo guardare nel frattempo per metà alla black music e per l’altra alle sue radici folk irlandesi. Che dire, un disco con davvero poca tensione, quasi mai sembra andare verso una direzione comprensibile che rispetti i giganti della musica che ama evocare, una brutta copia di George Ezra mescolata a Kaleo, privo di quel segno indelebile inciso su Take Me To Church. 

TRACCE MIGLIORI: Nina Cried Power; Shrike; Talk

TRACCE PEGGIORI: Nobody; To Noise Making (Sing); Would That I

CLICCA QUI PER LA VALUTAZIONE FINALE

[iapop]

Fragments and Exacts Verter Studio (Claudio Saccucci, Roxane van Hoof) www.studio-verter.com Rotterdam, Países Bajos

[bellioss-music]

Por dar una explicación un poco mas larga. Sivrecordamos que el sonido es una onda. La ganancia es un ordemador procesando esa honda. El ordenador tiene un techo de procesado de 0Db que suele ser equivalente a 22 db "reales" esto es el IN de tu vumetro ese in es procesado y enviado. A la lista de comprobación de efectos. Despues va al amplificador que convierte ese In en in Out. In y out...Cuando lo que entra por IN supera la capacidad de out esto causa distitsión. Es como verter el contenido de una jarra de agua de 1L en un unico vaso de 0,25L. Desborda fijo. Eso es la distorsión. El volumen es presión sale al aire y el aire al expandirse nunca puede generar distorsion( en el agua si puede y de hecho las ondas cambian de forma si se aplica mucho volumen en un periodo corto dectiempo) Instagram Blog #blog #blogging #audio #audioengineers #sound #soundengineer #studio #studi #learn #classess #tip #tips #tutorial #picoftheday #instagood #instagram #instacool #instablog #helps #classroom #Mixing #mastering #bellioss #beats #music #musicproduction #musicblog #musicbusiness @produccioneslost @jacrastudio @frankalon @djmiurabeats @chusterfieldoficial @eyezonthetrack26. @mossesart @brykeroficial (en Madrid, Spain) https://www.instagram.com/p/BsrrFdIAzrW/?utm_source=ig_tumblr_share&igshid=wf3kj2nmhk3k

[jongkeukengeweld-blog]

Gezellig voor varken doorgaan - Cochon de Luxe

December: ook dit jaar weer een tijd van overzichten, eindejaarslijstjes, pop-polls en verkiezingen. Die van ‘Woord van het Jaar’ kreeg met ‘moordstrookje’ onlangs nog een weinig aangename, maar veelzeggende winnaar. Het is dat ik zelf niet in de jury zat, anders was een over het hoofd gezien neologisme toch zeker op de shortlist beland. Met een fijn diner bij Cochon de Luxe in Gent nog vers in het geheugen, zou het woord ‘luxevarken’ in elk geval een eerste schifting hebben overleefd.

Er schijnt iets in de lucht hangen op het Zuid in Gent. Of er moet bijzonder water stromen door de leidingen van de Brabantdam. Niet alleen werd Souvenir ‘Nieuwkomer van het Jaar’ in Gault Millau, schuin ertegenover, op zo’n twintig meter lopen, is er ook Cochon de Luxe. Tom Van Lysebettens en Alison Roels baten er met z’n tweeën een verrassend restaurant uit, met één verdieping hoger, op een wenteltrap afstand, hun living, slaapkamer en kinderen.

Die huiselijke sfeer is voelbaar – in het niet te strakke interieur, de fijne manier waarop de gastvrouw je bedient. Hier kan je al eens met je vinger langs de randen van je bord gaan om niets van de saus verloren te laten gaan. We werden er in ieder geval niet op aangekeken. Hoe dan ook zit je midden in de wereld, met uitzicht op kebabzaken, nachtwinkels, een pornobioscoop en de ingang van het glazen straatje. Type setting waarmee Hopper vast wel raad zou weten. En wat mij betreft ook leuker dan een hermetisch afgesloten ruimte die je naar een gastronomische oase moet voeren.

Als het goed is, slaagt het eten daar zo ook wel in.

In het bord is iets heel anders aan de hand: laat ik niet de hele avond aan de hand van schilders illustreren, maar Hoppers uit het leven gegrepen realisme is in elk geval ver weg. In plaats daarvan: een semantisch, bijwijlen taalfilosofisch spel, met de nodige humor appelerend aan traditie, huiselijkheid en grootmoeders keuken. Die dingen komen vooral binnen via de smaakpapillen: we proeven kip met appelmoes, spaghetti carbonara, puree vol goede boter. Alleen worden die klassiekers stuk voor stuk heel anders gepresenteerd en aangekondigd. Nooit eerder werd de zinsnede ‘een shot van croque monsieur’ met zoveel vanzelfsprekendheid uitgesproken.

Verder onder andere: kaviaar die geen kaviaar is, zeetong in madeirasaus, een dessert genaamd ‘j’ai un petit problème dans ma plantation’ waarin één schamel blaadje groen zich een weg zoekt door een grondlaag roomijs, karamel en aardkleurige crumble. De gerechten die de chef serveert, zijn deconstructies, herinterpretaties, van iets dat we allemaal kennen. Daarbij worden vaker vormelijke grenzen afgetast dan die van de smaak. Nochtans was de wat smaak betreft misschien wel meest frivole gang – een voorgerecht van rode biet, oesters, sushirijst en bloedappelsien – wel één van onze favorieten. En misschien hadden we na een stuk of drie, vier kleine gerechtjes, toch ook liever eens een wat substantiëler stuk groente kunnen onderscheiden.

Het neemt niet weg dat hier een fijn concept is uitgedacht, waarbij de grap soms zo gezocht wordt dat de even samenzweerderige als verontschuldigende manier waarop de gastvrouw weer een nieuwe gimmick komt serveren, de grap zelf naar een hoger niveau tilt – waardoor je het eetpapier met stripfiguren bij het ‘everzwijn à la Obelix’ met veel plezier mee wegslikt. Of lachend aan de Russische roulette van chocolade (één op honderd met Tabasco?) begint.

De roulette pakt goed uit, het intertekstuele dessert ook. Er wordt tijd genomen voor de dingen, voor iedere gang, iedere wijn, en zo blijven we bezig en ontspannen tegelijk. Tegen de tijd dat we zijn uitgegeten – een vast menu van zeven tot negen gangen – zijn er minstens drie uren om. Tijd dan om, zoals Bashō het in een haiku vatte, een gelukzalige vertering aan te vatten: Na de maaltijd/Indutten en os worden/Onder de perzikboom. Vervang de os door het varken, de boom door het café van de Studio Skoop, en het klopt helemaal.

Jacques Brel zong: ‘les bourgeois, c’est comme les cochons’. Eerder werd al terecht opgemerkt dat hij de varkens daarmee weinig eer bewees, en ook in dit geval is dat aan de orde: je kan hier gezellig voor luxevarken doorgaan, zonder je daarom burgerman te moeten voelen.

Waarvoor dank – knor knor.

Lennert De Vroey

[digitalmark18-blog]

These 6 Pinays Earn Up To P110,000 From Building Websites

New Post has been published on https://britishdigitalmarketingnews.com/these-6-pinays-earn-up-to-p110000-from-building-websites/

These 6 Pinays Earn Up To P110,000 From Building Websites

Google “web designer” or “developer,” and you’ll see that almost all the image search results feature a guys in glasses or a vector of a man. Surely, the world doesn’t associate tech jobs with women right away. But locally, more and more (well-paid) women are making a mark in the industry and overcoming the stereotypes. We spoke to some women to find out what it’s really like to be a web designer and developer in the country.

Mirell Macalinao-Gajitos, 26, has been working as a full-time Java Developer for four years—first at Pointwest Innovations Corporation and now in Vertere Global Solutions Inc. She earns around P50,000 to P70,000 monthly. She’s an Electronics Engineer who learned Java through coding subjects back in college and at work training.

What are the best and worst parts of the job?

One of the best parts is the work-life balance I have because it’s important for me to still have time for my family and closest friends. Another is that there are opportunities to travel for training, which is a great experience to have. Finally, a personal best part is that my husband and I met at our first job! The worst parts would be having to deal with issues or defects that are reported by the client but you cannot fix right away because it cannot be replicated. It is like looking for something you know is wrong but you do not know where to start!

PHOTO: Courtesy of Mirell Macalinao-Gajitos/EDPS Studio

Do you experience any stigma in male-dominated companies?

I don’t think so. Most of my colleagues are men, and I have no issues with them.

What are your some of your biggest achievements?

It always feels good and I consider it a great achievement at work when the team is able to finish an enhancement on time and with only a few bugs to fix—that means you have great teammates! I also appreciated it a lot when my old job gave me the opportunity to travel for work because I felt that I grew a lot with that experience.

Continue reading below ↓

Your advice:

Do not hesitate, and be excited about what the industry has to offer. If you are up to the challenge of always having to learn something new, you will definitely enjoy this path!

Ghie Gamboa, 27, has been working as a full-time Design Specialist at Adspark for three years. She’s been in the industry for six years already after graduating with a Multimedia Arts major. She earns around P30,000 to P45,000 monthly and works as a freelance web designer for various websites.

What are the best and worst parts of the job?

One of the best parts of the job is you can see your works published in digital and/or print. Also, you can be creative and be able share your ideas to help clients with their brands. The worst part is when your mind can’t be creative enough. People say that artists are moody and somehow, it’s true. There are really times that you don’t know where to get inspiration, and you will get frustrated that your design is not what you expected to be. When coding websites, there are times that your codes are not working and you don’t know how to solve it.

PHOTO: Courtesy of Ghie Gamboa

Do you experience any stigma in male-dominated companies?

Not at all. At my previous job, I worked with developers and all of them were men.

What are your some of your biggest achievements?

I always feel proud every time my works are published, especially when I develop a website and I see it’s working! I used to be a developer and I can’t believe that part of my brain can still understand the codes!

Your advice:

To all those artists and developers, continue your passion and keep learning! My dream was to be in the advertising industry, but I wasn’t confident enough to compete with other designers when I know that they are better than me. When I started working, that’s the time I really learned how this industry works—from [thinking of] big ideas to creating designs and developing websites. It’s a love-hate relationship, but if you set your goals and everything is clear on what do you want to achieve, then it’s all worth it! And most especially, surround yourself to people who would motivate you and bring out the best in you!

Continue reading below ↓

Kaye Syjueco, 29, works as a lead user interface (UI) designer for three years at Affiliate World Conferences and earns P110,000 monthly. She started as a merchandiser but switched careers and got hired as a designer for a beauty brand, where she got the chance to attend workshops on web design.

What are the best and worst parts of the job?

Being part of a growing company, there’s always room for improvement and growth in design. I get to face new challenges every day, so I am never at a standstill. I am surrounded by brilliant people who help me improve how I design products and push me to go out of my comfort zone. Funnily enough, I get to travel frequently for work, too, even if I initially thought that being a designer was mostly a desk job. The worst parts? Getting to deal with different decision makers who are not always on the same page. There will always be “clients from hell” stories for designers. 

PHOTO: Courtesy of Kaye Syjueco

Do you experience any stigma in male-dominated companies?

Yes, definitely. As a female designer, there’s always an impression that everything you do will be too “soft” or “too feminine.” In some cases, there’s a lack of voice in the decision-making process. So in my experience, I always have to speak up and work a little bit harder to break this perception.

What are your some of your biggest achievements?

One of my biggest achievements is being able to help create the Affiliate World Conferences brand from the ground up. In just three short years, we’ve grown from a small conference to a world-class event with attendees all over the world including Google and Facebook [representatives]. I’m really proud to have been part of the growth and success.

Continue reading below ↓

Your advice:

If you love design, just go do it, and don’t let anything hold you back. Just start creating. Everything I’ve learned about web design was mostly self-taught. Stay curious and always keep learning, especially in this industry where the landscape is always changing and always evolving. You have to keep up the pace. If you can, go find a mentor or someone you can shadow, and go to workshops as much as you can. There’s nothing quite like learning from experience and real-life challenges. You’d be surprised at how much you can learn from these experiences.

Sophia Lucero, 32, has been working as an independent designer and front-end developer for more than 10 years after majoring in Computer Science. As an independent consultant, her income varies but it’s a minimum of USD1,000 if it’s on a per-project basis. She co-founded the Philippine Web Designers Organization and has been organizing the Form Function & Class conference for 10 years now.

What are the best and worst parts of the job?

I love being able to work with words, design, and code. I’m fortunate to have the flexibility of managing my time and deciding where I can work, too. Best of all, I love what the web stands for [and] how empowering the web could be. From knowledge shared freely online, you could learn to create for your favorite things and have your own platform for expressing yourself. Anyone in the world can do that because of websites, and anyone can be part of these global communities. I love how it implicitly encourages you to join the fun and create something of your own. The worst parts are when clients haggle for lower prices, and companies require so much paperwork, you can never expect to get paid on time. Plus, there’s government red tape: a business permit expects you to have a location that is inspected by electrical and fire departments, even if you don’t really have a real office, because that’s what government forms require. So there’s a trade-off to being independent, which is also taking care issues that don’t relate to your job.

Continue reading below ↓

PHOTO: Courtesy of Sophia Lucero

Do you experience any stigma in male-dominated companies?

In my job, I’m lucky to have worked with professional colleagues, so no direct incidents have happened. In the communities, however, I’ve noticed several things that reflect sexist values and a not-so-welcoming atmosphere for women—whether it’s off-hand remarks, questionable practices or behavior, or even gender-skewed speaker line-ups. There’s even some stereotyping that management, communication, planning, or even design and front-end are “women’s work.” Often, it’s not something that they’re aware of doing, or we have to “just let it go” because it’s “not a big deal,” so it’s an important challenge to work towards the right direction. Thankfully, we’re more aware now, we do more initiatives for inclusion, diversity, and safety, and we have an awesome number of women leading or taking charge in various tech communities.

What are your some of your biggest achievements?

In 2008, I put out a post on social media, “we need a web design conference.” After 100+ replies, an initial meet-up, and a Basecamp group—we came together and started plans for what would be Form Function & Class, the first web design conference in Asia, and formed what became the Philippine Web Designers Organization. We held the 9th FFC last August and PWDO turns 10 this 2018.[*] Again, it’s a testament to how the Web brings people together—not just us in the community, but even speakers and attendees from the wherever they are in the world—and gives you the resources to accomplish awesome things. And in this case, we created something that’s also given back to the community, developed people’s careers, and pushed the industry forward.

Your advice:

Designer Jessica Hische‘s words really resonate with me: “The work you do while you procrastinate is probably the work you should be doing for the rest of your life.” You shouldn’t *only* be passionate when it comes to career because you need to learn how to keep doing the job even when don’t want to do it. Developing a can-do attitude that nurtured from passion is important.

Continue reading below ↓

Kit Valmadrid, 27, is the Community Manager of the Philippine Web Designers Organization (PWDO). She also works as a Change and Training Management Expert for Business Applications at Globe Telecom. Her income also “varies depending on the customer’s requirements, duration, and complexity of the project,” but some of the websites she helped build were priced roughly around P40,000 to P50,000.

What are the best and worst parts of the job?

The best parts of being with PWDO are organizing events, meeting new people, sharing ideas, and learning from one another. It is not all the time you meet like-minded people who eventually become your friends. By joining this community, it opened a lot of possibilities, opportunities, and venues in our field whether it is in or out the country. For client-facing engagements, the worst parts are when they haggle with the price of the project all the time.

PHOTO: Courtesy of Kit Valmadrid

Do you experience any stigma in male-dominated companies?

Yes. In the world of IT, I guess there are really more male designers and developers than women. However, in the communities I am exposed to, women can speak up and stand on their own. I can see a lot of women organizers, co-founders, leaders, and achievers who are running and being with organization like ours. It is hard to overcome a stigma like this, but I think more about performing the job I’m supposed to do, stepping up, and taking responsibilities rather than dwelling on the negativity.

What are your some of your biggest achievements?

I feel proudest to be part of PWDO given that I started with the org as a member, got curious how the community works, and then became the Community Manager. Since then, I am one of co-organizers of the Form Function & Class and, now, the co-conference chair. I also contributed in building sites like http://phtechcommunity.org and http://welcometo.pwdo.org.

Continue reading below ↓

Your advice:

As one of our FFC shirt says, “Never stop learning.” There will always be new experiences once you get involved and connected with like-minded people in the industry. From there, it will not hinder you from exploring and it will make you a better person.

Debbie Wong, 26, is the Chief Inspiration Officer and owner of My Bridesmade (launched last February 14, 2018). She designed the website and gives herself an allowance of P20,000 a month for herself while keeping the rest of the profit as part of the revolving fund for the business. She also earns a net income of P50,000 to P100,000 for copywriting projects.

What are the best and worst parts of the job?

I get to be part of someone’s special day. Whether it’s a product launch, a wedding or anniversary, My Bridesmade is built upon the values of celebrating milestones and expressing appreciation to your loved ones through gifts. I also love the fact that I get to merge two industries in my business. Both the tech industry and wedding industry are fun communities to be a part of because the people I interact with are some of the most passionate individuals I’ve met. They’re very serious in taking their craft to the next level so I feel inspired to do the same. But it’s mentally, financially, and emotionally draining, too. Time is also limited so your social life might have to take a backseat especially during the early stages of your start-up.

PHOTO: Courtesy of Debbie Wong

Do you experience any stigma in male-dominated companies?

While I understand that some females face the challenges of feeling incompetent and a lack of a voice in their workplaces, I think it all depends on how women carry themselves in the company. I actually find it an advantage to stand out in a male-dominated community, especially here in the Philippines.

Continue reading below ↓

What are your some of your biggest achievements?

We recently launched our bachelorette collection. My Bridesmade also took part in the recent E! Bloggers Ball last September 23, 2018. At the moment, we’re currently preparing for our Christmas gift box collection, just in time for the holiday season!

Your advice:

Your course or degree does not define you. Don’t put a lot of focus on hitting the best grade but aim to build a network as early as you can. This means joining organizations that interests you, building friendships, staying connected with your schoolmates, and making a lasting impression to your mentors. Continue doing this even if you’re working at the wrong industry and still finding your way. The moment you decide to join the tech community or delve into an exciting business venture, succeeding will not only take passion and hard work. It requires support from family, friends, and former colleagues who could open the doors to meet the right set of people. This is something your competitors can never take away from you. Also, faith in your business idea becomes your only validation. It’s the one thing that no one can seize from you which inspires you to endure the isolation, the sleepless nights, not having enough money at the bank, the pressure of having to make it work, the frustration of seeing your friends enjoy a social life while you’re stuck at home planning, working on orders, saving and not being able to afford the same things you used to.

Follow Ginyn on Instagram.

Source: https://www.cosmo.ph/lifestyle/career-money/money-earn-web-designer-developer-a655-20180928-lfrm2

[christywhitley]

Netflix secrecy over its ratings is an unfair advantage, say rivals

Netflix secrecy over its ratings is an unfair advantage, say rivals

“Netflix frankly doesn’t have to tell anybody anything about the viewing of any of their stuff because they don’t have to,” says Tim Hanlon, chief executive of the Chicago-based media advisory and investment firm the Vertere Group.

Netflix also faces rising costs associated with content licensed from other studios, and disclosing ratings on popular shows would likely lead to even higher…

[charpenterie]

Studio Verter creates archetypal "city square" for 50th anniversary of Biennale Interieur https://ift.tt/2PY2H77 November 15, 2018 at 04:30PM

[sizaralexis-blog-blog-blog]

Happy to share some images of @atelierecrugallery group show ‘Moving Traces 07’, where they presented Lahmu for first time. Atelier Ecru Gallery presented an ambitious exhibition with 22 designer-artists in a unique location: a former ballet school in the middle of the historical city centre of Antwerp. The two-floor penthouse with a total of 600 m2, in a classicist bourgeois townhouse between 'Oude Beurs' and 'Kaasrui', is a real hidden gem with wonderful cinematic light and beautiful rough edges. Works by: Adeline Halot, Bieke Casteleyn, Bram Vanderbeke, Carine Boxy, Cedric Breisacher, Cobra Studios, Domingos Tótora, Frédéric Saulou, Jojo Corväiá, Jumandie Seys, Katrien Doms, Laurids Gallée, Lucas Morten, Maison Armand Jonckers, Middernacht&Alexander, Niclas Wolf, Pierre De Valck, Roxane Lahidji, Sizar Alexis, Supertoys Supertoys, Nathalie Van der Massen, Verter Turroni/Imperfettolab. By presenting works of these different generation designer-artists in an unusual, dramatic setting, Atelier Ecru Gallery is creating a collection of objects that display a sense of stillness and serenity. This feeling is strengthened by the use of raw and inherent beauty of natural materials. Photographer: @tijsvervecken Location: Oude Beurs 56, 2000 Antwerpen https://www.instagram.com/p/CerUUR5jVVQ/?igshid=NGJjMDIxMWI=

[estudiodedecoracion]

Philip Michael Wolfson

Philip Michael Wolfson. Arquitecto y diseñador de mobiliario e interiores.

Philip Michael Wolfson (1958, Filadelfia, Pensilvania, EE.UU.) es hijo de un ingeniero de la NASA.

Estudió arquitectura en la Universidad de Cornell (Ithaca, Nueva York) y en la Architectural Association School of Architecture de Londres, donde fue descubierto por la ya fallecida arquitecta Zaha Hadid, con la que trabajó después como Jefe de diseño durante diez años.

En 1991 fundó su propio estudio Philip Michael Wolfson Architecture + Design, donde desarrolla piezas de edición única y seriadas.

Con una manera de hacer distintiva, cuestionándose las formas y las ideas del Movimiento Moderno de principios del siglo XX, Philip Michael Wolfson plantea un enfoque único influenciado por la dinámica que produce la fractura/ruptura y la fragmentación.

Su concepto deriva de la dinámica de las formaciones naturales y el movimiento geométrico, donde los materiales se manipulan en formas fluidas y superponiendo capas.

La luz y las sombras son parte integral del resultado final de la obra, produciendo unos diseños estilizados y elegantes que se asemejan a formas orgánicas cuyo origen es la naturaleza, como contorsiones geológicas sedimentadas o como los movimientos enérgicos de un director de orquesta apasionado.

El refinado uso de materiales como la madera, el vidrio, los diferentes metales y tipos de piedra, así como nuevos materiales, como la fibra de carbono, aporta una elegancia dinámica y un sentimiento contemporáneo individual único.

Entre sus participaciones en proyectos de interiorismo están el diseño de piezas clave del mobiliario para el restaurante Robert (2010) en la azotea del Museo de las Artes y del Diseño de Nueva York (con vistas hacia Columbus Circle, Central Park y Broadway).

Este proyecto incluía una mesa de acero de más de 4 metros de largo y las mesas más pequeñas de cóctel. La iluminación fue diseñada por la prestigiosa arquitecta de San Francisco Johanna Grawunder y las piezas de tapicería por el maestro, ya un clásico, Vladimir Kagan.

Otra pieza destacada suya es “SoundForm FLUID” (2011), una pieza escultórica -para el lanzamiento de Glenmorangie Scotch Whisky en Taiwán y China- que fue concebida como una visualización concreta de la longitud de onda generada al verter un líquido en un cristal.

“SoundForm FLUID” fue el desarrollo de una poesía visual con la función de una barra de bar, con una forma escultórica tangible, surgida de la investigación de los estudios de Philip Michael Wolfson sobre la manera en la que el sonido se puede transportar y transformar en un objeto físico específico.

Otra pieza de mobiliario destacada es la mesa “Origami FloorDanceO“, una nueva variación de la serie Origami (2011).

La serie de Origami es una abstracción del plegamiento, de la estratificación y de la yuxtaposición de superficies. Fuerzas estáticas contra fuerzas dinámicas, un momento estático de un manual de pliegues y de acción suspendida y congelada.

“Origami FloorDanceO” es una mesa de café escultórica donde combina materiales como el aluminio y el cristal. En esta mesa Wolfson analiza el diálogo entre el ángulo y el círculo, y la sucesión de capas y la yuxtaposición de elementos crea una forma compleja de fuerzas estáticas y dinámicas.

Para Wolfson la arquitectura del siglo XXI aspira a parecerse, a escala monumental, a la escultura.

Philip Michael Wolfson piensa que el diseño experimental de muebles está a la vanguardia al acercarse claramente a la escultura, en un nivel diferente y con sólo la diferencia del elemento relativo a la función.

En este sentido, Philip Michael Wolfson es un radical y un aventurero que se enfoca en ese ámbito ambiguo donde se yuxtaponen conceptos diferentes.

Se puede decir que Wolfson está radicado entre la escultura y las formas que pueden apenas concebirse para ser utilizadas como muebles.

Sus diseños están expuestos en galerías de renombre como Contrasts Gallery en Shanghai y  Sebastian & Barquet de Nueva York; en Ferias de Arte y Diseño de alto nivel como Art Basel (Suiza, Florida y Hong Kong); Design Miami (Florida); Salone Internazionale del Mobile de Milán, TEFAF en Maastricht (Holanda), y a través de Casas de subastas como Christie’s y Phillips de Pury & Co. en Londres y Nueva York.

Ha tenido exposiciones individuales en la Galería Franziska Kessler (2009) de Zurich (Suiza); el Festival de Diseño 2009 de Londres; en la Industry Gallery (2012) de Washington, D.C. y la Feria Internacional del Mueble Contemporáneo 2014 (un festival anual de diseño que se celebra en el Centro Javits) de la ciudad de Nueva York, entre otros.

Las obras de Philip Michael Wolfson han sido exhibidas, o incluidas, en numerosas colecciones internacionales como el Victoria & Albert Museum de Londres (Reino Unido); la Fundación Cartier de París (Francia) y el Price Tower Arts Centre de Bartlesville (EE.UU.).

Philip Michael Wolfson (pág. web).

Philip Michael Wolfson y “Longevity” desk (2007). Edición de 5 piezas hechas de aluminio, vidrio y madera.

TodosABCDEFGHIJKLMNOPQRSTUVWXYZ

A

Achille Castiglioni

Adolf Loos

Alessandro Mendini

Alfredo Häberli

Alvar Aalto

Andrea Branzi

Andrée Putman

Andreu Carulla

Andy Martin

Antonio Citterio

Arend Groosman

Arik Levy

Arne Jacobsen

Autoban

B

BarberOsgerby

Benjamin Graindorge

Benjamin Hubert

Bertjan Pot

Boca do Lobo

C

Carlo Alessi

Carlo Mollino

Carlos Tíscar

Charles Rennie Mackintosh

Charles y Ray Eames

Claudio Colucci

D

David Adjaye

Dieter Rams

DimoreStudio

Doriana y Massimiliano Fuksas

Doshi Levien

E

Edward van Vliet

Eero Aarnio

Eero Saarinen

Eileen Gray

Elena Manferdini

Elisabeth Garouste

Enzo Mari

Ettore Sottsass

F

Fabio Novembre

Fernando Mastrangelo

Filippo Mambretti

Finn Juhl

Formafantasma

Francesco Rota

Frank Gehry

Frank Lloyd Wright

Fredrikson Stallard

G

Gabriella Crespi

Gae Aulenti

Gaetano Pesce

George Nelson

George Sowden

Gerrit Rietveld

Gio Ponti

Goula Figuera

H

Hans J. Wegner

Héctor Serrano

Hella Jongerius

Hermanos Campana

Hervé Van der Straeten

I

India Mahdavi

Inga Sempé

J

Jaime Hayón

Jasper Morrison

Jean Prouvé

Jean-Marie Massaud

Joaquim Tenreiro

Joe Colombo

Johan Lindstén

Jonathan Adler

Joost Van Bleiswijk

Jörg Schellmann

Josef Hoffmann

Jurgen Bey

K

Karim Rashid

Kelly Wearstler

Kenya Hara

Kiki Van Eijk

Konstantin Grcic

L

Le Corbusier

Lex Pott

Lievore Altherr

Lindsey Adelman

Lucas Muñoz Muñoz

Ludovica y Roberto Palomba

M

Maarten Baas

Maarten Van Severen

Marc Newson

Marcel Breuer

Marcel Wanders

Marianne Brandt

Matali Crasset

Matteo Thun

Mattia Bonetti

Max Lamb

Michael Anastassiades.

Michele de Lucchi

Mies van Der Rohe

Miguel Milá

N

Nadadora

Naoto Fukasawa

Nendo

Nigel Coates

Nika Zupanc

O

Olivier Mourgue

Ora Ïto

OS and OOS

P

Paola Navone

Paolo Lomazzi

Patricia Urquiola

Patrick Naggar

Patrick Norguet

Philip Michael Wolfson

Philippe Starck

Piero Fornasetti

Pierre Charpin

Pierre Paulin

Piet Hein Eek

Poul Kjaerholm

Q

Quentin de Coster

R

Ricardo Fasanello

Richard Hutten

Richard Sapper

Rick Owens

Rodolfo Dordoni

Ron Arad

Ron Gilad

Ronan & Erwan Bouroullec

Ross Lovegrove

S

Sacha Lakic

SANAA

Satyendra Pakhalé

Scholten & Baijings

Seung-Yong Song

Shiro Kuramata

Simone Simonelli

Snarkitecture

Sori Yanagi

Sou Fujimoto

Stefan Diez

Studio Job

Studio Kaksikko

T

Tapio Wirkkala

Tejo Remy

Thomas Sandell

Tokujin Yoshioka

Tom Dixon

Toni Grilo

U

Ueli y Susi Berger

UUfie

V

Verner Panton

Vico Magistretti

Vincent Van Duysen

Vincenzo de Cotiis

Vladimir Kagan

Von Pelt

W

William Plunkett

William Sawaya

X

Xavier Lust

Xavier Mañosa

Y

Yrjo Kukkapuro

Yves Béhar

Z

Zaha Hadid

Zanuso

from http://decorador.online/disenadores-destacados/philip-michael-wolfson/

[saggiosguardo]

Apple acquisisce Lattice Data, per dare valore ai dark data

Ogni giorno scattiamo foto, giriamo video e scriviamo testi, producendo a livello globale un'enorme mole di dati. Secondo uno studio della Northeastern University nel 2013 il totale dei dati memorizzati ammontava a 4,4 zettabyte, ovvero 4,4 miliardi di terabyte, destinati a diventare 44 entro il 2020. La maggior parte di tutta questa informazione viene definita dark data, ovvero dati non strutturati, difficili da categorizzare, leggere e far analizzare ai sistemi informatici. Per i colossi della Silicon Valley che fanno dei dati un business, questo è un enorme potenziale sprecato. Ecco perché non stupisce l'investimento fatto da Apple e segnalato sulle pagine di TechCrunch.

Con un esborso di circa 200 milioni di dollari, l'azienda di Cupertino ha acquisito la compagnia Lattice Data, specializzata proprio nell'utilizzo dell'intelligenza artificiale per trasformare dark data in informazioni strutturate. Secondo l'unica fonte di TechCrunch l'affare è stato concluso un paio di settimane fa, e circa 20 ingegneri di Lattice Data sarebbero entrati a far parte dell'organico di Cupertino. Non è chiaro quale sia l'utilizzo che Apple farà del nuovo know-how acquisito, ma sembra che in passato Lattice Data sia entrata in contatto con altre società, come Amazon e Samsung, discutendo della possibilità di migliorare le intelligenze artificiali dei vari assistenti virtuali. Altre possibili applicazioni potrebbero vertere sui temi della guida autonoma e dell'analisi di big data in campo medico.

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from Apple acquisisce Lattice Data, per dare valore ai dark data

[supercoolflower-blog]

Tricks Importing MP4 to Camtasia Studio 9/8/7 Smoothly

In this post, we’ll examine how to import Mp4 into Camtasia Studio for editing with smooth workflow. You would handle kinds of video files daily, including YouTube MP4 videos, Sony MP4 Camcorder videos(XDCam-EX), GoPro MP4 footage, game MP4 recordings with OBS(Open Broadcaster Software), etc. And in order to get more wonderful videos, you probably will choose to edit .mp4 files with Camtasia which is a good option your screen and edit your videos to get professional-like videos before sharing to YouTube or FaceBook. While, there are dozen of .mp4 files can't be imported into Camtasia software, for the complex video codec of MP4 files. This article will be along with you to root the trouble and solution out here.

Some people including you may be confused: Camtasia says it supports MP4 at Techsmith support site, but why I can't import MP4 to Camtasia Studio? Well, that's because Camtasia prefers AVC/h.264 at no more than 30 frames per second instead of others while MP4 can contain various video codecs. So if you MP4 files are not accepted by Camtasia Studio, it's probably because of the video codec incompatibility. To fix the problem, you'll need to convert those MP4 to a more editing-friendly format for Camtasia Studio with a MP4 file converter app. Dimo Video Converter Ultimate which is an easy-to-use MP4 converter for you, which can help you change MP4 into a Camtasia Studio accepted MPEG-1/MOV/MP4 with least quality loss. You should then be able to import the new file into Camtasia Studio with smooth editing without any trouble. The all-in-one and easy-to-use toolkit can convert all other popular video formats like AVI, MOV, MXF, WMV, MKV, FLV, ASF, M2TS, VOB, etc. to Camtasia Studio natively supported video formats on Windows (Windows 10 included) with fast encoding speed. For Mac users, just get Dimo Video Converter Ultimate for Mac to get th job done. See how below about converting MP4 files to Camtasia Studio format. Free Download Dimo Video Converter Ultimate (Win/Mac):

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How to Convert MP4 files for Editing in Camtasia Studio 9/8/7 Step 1. Load .MP4 files Drag & drop MP4 files to the program directly. Or go to the "Add file" to locate the MP4 files you want to add. You can add several files to do conversion at the same time.

Step 2. Select the output format Click "Select Format" bar and then move your pointer to "Format" and turn to "HD Video" or "Video" and choose MPEG-1 or MOV as target format. Besides, you can also choose AVI, WMV, MP4, etc. if you want to get a relatively smaller output file. Step 3 (optional): Adjust the video, audio settings Click "Settings" to fix the frame rate, bitrate, video size, etc to your needs. If you want to edit in Camtasia Studio without having to render the clips while editing, all the frame sizes must be the same as the sequence settings. You can save a lot of render time by making all the clips the same size with this MOV video converter.

Tip: Furthermore, you are provided some useful edit functions cropping, trimming, adding watermark, adjusting effects for pre-editing your video files so that you can simplify your Camtasia Studio editing. Step 3. Start MP4 to Camtasia Studio conversion Click the "Start" button to start the MP4 to Camtasia conversion. Just in a few minutes, you make it. Step 4. Import MP4 into Camtasia Studio After the conversion, click "Open" to locate the result videos and then launch Camtasia Studio and click "Import media" import the converted MP4 video into Camtasia Studio; prepare for editing. You will find that it's just a piece of cake to edit MP4 files in Camtasia Studio. After editing or recording, you can export video toCamtasia Studio for playing and sharing. Free Download or Purchase Dimo Video Converter Ultimate:

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Source: Camtasia MP4 Tutorial- Import MP4 to Camtasia Studio