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2008-04-22 09:10:57 Description: Every one please show ur mates and leave comments, i want some advice, critisism, jst tell me wut u thot this is an amazing video fo me drawing a fight club poster on ms paint, took around forty (More) Every one please show ur mates and leave comments, i want some advice, critisism, jst tell me wut u thot this is an amazing video fo me drawing a fight club poster on ms paint, took around forty minutes all together, the video skips a bit, for examply whn i draw brad pitt's eye, but it does not affect the whole thing at all, took a while to learn how to do this well, but i think it turned out quite well, clockwork orange, reservoir dogs, pulp fiction, brad pitt, edward norton, electric aylum art, Fight Club[1] (1996) is the first published novel by American author Chuck Palahniuk. The plot is based around an unnamed protagonist who struggles with his growing discomfort with consumerism and changes in the state of masculinity in American culture. In an attempt to overcome this, he creates an underground fighting club as a radical form of psychotherapy. It was made into a movie of the same name in 1999 by director David Fincher. The movie became a pop culture phenomenon. In the wake of the film's popularity, the novel has become a target of criticism, mainly for its explicit depictions of violence. Contents [hide] 1 History 2 Plot summary 3 Characters in Fight Club 4 Motifs 5 Subtext 6 Literary significance and criticism 7 Fight Club in pop culture 8 Awards 9 U.S. editions 10 See also 11 Notes 12 References 13 External links [edit] History When Palahniuk made his first attempt at publishing a novel (Invisible Monsters) publishers rejected it for being too disturbing. This led him to work on Fight Club, which he wrote as an attempt to disturb the publisher even more for rejecting him. Palahniuk wrote this story while working as a diesel mechanic for Freightliner. After initially publishing it as a short story (which became chapter 6 of the novel) in the compilation Pursuit of Happiness, Palahniuk expanded it into a full novel, which, contrary to what he expected, the publisher was willing to publish.[2] While the original, hardcover edition of the book received positive reviews and some awards, it had a short shelf life. Nevertheless, the book had made its way to Hollywood, where interest in adapting it to film was growing. It was eventually adapted in 1999 by screenwriter Jim Uhls and director David Fincher. The film was a box office disappointment (although it was #1 at the U.S. box office in its first weekend) and critical reaction was mostly favorable, but a cult following soon emerged as the DVD of the film was popular upon release. As a result of the film, the original hardcover edition became a collector's item.[3] This film is now widely considered to be a defining work and an uncompromising critique of humanity's loss of identity through mass consumerism. Two paperback rereleases of the novel, one in 1999 and the other in 2004 (the latter of which begins with an introduction by the author about the conception and popularity of both the novel and the movie), were later made. This success helped launch Palahniuk's career as a popular novelist, as well as establish a writing style that would appear in many of his future novels. Despite popular belief, Palahniuk was not inspired to write the novel by any actual fight club. The club itself was based on a series of fights that Palahniuk got into over previous years (most notably one that he got into during a camping trip).[4] Even though he has mentioned this in many interviews, Palahniuk is still often approached by fans wanting to know where their local fight club takes place. Palahniuk insists that there is no real, singular organization like the one in his book. He does admit however that some fans have mentioned to him that some fight clubs (albeit much smaller than the one in the novel) exist or previously existed (some having existed long before the novel was written). Also, in the introduction to the current edition of the novel, Palahniuk refers to a few of the many actual instances of mischief being carried out in the style of fight club, most notably, a "Waiter from one of London's two finest restaurants" alleging that he ejaculated into Margaret Thatcher's food on multiple occasions. Many other events in the novel were also based on events that Palahniuk himself had experienced. The support groups that the narrator attends are based on support groups to which the author brought terminally ill people as part of a volunteer job he did for a local hospital. Project Mayhem is loosely based on the Cacophony Society, of which Palahniuk is a member. Various events and characters are based on friends of the author. Other events came as a result of stories told to him by various people he had talked to.[5] This method of combining various stories from various people into novels has become a common way of writing novels for Palahniuk ever since. Outside of Palahniuk's professional and personal life, the novel's impact has been felt elsewhere. Several individuals in various locations of the United States (and possibly in other countries), ranging from teenagers to people in technical careers, have set up their own fight clubs based on the one mentioned in the novel.[6] Some of Tyler's on-the-job pranks (such as food tampering) have been repeated by fans of the book (although these same pranks existed well before the novel was published). Palahniuk eventually documented this phenomenon in his essay "Monkey Think, Monkey Do",[7] which was published in his book Stranger Than Fiction: True Stories, as well as in the introduction to the 2004 paperback edition of Fight Club. Other fans of the book have been inspired to non-anti-social activity as well; Palahniuk has claimed that fans tell him that they have been inspired to go back to college after reading the book.[2] Other than the film, a few other adaptations have been attempted. In 2004 Fight Club was in development as a musical, developed by Palahniuk, Fincher, and Trent Reznor.[8] Brad Pitt, who played the role of Tyler Durden in the film, expressed interest in being involved. A video game loosely based on the film was published by Vivendi Universal Games in 2004, receiving poor reviews from gaming critics (see Fight Club (video game)). [edit] Plot summary The book centers on a nameless narrator who hates his job and his life. The narrator works for a car company, also unnamed, organizing product recalls on defective models if, and only if, the cost of the recall is less than the cost of out-of-court settlements paid to relatives of the deceased (which parallels the 1970s story of the Ford Pinto's safety problems and recall). At the same time, he is becoming disenchanted with the "nesting instinct"[9] of consumerism that has absorbed his life, forcing him to define himself by the furniture, clothes, and other material things that he owns. This dissatisfaction, combined with his frequent business trips across multiple time zones, disturb him to the point that he suffers from chronic insomnia. At the recommendation of his physician (who does not consider his insomnia to be a serious ailment), the narrator goes to a support group for men with testicular cancer to "see what real suffering is like". After finding that crying at these support groups and listening to emotional outpourings from the suffering allows him to sleep at night, he becomes dependent on them. At the same time, he befriends a cancer victim named Bob. Although he does not really suffer from any of the ailments that the other attendants have, he is never caught being a "tourist" until he meets Marla Singer, a woman who also attends support groups for alternative reasons. Her presence reflects the narrator's "tourism", and only reminds him that he doesn't belong at the support groups. He begins to hate Marla for keeping him from crying, and therefore from sleeping. After a short confrontation, they begin going to separate support groups in order to avoid meeting again. Shortly before this incident, his life changes radically upon meeting Tyler Durden, a beach artist who works low-paying jobs at night in order to perform deviant behavior on the job. After his confrontation with Marla, the narrator's condo is destroyed by an explosion and he asks Tyler if he can stay at his house. Tyler agrees, but asks for something in return, in a now-famous line: "I want you to hit me as hard as you can."[10] The resulting fight in a bar's parking lot attracts more disenchanted males, and a new form of support group, the first "Fight Club," is born. The fight club becomes a new type of therapy through bare-knuckle fighting, controlled by a set of rules: You don't talk about fight club. You don't talk about fight club.[11] When someone says stop, or goes limp, even if he's just faking it, the fight is over.[12] Only two guys to a fight. One fight at a time. They fight without shirts or shoes. The fights go on as long as they have to. If this is your first night at fight club, you have to fight. -- Fight Club, pages 48-50[13] Later in the book the mechanic tells the narrator two new rules to fight club. The first new rule is that nobody is the center of fight club except for the two men fighting. The second new rule is that fight club will always be free. Meanwhile, Tyler rescues Marla from a suicide attempt and the two initiate an affair that confounds the narrator. Throughout this affair, Marla is mostly unaware of the existence of fight club, and completely unaware of Tyler and the narrator's interaction with one another.[14] As the fight club's membership grows (and, unbeknownst to the narrator, spreads to other cities across the country), Tyler begins to use it to spread anti-consumerist ideas and recruits its members to participate in increasingly elaborate attacks on corporate America. This was originally the narrator's idea, but Tyler takes control from him. Tyler eventually gathers the most devoted fight club members (referred to as "space monkeys") and forms "Project Mayhem", a cult-like organization that trains itself as an army to bring down modern civilization. This organization, like the fight club, is controlled by a set of rules: You don't ask questions. You don't ask questions. No excuses. No lies. You have to trust Tyler. -- Fight Club, pages 119, 122, 125[15] The narrator starts off as a loyal participant in Project Mayhem, seeing it as the next step for fight club. However, he becomes uncomfortable with the increasing destructiveness of their activities after it results in the death of Bob. As the narrator endeavors to stop Tyler and his followers, he learns that he is Tyler;[16] Tyler is not a separate person, but a separate personality. As the narrator struggled with his hatred for his job and his consumerist lifestyle, his mind began to form a new personality that was able to escape from the problems of his normal life. The final straw came when he met Marla; Tyler was truly born as a distinct personality when the narrator's unconscious desire for Marla clashed with his conscious hatred for her. Having come to the surface, Tyler's personality has been slowly taking over the narrator's mind, which he planned to take over completely by making the narrator's real personality more like his. The narrator's bouts of insomnia had actually been Tyler's personality surfacing; Tyler would be active whenever the narrator was "sleeping". This allowed Tyler to manipulate the narrator into helping him create fight club; Tyler learned recipes for creating explosives when he was in control, and used this knowledge to blow up his own condo. The narrator also learns that Tyler plans to blow up the Parker-Morris building (the fictional "tallest building in the world") in the downtown area of the city using homemade bombs created by Project Mayhem. The actual reason for the explosion is to destroy the nearby national museum. During the explosion, Tyler plans to die as a martyr for Project Mayhem, taking the narrator's life as well. Realizing this, the narrator sets out to stop Tyler, although Tyler is always thinking ahead of him. In his attempts to stop Tyler, he makes peace with Marla (who always knew the narrator as Tyler) and explains to her that he is not Tyler Durden. The narrator is eventually forced to confront Tyler on the roof of the building. The narrator is held captive at gunpoint by Tyler, forced to watch the destruction wrought on the museum by Project Mayhem. Marla comes to the roof with one of the support groups. Tyler vanishes, because "Tyler was his hallucination, not hers." [17] With Tyler gone, the narrator waits for the bomb to explode and kill him. However, the bomb malfunctions because Tyler mixed paraffin into the explosives, which "never, ever works." Still alive and holding the gun that Tyler used to carry on him, the narrator decides to make the first decision that is truly his own: he puts the gun in his mouth and shoots himself. Some time later, he awakens in a mental institution, believing that he is dead and has gone to heaven. The book ends with members of Project Mayhem who work at the institution telling the narrator that their plans still continue, and that they are expecting Tyler to come back. [edit] Characters in Fight Club Narrator Some fans of the film refer to the narrator as "Jack", which is in reference to a scene in which he reads stories written from the perspective of a man's organs (e.g. "Jack's medulla oblongata"); the protagonists' lines in the official movie script also use the name "Jack" to denote them. Furthermore, a number of props from the film (such as a paycheck for the narrator) have the name "Jack Moore" on them, indicating that members of the film's crew also thought the narrator's name was Jack. The name "Jack" was "Joe" in the novel, which was changed in the film to avoid conflicts with Reader's Digest over the use of the name (the articles read by the narrator were featured in the magazine). The narrator of Fight Club set a precedent for the protagonists of later novels by Palahniuk, especially in the case of male protagonists, as they often shared his anti-heroic and transgressive behavior. Tyler Durden A neo-luddite, nihilist with a strong hatred for consumer culture. "Because of his nature"[18], Tyler works night jobs where he causes problems for the companies; he also makes soap to supplement his income and create the ingredients for his bomb making which will be put to work later with his fight club. He is the co-founder of fight club (it was his idea to have the fight that led to it). He later launches Project Mayhem, from which he and the members make various attacks on consumerism. Tyler is blond, as by the narrator's comment "in his everything-blond way." The unhinged but magnetic Tyler could also be considered an antihero (especially since he and the narrator are technically the same person), although he becomes the antagonist of the novel later in the story. Few characters like Tyler have appeared in later novels by Palahniuk, though the character of Oyster from Lullaby shares many similarities. Marla Singer A woman that the narrator meets during a support group. The narrator no longer receives the same release from the groups when he realizes Marla is faking her problems just like he is. After he leaves the groups, he meets her again when she meets Tyler and becomes his lover. She is a nymphomaniac, and she shares many of Tyler's thoughts on consumer culture. In later novels by Palahniuk in which the protagonist is male, a female character similar to Marla has also appeared. Marla and these other female characters have helped Palahniuk to add romantic themes into his novels. Robert "Bob" Paulson A man that the narrator meets at a support group for testicular cancer. A former bodybuilder, Bob lost his testicles to cancer caused by the steroids he used to bulk up his muscles, and had to undergo testosterone injections; this resulted in his body increasing its estrogen, causing him to grow large breasts (Gynecomastia) ("Bitch-tits") and develop a softer voice. The narrator befriends Bob and, after leaving the groups, meets him again in fight club. Bob's death later in the story while carrying out an assignment for Project Mayhem causes the narrator to turn against Tyler, because the members of Project Mayhem treat it as a trivial matter instead of a tragedy. When the narrator explains that the dead man had a name and was a real person, a member of Project Mayhem points out that only in death do members of Project Mayhem have a name. The unnamed member begins chanting, "his name was Robert Paulson", and this phrase becomes a meme and mantra that the narrator encounters later on in the story multiple times. This differs from the book which only states that people in other fight clubs were chanting "Robert Paulson" for the same reason as mentioned above. When the narrator goes to a fight club to shut it down for this reason, Tyler orders them to make him a "homework assignment". [edit] Motifs At two points in the novel, the narrator claims he wants to "wipe [his] ass with the Mona Lisa"; a mechanic who joins fight club also repeats this to him in one scene.[19] This motif shows his desire for chaos, later explicitly expressed in his urge to "destroy something beautiful". Additionally, he mentions at one point that "Nothing is static. Even the Mona Lisa is falling apart."[20] University of Calgary literary scholar Paul Kennett claims that this want for chaos is a result of an Oedipus complex, as the narrator, Tyler, and the mechanic all show disdain for their fathers.[21] This is most explicitly stated in the scene that the mechanic appears in: The mechanic says, "If you're male and you're Christian and living in America, your father is your model for God. And if you never know your father, if your father bails out or dies or is never at home, what do you believe about God? ... How Tyler saw it was that getting God's attention for being bad was better than getting no attention at all. Maybe because God's hate is better than His indifference. If you could be either God's worst enemy or nothing, which would you choose? We are God's middle children, according to Tyler Durden, with no special place in history and no special attention. Unless we get God's attention, we have no hope of damnation or redemption. Which is worse, hell or nothing? Only if we're caught and punished can we be saved. "Burn the Louvre," the mechanic says, "and wipe your ass with the Mona Lisa. This way at least, God would know our names." -- Fight Club, page 141[22] Kennett further argues that Tyler wants to use this chaos to change history so that "God's middle children" will have some historical significance, whether or not this significance is "damnation or redemption".[23] This will figuratively return their absent fathers, as judgement by future generations will replace judgement by their fathers. After reading stories written from the perspective of the organs of a man named Joe, the narrator begins using similar quotations to describe his feelings, often replacing organs with feelings and things involved in his life. The narrator often repeats the line "I know this because Tyler knows this." This is used to foreshadow the novel's major plot twist in which Tyler is revealed to be the same person as the narrator. The color cornflower blue first appears as the color of an icon on the narrator's boss's computer.[20] Later, it is mentioned that his boss has eyes of the same color.[24] These mentions of the color are the first of many uses of cornflower blue in Palahniuk's books, which all feature the color at some point in the text. The theme of masculinity is also a motif throughout the book. Different symbols lead to this reoccurring theme, such as violence, and testes. Fighting is perceived as a masculine characteristic. [edit] Subtext Throughout the novel, Palahniuk uses the narrator and Tyler to comment on how people in modern society try to find meaning in their lives through commercial culture. Several lines in the novel make b Paint (formerly Paintbrush for Windows) is a simple graphics painting program that has been included with almost all versions of Microsoft Windows since its first release. It is often referred to as MS Paint or Microsoft Paint. The program opens and saves files as Windows bitmap (24-bit, 256 color, 16 color, and monochrome, all with the .bmp extension), JPEG, GIF (without animation or transparency, although the Windows 98 version and a Windows 95 upgrade did support the latter), PNG (without alpha channel), and TIFF. The program can be in color mode or two-color black-and-white, but there is no grayscale mode. Contents [hide] 1 History 2 Features 3 Support for indexed palettes 4 Versions 5 See also 6 Notes and references 7 External links [edit] History The first version of Paint was introduced with the first version of Windows, Windows 1.0. This version only supported the MSP file format. This format is no longer supported by newer versions of Paint, along with PCX and RLE. Older versions cannot open or edit PNG files, and can only open GIF, JPEG, and TIFF files with a graphics filter for the specific file type. In Windows 95, a new version of Paint was introduced. The same icons and color palette continued to be used through Windows XP. An early version of the program, as bundled with Windows 3.1. (It was still known as Paintbrush at this stage.)In the Windows 98, Windows 2000 or Windows Me versions of Paint, images could be saved in JPEG and GIF formats if the necessary Microsoft graphics filters were installed, usually by another Microsoft application such as Microsoft Office or Microsoft PhotoDraw. Also, the canvas size was expanded automatically when larger images were opened or pasted. In Windows XP and later versions, Paint is based on GDI+ [1] and therefore, images can be natively saved as JPEG, GIF, TIFF and PNG without requiring additional graphics filters. However, alpha channel transparency is still not supported because the GDI+ version of Paint can only handle up to 24-bit depth images. Also, since another accessory, Imaging, was discontinued in Windows XP, support for acquiring images from a scanner or a digital camera was also added to Paint. However, the tertiary color function, used for creating GIF files with a transparent background, was removed. Also, the ability to save and load palette colors to and from .pal files was removed. In Windows Vista, the toolbar icons and default color palette have been updated. Also, an increased number of undo levels, a zoom slider, and a crop function have been added. [edit] Features Recent versions of Paint allow the user to pick up to three colors at a time: the primary color (left mouse click), secondary color (right mouse click), and tertiary color (control key + any mouse click). MS Paint ToolboxThe program comes with the following options in its Tool Box (from left to right in image): Free-Form Select Select Eraser/Color Eraser Fill With Color Pick Color Magnifier Pencil Brush Airbrush Text Line Curve Rectangle Polygon Ellipse Rounded Rectangle Paint does not have the ability to automatically create color gradients. The Image menu offers the following options: Flip/Rotate, Stretch/Skew, Invert Colors, Image Attributes, Clear Image, and Draw Opaque. The "Colors" menu allows the user to Edit Colors (only menu option under Colors). The Edit Colors dialog box shows a 48-color palette and 12 custom color slots that can be edited. Clicking "Define Custom Colors" displays a square version of the color wheel that can select a custom color either with a crosshair cursor (like a "+"), by Hue/Saturation/Luminance, or by Red/Green/Blue values. The default colors in the Color Box are the following: Black, White, Gray, Silver, Maroon, Red, Olive, Yellow, Dark Green, Green, Teal, Cyan, Navy blue, Blue, Purple, Magenta, Old Gold, Lemon Yellow, Slate grey, Kelly green, Dark Carolina blue, Aquamarine, Midnight blue, Periwinkle, Violet-blue, Coral, Brown, and Pumpkin orange. A color palette is also available. Paint also has a few hidden functions (or Easter eggs) not mentioned in the help file: a stamp mode, trail mode and 10x zoom. For the stamp mode, the user can select part of the image, hold the control key, and move it to another part of the canvas. This, instead of cutting the piece out, creates a copy of it. The process can be repeated as many times as desired, as long as the control key is held down. The trail mode works exactly the same, but it uses the shift key instead of the control key. 10x zoom can be accessed by clicking on a horizontal line of about 2 pixels right below the 8x zoom button. The user may also draw straight horizontal, vertical, or diagonal lines with the pencil tool, without the need of the straight line tool, by holding the shift key and dragging the tool. Moreover, it is also possible to thicken (control key + +) or thin (control key + −) a line simultaneously while it is being drawn. To crop whitespace or eliminate parts of a graphic, the blue handle in the lower right corner can be clicked and dragged to increase canvas size or crop a graphic. The colors in the image can be inverted by pressing Ctrl+ I Older versions of Paint, such as the one bundled with Windows 3.1, allowed controlling the drawing cursor with the use of arrow keys as well as a color-replace brush, which replaced a single color underneath (Less)
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99, 03:17, 2007-06-10 04:45:57 Description: Every one please show ur mates and leave comments, i want some advice, critisism, jst tell me wut u thot
this is an amazing video fo me drawing a fight club poster on ms paint, took around forty (More) Every one please show ur mates and leave comments, i want some advice, critisism, jst tell me wut u thot
this is an amazing video fo me drawing a fight club poster on ms paint, took around forty minutes all together, the video skips a bit, for examply whn i draw brad pitt's eye, but it does not affect the whole thing at all, took a while to learn how to do this well, but i think it turned out quite well, clockwork orange, reservoir dogs, pulp fiction, brad pitt, edward norton, electric aylum art,
Fight Club[1] (1996) is the first published novel by American author Chuck Palahniuk. The plot is based around an unnamed protagonist who struggles with his growing discomfort with consumerism and changes in the state of masculinity in American culture. In an attempt to overcome this, he creates an underground fighting club as a radical form of psychotherapy. It was made into a movie of the same name in 1999 by director David Fincher. The movie became a pop culture phenomenon. In the wake of the film's popularity, the novel has become a target of criticism, mainly for its explicit depictions of violence.
Contents [hide]
1 History
2 Plot summary
3 Characters in Fight Club
4 Motifs
5 Subtext
6 Literary significance and criticism
7 Fight Club in pop culture
8 Awards
9 U.S. editions
10 See also
11 Notes
12 References
13 External links
[edit] History
When Palahniuk made his first attempt at publishing a novel (Invisible Monsters) publishers rejected it for being too disturbing. This led him to work on Fight Club, which he wrote as an attempt to disturb the publisher even more for rejecting him. Palahniuk wrote this story while working as a diesel mechanic for Freightliner. After initially publishing it as a short story (which became chapter 6 of the novel) in the compilation Pursuit of Happiness, Palahniuk expanded it into a full novel, which, contrary to what he expected, the publisher was willing to publish.[2] While the original, hardcover edition of the book received positive reviews and some awards, it had a short shelf life. Nevertheless, the book had made its way to Hollywood, where interest in adapting it to film was growing. It was eventually adapted in 1999 by screenwriter Jim Uhls and director David Fincher. The film was a box office disappointment (although it was #1 at the U.S. box office in its first weekend) and critical reaction was mostly favorable, but a cult following soon emerged as the DVD of the film was popular upon release. As a result of the film, the original hardcover edition became a collector's item.[3] This film is now widely considered to be a defining work and an uncompromising critique of humanity's loss of identity through mass consumerism. Two paperback rereleases of the novel, one in 1999 and the other in 2004 (the latter of which begins with an introduction by the author about the conception and popularity of both the novel and the movie), were later made. This success helped launch Palahniuk's career as a popular novelist, as well as establish a writing style that would appear in many of his future novels.
Despite popular belief, Palahniuk was not inspired to write the novel by any actual fight club. The club itself was based on a series of fights that Palahniuk got into over previous years (most notably one that he got into during a camping trip).[4] Even though he has mentioned this in many interviews, Palahniuk is still often approached by fans wanting to know where their local fight club takes place. Palahniuk insists that there is no real, singular organization like the one in his book. He does admit however that some fans have mentioned to him that some fight clubs (albeit much smaller than the one in the novel) exist or previously existed (some having existed long before the novel was written). Also, in the introduction to the current edition of the novel, Palahniuk refers to a few of the many actual instances of mischief being carried out in the style of fight club, most notably, a "Waiter from one of London's two finest restaurants" alleging that he ejaculated into Margaret Thatcher's food on multiple occasions.
Many other events in the novel were also based on events that Palahniuk himself had experienced. The support groups that the narrator attends are based on support groups to which the author brought terminally ill people as part of a volunteer job he did for a local hospital. Project Mayhem is loosely based on the Cacophony Society, of which Palahniuk is a member. Various events and characters are based on friends of the author. Other events came as a result of stories told to him by various people he had talked to.[5] This method of combining various stories from various people into novels has become a common way of writing novels for Palahniuk ever since.
Outside of Palahniuk's professional and personal life, the novel's impact has been felt elsewhere. Several individuals in various locations of the United States (and possibly in other countries), ranging from teenagers to people in technical careers, have set up their own fight clubs based on the one mentioned in the novel.[6] Some of Tyler's on-the-job pranks (such as food tampering) have been repeated by fans of the book (although these same pranks existed well before the novel was published). Palahniuk eventually documented this phenomenon in his essay "Monkey Think, Monkey Do",[7] which was published in his book Stranger Than Fiction: True Stories, as well as in the introduction to the 2004 paperback edition of Fight Club. Other fans of the book have been inspired to non-anti-social activity as well; Palahniuk has claimed that fans tell him that they have been inspired to go back to college after reading the book.[2]
Other than the film, a few other adaptations have been attempted. In 2004 Fight Club was in development as a musical, developed by Palahniuk, Fincher, and Trent Reznor.[8] Brad Pitt, who played the role of Tyler Durden in the film, expressed interest in being involved. A video game loosely based on the film was published by Vivendi Universal Games in 2004, receiving poor reviews from gaming critics (see Fight Club (video game)).
[edit] Plot summary
The book centers on a nameless narrator who hates his job and his life. The narrator works for a car company, also unnamed, organizing product recalls on defective models if, and only if, the cost of the recall is less than the cost of out-of-court settlements paid to relatives of the deceased (which parallels the 1970s story of the Ford Pinto's safety problems and recall). At the same time, he is becoming disenchanted with the "nesting instinct"[9] of consumerism that has absorbed his life, forcing him to define himself by the furniture, clothes, and other material things that he owns. This dissatisfaction, combined with his frequent business trips across multiple time zones, disturb him to the point that he suffers from chronic insomnia.
At the recommendation of his physician (who does not consider his insomnia to be a serious ailment), the narrator goes to a support group for men with testicular cancer to "see what real suffering is like". After finding that crying at these support groups and listening to emotional outpourings from the suffering allows him to sleep at night, he becomes dependent on them. At the same time, he befriends a cancer victim named Bob. Although he does not really suffer from any of the ailments that the other attendants have, he is never caught being a "tourist" until he meets Marla Singer, a woman who also attends support groups for alternative reasons. Her presence reflects the narrator's "tourism", and only reminds him that he doesn't belong at the support groups. He begins to hate Marla for keeping him from crying, and therefore from sleeping. After a short confrontation, they begin going to separate support groups in order to avoid meeting again.
Shortly before this incident, his life changes radically upon meeting Tyler Durden, a beach artist who works low-paying jobs at night in order to perform deviant behavior on the job. After his confrontation with Marla, the narrator's condo is destroyed by an explosion and he asks Tyler if he can stay at his house. Tyler agrees, but asks for something in return, in a now-famous line: "I want you to hit me as hard as you can."[10] The resulting fight in a bar's parking lot attracts more disenchanted males, and a new form of support group, the first "Fight Club," is born. The fight club becomes a new type of therapy through bare-knuckle fighting, controlled by a set of rules:
You don't talk about fight club.
You don't talk about fight club.[11]
When someone says stop, or goes limp, even if he's just faking it, the fight is over.[12]
Only two guys to a fight.
One fight at a time.
They fight without shirts or shoes.
The fights go on as long as they have to.
If this is your first night at fight club, you have to fight.
-- Fight Club, pages 48-50[13]
Later in the book the mechanic tells the narrator two new rules to fight club. The first new rule is that nobody is the center of fight club except for the two men fighting. The second new rule is that fight club will always be free.
Meanwhile, Tyler rescues Marla from a suicide attempt and the two initiate an affair that confounds the narrator. Throughout this affair, Marla is mostly unaware of the existence of fight club, and completely unaware of Tyler and the narrator's interaction with one another.[14]
As the fight club's membership grows (and, unbeknownst to the narrator, spreads to other cities across the country), Tyler begins to use it to spread anti-consumerist ideas and recruits its members to participate in increasingly elaborate attacks on corporate America. This was originally the narrator's idea, but Tyler takes control from him. Tyler eventually gathers the most devoted fight club members (referred to as "space monkeys") and forms "Project Mayhem", a cult-like organization that trains itself as an army to bring down modern civilization. This organization, like the fight club, is controlled by a set of rules:
You don't ask questions.
You don't ask questions.
No excuses.
No lies.
You have to trust Tyler.
-- Fight Club, pages 119, 122, 125[15]
The narrator starts off as a loyal participant in Project Mayhem, seeing it as the next step for fight club. However, he becomes uncomfortable with the increasing destructiveness of their activities after it results in the death of Bob.
As the narrator endeavors to stop Tyler and his followers, he learns that he is Tyler;[16] Tyler is not a separate person, but a separate personality. As the narrator struggled with his hatred for his job and his consumerist lifestyle, his mind began to form a new personality that was able to escape from the problems of his normal life. The final straw came when he met Marla; Tyler was truly born as a distinct personality when the narrator's unconscious desire for Marla clashed with his conscious hatred for her. Having come to the surface, Tyler's personality has been slowly taking over the narrator's mind, which he planned to take over completely by making the narrator's real personality more like his. The narrator's bouts of insomnia had actually been Tyler's personality surfacing; Tyler would be active whenever the narrator was "sleeping". This allowed Tyler to manipulate the narrator into helping him create fight club; Tyler learned recipes for creating explosives when he was in control, and used this knowledge to blow up his own condo.
The narrator also learns that Tyler plans to blow up the Parker-Morris building (the fictional "tallest building in the world") in the downtown area of the city using homemade bombs created by Project Mayhem. The actual reason for the explosion is to destroy the nearby national museum. During the explosion, Tyler plans to die as a martyr for Project Mayhem, taking the narrator's life as well. Realizing this, the narrator sets out to stop Tyler, although Tyler is always thinking ahead of him. In his attempts to stop Tyler, he makes peace with Marla (who always knew the narrator as Tyler) and explains to her that he is not Tyler Durden. The narrator is eventually forced to confront Tyler on the roof of the building. The narrator is held captive at gunpoint by Tyler, forced to watch the destruction wrought on the museum by Project Mayhem. Marla comes to the roof with one of the support groups. Tyler vanishes, because "Tyler was his hallucination, not hers." [17]
With Tyler gone, the narrator waits for the bomb to explode and kill him. However, the bomb malfunctions because Tyler mixed paraffin into the explosives, which "never, ever works." Still alive and holding the gun that Tyler used to carry on him, the narrator decides to make the first decision that is truly his own: he puts the gun in his mouth and shoots himself. Some time later, he awakens in a mental institution, believing that he is dead and has gone to heaven. The book ends with members of Project Mayhem who work at the institution telling the narrator that their plans still continue, and that they are expecting Tyler to come back.
[edit] Characters in Fight Club
Narrator
Some fans of the film refer to the narrator as "Jack", which is in reference to a scene in which he reads stories written from the perspective of a man's organs (e.g. "Jack's medulla oblongata"); the protagonists' lines in the official movie script also use the name "Jack" to denote them. Furthermore, a number of props from the film (such as a paycheck for the narrator) have the name "Jack Moore" on them, indicating that members of the film's crew also thought the narrator's name was Jack. The name "Jack" was "Joe" in the novel, which was changed in the film to avoid conflicts with Reader's Digest over the use of the name (the articles read by the narrator were featured in the magazine). The narrator of Fight Club set a precedent for the protagonists of later novels by Palahniuk, especially in the case of male protagonists, as they often shared his anti-heroic and transgressive behavior.
Tyler Durden
A neo-luddite, nihilist with a strong hatred for consumer culture. "Because of his nature"[18], Tyler works night jobs where he causes problems for the companies; he also makes soap to supplement his income and create the ingredients for his bomb making which will be put to work later with his fight club. He is the co-founder of fight club (it was his idea to have the fight that led to it). He later launches Project Mayhem, from which he and the members make various attacks on consumerism. Tyler is blond, as by the narrator's comment "in his everything-blond way." The unhinged but magnetic Tyler could also be considered an antihero (especially since he and the narrator are technically the same person), although he becomes the antagonist of the novel later in the story. Few characters like Tyler have appeared in later novels by Palahniuk, though the character of Oyster from Lullaby shares many similarities.
Marla Singer
A woman that the narrator meets during a support group. The narrator no longer receives the same release from the groups when he realizes Marla is faking her problems just like he is. After he leaves the groups, he meets her again when she meets Tyler and becomes his lover. She is a nymphomaniac, and she shares many of Tyler's thoughts on consumer culture. In later novels by Palahniuk in which the protagonist is male, a female character similar to Marla has also appeared. Marla and these other female characters have helped Palahniuk to add romantic themes into his novels.
Robert "Bob" Paulson
A man that the narrator meets at a support group for testicular cancer. A former bodybuilder, Bob lost his testicles to cancer caused by the steroids he used to bulk up his muscles, and had to undergo testosterone injections; this resulted in his body increasing its estrogen, causing him to grow large breasts (Gynecomastia) ("Bitch-tits") and develop a softer voice. The narrator befriends Bob and, after leaving the groups, meets him again in fight club. Bob's death later in the story while carrying out an assignment for Project Mayhem causes the narrator to turn against Tyler, because the members of Project Mayhem treat it as a trivial matter instead of a tragedy. When the narrator explains that the dead man had a name and was a real person, a member of Project Mayhem points out that only in death do members of Project Mayhem have a name. The unnamed member begins chanting, "his name was Robert Paulson", and this phrase becomes a meme and mantra that the narrator encounters later on in the story multiple times. This differs from the book which only states that people in other fight clubs were chanting "Robert Paulson" for the same reason as mentioned above. When the narrator goes to a fight club to shut it down for this reason, Tyler orders them to make him a "homework assignment".
[edit] Motifs
At two points in the novel, the narrator claims he wants to "wipe [his] ass with the Mona Lisa"; a mechanic who joins fight club also repeats this to him in one scene.[19] This motif shows his desire for chaos, later explicitly expressed in his urge to "destroy something beautiful". Additionally, he mentions at one point that "Nothing is static. Even the Mona Lisa is falling apart."[20] University of Calgary literary scholar Paul Kennett claims that this want for chaos is a result of an Oedipus complex, as the narrator, Tyler, and the mechanic all show disdain for their fathers.[21] This is most explicitly stated in the scene that the mechanic appears in:
The mechanic says, "If you're male and you're Christian and living in America, your father is your model for God. And if you never know your father, if your father bails out or dies or is never at home, what do you believe about God?
...
How Tyler saw it was that getting God's attention for being bad was better than getting no attention at all. Maybe because God's hate is better than His indifference.
If you could be either God's worst enemy or nothing, which would you choose?
We are God's middle children, according to Tyler Durden, with no special place in history and no special attention.
Unless we get God's attention, we have no hope of damnation or redemption.
Which is worse, hell or nothing?
Only if we're caught and punished can we be saved.
"Burn the Louvre," the mechanic says, "and wipe your ass with the Mona Lisa. This way at least, God would know our names."
-- Fight Club, page 141[22]
Kennett further argues that Tyler wants to use this chaos to change history so that "God's middle children" will have some historical significance, whether or not this significance is "damnation or redemption".[23] This will figuratively return their absent fathers, as judgement by future generations will replace judgement by their fathers.
After reading stories written from the perspective of the organs of a man named Joe, the narrator begins using similar quotations to describe his feelings, often replacing organs with feelings and things involved in his life.
The narrator often repeats the line "I know this because Tyler knows this." This is used to foreshadow the novel's major plot twist in which Tyler is revealed to be the same person as the narrator.
The color cornflower blue first appears as the color of an icon on the narrator's boss's computer.[20] Later, it is mentioned that his boss has eyes of the same color.[24] These mentions of the color are the first of many uses of cornflower blue in Palahniuk's books, which all feature the color at some point in the text.
The theme of masculinity is also a motif throughout the book. Different symbols lead to this reoccurring theme, such as violence, and testes. Fighting is perceived as a masculine characteristic.
[edit] Subtext
Throughout the novel, Palahniuk uses the narrator and Tyler to comment on how people in modern society try to find meaning in their lives through commercial culture. Several lines in the novel make
b
Paint (formerly Paintbrush for Windows) is a simple graphics painting program that has been included with almost all versions of Microsoft Windows since its first release. It is often referred to as MS Paint or Microsoft Paint. The program opens and saves files as Windows bitmap (24-bit, 256 color, 16 color, and monochrome, all with the .bmp extension), JPEG, GIF (without animation or transparency, although the Windows 98 version and a Windows 95 upgrade did support the latter), PNG (without alpha channel), and TIFF. The program can be in color mode or two-color black-and-white, but there is no grayscale mode.
Contents [hide]
1 History
2 Features
3 Support for indexed palettes
4 Versions
5 See also
6 Notes and references
7 External links
[edit] History
The first version of Paint was introduced with the first version of Windows, Windows 1.0. This version only supported the MSP file format. This format is no longer supported by newer versions of Paint, along with PCX and RLE. Older versions cannot open or edit PNG files, and can only open GIF, JPEG, and TIFF files with a graphics filter for the specific file type.
In Windows 95, a new version of Paint was introduced. The same icons and color palette continued to be used through Windows XP.
An early version of the program, as bundled with Windows 3.1. (It was still known as Paintbrush at this stage.)In the Windows 98, Windows 2000 or Windows Me versions of Paint, images could be saved in JPEG and GIF formats if the necessary Microsoft graphics filters were installed, usually by another Microsoft application such as Microsoft Office or Microsoft PhotoDraw. Also, the canvas size was expanded automatically when larger images were opened or pasted.
In Windows XP and later versions, Paint is based on GDI+ [1] and therefore, images can be natively saved as JPEG, GIF, TIFF and PNG without requiring additional graphics filters. However, alpha channel transparency is still not supported because the GDI+ version of Paint can only handle up to 24-bit depth images. Also, since another accessory, Imaging, was discontinued in Windows XP, support for acquiring images from a scanner or a digital camera was also added to Paint. However, the tertiary color function, used for creating GIF files with a transparent background, was removed. Also, the ability to save and load palette colors to and from .pal files was removed.
In Windows Vista, the toolbar icons and default color palette have been updated. Also, an increased number of undo levels, a zoom slider, and a crop function have been added.
[edit] Features
Recent versions of Paint allow the user to pick up to three colors at a time: the primary color (left mouse click), secondary color (right mouse click), and tertiary color (control key + any mouse click).
MS Paint ToolboxThe program comes with the following options in its Tool Box (from left to right in image):
Free-Form Select
Select
Eraser/Color Eraser
Fill With Color
Pick Color
Magnifier
Pencil
Brush
Airbrush
Text
Line
Curve
Rectangle
Polygon
Ellipse
Rounded Rectangle
Paint does not have the ability to automatically create color gradients.
The Image menu offers the following options: Flip/Rotate, Stretch/Skew, Invert Colors, Image Attributes, Clear Image, and Draw Opaque. The "Colors" menu allows the user to Edit Colors (only menu option under Colors). The Edit Colors dialog box shows a 48-color palette and 12 custom color slots that can be edited. Clicking "Define Custom Colors" displays a square version of the color wheel that can select a custom color either with a crosshair cursor (like a "+"), by Hue/Saturation/Luminance, or by Red/Green/Blue values.
The default colors in the Color Box are the following: Black, White, Gray, Silver, Maroon, Red, Olive, Yellow, Dark Green, Green, Teal, Cyan, Navy blue, Blue, Purple, Magenta, Old Gold, Lemon Yellow, Slate grey, Kelly green, Dark Carolina blue, Aquamarine, Midnight blue, Periwinkle, Violet-blue, Coral, Brown, and Pumpkin orange. A color palette is also available.
Paint also has a few hidden functions (or Easter eggs) not mentioned in the help file: a stamp mode, trail mode and 10x zoom. For the stamp mode, the user can select part of the image, hold the control key, and move it to another part of the canvas. This, instead of cutting the piece out, creates a copy of it. The process can be repeated as many times as desired, as long as the control key is held down. The trail mode works exactly the same, but it uses the shift key instead of the control key. 10x zoom can be accessed by clicking on a horizontal line of about 2 pixels right below the 8x zoom button.
The user may also draw straight horizontal, vertical, or diagonal lines with the pencil tool, without the need of the straight line tool, by holding the shift key and dragging the tool. Moreover, it is also possible to thicken (control key + +) or thin (control key + −) a line simultaneously while it is being drawn. To crop whitespace or eliminate parts of a graphic, the blue handle in the lower right corner can be clicked and dragged to increase canvas size or crop a graphic. The colors in the image can be inverted by pressing Ctrl+ I
Older versions of Paint, such as the one bundled with Windows 3.1, allowed controlling the drawing cursor with the use of arrow keys as well as a color-replace brush, which replaced a single color underneath (Less)
Channel: youtubeTags: action animationpulp art brad club eyed fiction fight four hello horror microsoft monsters montage ms paint pitt youtube
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293, 08:16, 2007-04-13 06:52:15 Description: SLAYER perform Bitter Peace & Death's Head on the "Diabolus In Music" world tour @ Sacramento Memorial Auditorium 1998...also on the bill were FEAR FACTORY, KILGORE & THE (More) SLAYER perform Bitter Peace & Death's Head on the "Diabolus In Music" world tour @ Sacramento Memorial Auditorium 1998...also on the bill were FEAR FACTORY, KILGORE & THE COUNCIL...Slayer is an American thrash metal band, formed in 1981 by guitarists Jeff Hanneman and Kerry King. Slayer rose to fame as a leader of the American thrash metal movement with their 1986 release Reign in Blood, which has been called "the heaviest album of all time.The band is credited as one of the "Big Four" thrash metal bands, along with Megadeth, Metallica, and Anthrax.
Slayer is known for its musical traits, involving fast tremolo picking, guitar solos, double bass drumming, and shouting vocals. The band's lyrics and album art, which cover topics such as serial killers, Satanism, religion and warfare have generated album bans, delays, lawsuits and strong criticism from religious groups and the public.
Since their debut record in 1983, the band has released two live albums, one box set, two DVDs, two EPs, and ten albums, four of which have received gold certification. The band has received two Grammy nominations, winning one in 2007 for the song "Eyes of the Insane", and headlined music festivals worldwide, including Ozzfest, The Unholy Alliance and the Download Festival. http://slayer.net Early days (1981--1982)
Slayer formed in 1981, when guitarist Kerry King met Jeff Hanneman while auditioning for a band. The two recruited bassist and vocalist Tom Araya, who had played with King in a band called Quits, and drummer Dave Lombardo who met King while delivering pizzas. The band began playing cover versions of Iron Maiden and Judas Priest songs at clubs and parties in Southern California. Early shows relied on a Satanic image, which featured pentagrams, make-up, spikes, and inverted crosses A rumor has the band originally known as Dragonslayer, after the 1981 movie of the same name. However, when King was asked "How did you come up with the name Dragonslayer, King responded "We never did; it's a myth to this day."
The band was offered to open for Bitch at the Woodstock Club in Los Angeles, performing eight songs — six being covers. While performing the song "Phantom of the Opera" by Iron Maiden the band was spotted by Brian Slagel, a former music journalist who had recently founded Metal Blade Records. Impressed with Slayer's performance, Slagel met with the band backstage and asked them to record an original song, "Aggressive Perfector"(sample (help·info)) for his upcoming Metal Massacre III compilation. The band agreed and the song created underground buzz, which led to Slagel offering the band a recording contract with Metal Blade. http://myspace.com/slayer
Show No Mercy (1983--1984)
Without a recording budget, the band was forced to self-finance its debut album. Combining the savings of Araya, who was employed as a respiratory therapist,[9] and money borrowed from King's father,[2] the band entered the studio in November 1983. The album was rushed into release, hitting shelves three weeks after tracks were completed. Show No Mercy, released in December 1983 by Metal Blade Records, generated underground popularity for the band, and they began their first national club tour in 1984 to promote the album traveling in Araya's Camaro towing a U-Haul trailer.[2] The tour gave the band additional popularity; sales of Show No Mercy reached more than 20,000 in the US and another 20,000 worldwide.[8]
Slayer's Show No Mercy covered topics such as Satanism, Hell, and the Devil.
Slayer's Show No Mercy covered topics such as Satanism, Hell, and the Devil.
In August 1984, Slayer released a three song EP, entitled Haunting the Chapel. The EP featured a darker, more thrash-oriented style than its predecessor, and laid the groundwork for the future direction of the band.[10] The opening track, "Chemical Warfare," has become a live staple, played at nearly every show since 1984. After the release of Haunting the Chapel, Slayer made its live European debut at the Heavy Sounds Festival in Belgium opening for UFO,[11] returning to the US to begin the Haunting The West Coast tour.[12]
Following the tour, King temporarily left Slayer to join Dave Mustaine's new band Megadeth.[13] Hanneman was worried about King's decision, stating in an interview "I guess we're gonna get a new guitar player".[2] While Mustaine wanted King to stay on a permanent basis, King rejoined Slayer after five shows, stating Megadeth was "taking too much of my time".[2] The split caused a rift between King and Mustaine, which evolved into a long running feud between the two bands.[14] Following King's return, the band embarked on the 1984 Combat Tour, with Venom and Exodus, and released a live album titled Live Undead in November.
[edit] Hell Awaits (1985--1986)
Slayer released its first live home video in 1985, dubbed Combat Tour: The Ultimate Revenge. The video featured live footage filmed at New York's Studio 54 club, on the band's 1984 tour with Venom and Exodus. By early 1985, Show No Mercy had sold over 40,000 copies,[8] which lead to the band returning to the studio to record a second full length album. Metal Blade financed a recording budget, which allowed the band to hire producer Ron Fair.
Released in September 1985, Slayer's second full length release Hell Awaits expanded on the darkness of Haunting the Chapel, with hell and Satan as common song subjects. The album was the band's most progressive offering, featuring longer and more complex song structures.[2] The intro is a backwards recording of a demonic-sounding voice repeating "Join us," ending with "Welcome back" before the track begins.[15]
[edit] Reign in Blood (1986--1987)
Following the success of Hell Awaits, Slayer was offered a recording contract with Rick Rubin's newly founded Def Jam Records, a largely rap-based label.[2] The band accepted and with an experienced producer and major label recording budget, the band underwent a sonic makeover resulting in shorter, faster songs with clearer production. Gone were the complex arrangements and long songs featured on Hell Awaits, ditched in favor of stripped down, hardcore influenced song structures.[2]
The release of Reign in Blood was delayed due to the nature of its artwork and lyrical themes.
The release of Reign in Blood was delayed due to the nature of its artwork and lyrical themes.
Def Jam's distributor, Columbia Records refused to release the album Reign in Blood, due to its graphic graphic cover art and lyrical themes.[2] "Angel of Death", detailed the Nazi concentration camps and human experiments conducted by Nazi physician Josef Mengele. The album was distributed by Geffen Records on October 7, 1986. However, due to the controversy Reign in Blood did not appear on Geffen Records release schedule.[2] Although the album received virtually no radio airplay, it became the band's first to enter the Billboard 200, debuting at #94,[16] and the band's first album certified gold in the United States.[17]
In October 1986, Slayer embarked on the Reign in Pain world tour, with Overkill in the US, and Malice in Europe. The band were added as the opening act on W.A.S.P.'s US tour, but just one month in, drummer Lombardo left the band: "I wasn't making any money. I figured if we were gonna be doing this professionally, on a major label, I wanted my rent and utilities paid."[2] To continue with the tour, Slayer enlisted Tony Scaglione of Whiplash. However, Lombardo's wife convinced Dave to return in 1987.[2] At the insistence of Rubin, Slayer recorded a cover version of Iron Butterfly's "In-A-Gadda-Da-Vida" for the film Less Than Zero.[2] Although the band was not happy with the final product, Hanneman deeming it a poor representation of Slayer and King labeling it "a hunk of shit", it was the first songs to garner radio airplay.[2]
[edit] South of Heaven (1988--1989)
Slayer returned to the studio to record their fourth studio album. To contrast the speed of Reign in Blood, the band consciously decided to slow down the tempo incorporating melodic singing, rather than screaming. Hanneman asserted; "We knew we couldn't top Reign in Blood, so we had to slow down. We knew whatever we did was gonna be compared to that album, and I remember we actually discussed slowing down. It was weird—we've never done that on an album, before or since."[2]
1988's South of Heaven received mixed responses from both fans and critics, although it was Slayer's most commercially successful release at the time, debuting at #57 on the Billboard 200,[16] and the second album to receive gold certification in the United States.[17] Press response to the album was mixed, with All Music Guide citing the album as "disturbing and powerful",[18] and Rolling Stone calling it "genuinely offensive satanic drivel".[19] King says "that album was my most lackluster performance," although Araya called it a "late bloomer" which eventually grew on people.[2]
[edit] Seasons in the Abyss (1990--1993)
Slayer returned to the studio with co-producer Andy Wallace in 1989, to record their fifth studio album. Following the backlash created by South of Heaven, Slayer returned to the "pounding speed of Reign in Blood", while retaining their new found melodic sense.[20] Seasons in the Abyss, released in October 1990, was the first Slayer album to be released under Rubin's new Def American label, as he parted ways with Def Jam owner Russell Simmons over creative differences. The album debuted at #44 on the Billboard 200,[16] and was certified gold in 1992.[17] The title track, spawned Slayer's first music video, which was filmed in front of the Giza pyramids in Egypt prior to the Gulf War.
Slayer returned as a live act in September 1990 to co-headline the European Clash of the Titans tour with Megadeth, Suicidal Tendencies, and Testament. With the popularity of American thrash at its peak, the tour was extended to the US beginning in May 1991, with Megadeth, Anthrax and opening act Alice in Chains. The band released a double live album, Decade of Aggression in 1991, to celebrate ten years. The compilation debuted at #55 on the Billboard 200.[16]
In May 1992, Lombardo quit the band due to conflicts with other members, as well as arguments over his wish to bring his wife on tour.[21] Lombardo formed his own band Grip Inc, with Voodoocult guitarist Waldemar Sorychta,[22] and Slayer recruited former Forbidden drummer Paul Bostaph to fill his place. Slayer made its debut appearance with Bostaph at the 1992 Monsters of Rock festival at Castle Donington. Bostaph's first studio effort was a medley of three Exploited songs, "War", "UK '82", and "Disorder", with rapper Ice-T, for the Judgment Night movie soundtrack in 1993.[23]
[edit] Divine Intervention (1994--1995)
In 1994 Slayer released Divine Intervention, the band's first record with drummer Bostaph. The record became the band's highest charting at that time, debuting at #8 on the Billboard 200.[16] The album featured songs boasting about Reinhard Heydrich, an architect of the Holocaust, Jeffrey Dahmer, "213" his apartment number where he murdered, raped, and tortured seventeen victims. Other themes included murder, the evils of church, and the lengths to which governments will go to wield power, Araya's interest in serial killers inspired much of the lyrical content.[9][24]
Music sample:
* "SS-3" (1994) (file info) — [Play media] play in browser (beta)
o SS-3 is about Reinhard Heydrich, an architect of the Holocaust. SS-3 refers to the license plate number of the car he was killed in.
o Problems listening to the file? See media help.
Slayer geared up for a world tour in 1995, with openers Biohazard and Machine Head. A video of concert footage, Live Intrusion was released, featuring a joint cover of Venom's "Witching Hour" with Machine Head. Relations between Slayer and Machine Head have since badly deteriorated.[25] Following the tour, Slayer were billed fourth at the 1995 Monsters of Rock festival, headlined by Metallica.
[edit] Undisputed Attitude (1996--1997)
In 1996, Undisputed Attitude, an album of punk covers, was released. The band covered songs by Minor Threat, T.S.O.L., D.R.I., D.I., Dr. Know, Verbal Abuse and Iggy and the Stooges. The album featured three original tracks, "Gemini", "Can't Stand You", "Ddamm" written by Hanneman in 1984--1985 for a side project entitled "Pap Smear". Bostaph left Slayer shortly after the album's release to work on his own project, The Truth about Seafood. With Bostaph's departure, Slayer recruited Testament drummer Jon Dette, and headlined the 1996 Ozzfest alongside Ozzy Osbourne, Danzig, Biohazard, Sepultura, and Fear Factory. Dette was fired after a year, due to a fallout with band members; Bostaph returned to continue the tour.[26]
A lawsuit was brought against the band in 1996, by the parents of Elyse Pahler, who accused the band of encouraging their daughter's murderers through their lyrics.[27] Elyse was drugged, strangled, stabbed, trampled on, and raped as a sacrifice to the devil by three fans of the band.[27] The case was unsealed by the court on May 19, 2000, stating Slayer and related business markets distribute harmful products to teens, encouraging violent acts through their lyrics,[27] and "none of the vicious crimes committed against Elyse Marie Pahler would have occurred without the intentional marketing strategy of the death-metal band Slayer".[28] The lawsuit was dismissed in 2001, for multiple reasons including "principles of free speech, lack of a duty and lack of foreseeability".[29] A second lawsuit was filed by the parents, an amended complaint for damages against Slayer, their label, and other industry and label entities. The lawsuit was dismissed; Judge E. Jeffrey Burke stated "I do not consider Slayer's music obscene, indecent or harmful to minors."[29]
[edit] Diabolus in Musica (1998--2000)
Diabolus in Musica (Latin for "The Devil in Music")[30] was released in 1998, and debuted at #31 on the Billboard 200, selling over 46,000 copies.[31] The album received a mixed critical reception and was criticized for adopting characteristics of nu-metal music such as tuned down guitars, murky chord structures, and churning beats. Blabbermouth.net reviewer Borijov Krgin described the album as "a feeble attempt at incorporating updated elements into the group's sound, the presence of which elevated the band's efforts somewhat and offered hope that Slayer could refrain from endlessly rehashing their previous material for their future output.",[32] while New York Time's Ben Ratliff had similair sentiments by saying "eight of the 11 songs on Diabolus in Musica, a few of which were played at the show, are in the same gray key".[33] However, Adrien Begrand of PopMatters said the songs "Bitter Peace", "Death's Head", and "Stain of Mind"; "blow away anything that young pretenders like Slipknot have put out."[34]
The album was the band's first with drop D tuning, as featured on the lead track, "Bitter Peace",(sample (help·info)) making use of the musical range referred to in the Middle Ages as the tritone or Devil's scale.[35] Slayer teamed up with digital hardcore group Atari Teenage Riot to record a song for the Spawn soundtrack titled "No Remorse (I Wanna Die)". The band later payed tribute to Black Sabbath by recording a cover of "Hand of Doom" for the second of two tribute albums, entitled Nativity in Black II. A world tour followed to support the new album, with Slayer making an appearance at the United Kingdom Ozzfest 1998 alongside Black Sabbath, Ozzy Osbourne, Foo Fighters, Pantera, Soulfly, Fear Factory, and Therapy?.
[edit] God Hates Us All (2001--2005)
The original cover of God Hates Us All was deemed "too graphic", so a slip-insert was created to allow the album to be distributed.
The original cover of God Hates Us All was deemed "too graphic", so a slip-insert was created to allow the album to be distributed.
After delays regarding remixing and artwork,[36] including slip covers created to cover the original artwork as it was deemed "too graphic", God Hates Us All was released on September 11, 2001. The band received its first Grammy nomination for the lead track "Disciple", although the Grammy was awarded to Tool, for "Schism".[37] Promotional material announcing the album title and release drew an unintended connection with the September 11 terrorist attacks.
The attacks jeopardized the 2001 European tour Tattoo the Planet originally set to feature Pantera, Static X, Biohazard and Vision of Disorder. Dates were canceled or postponed due to flight restrictions, with a majority of bands deciding to withdraw, leaving Slayer and Static X remaining for the European leg of the tour.[38] Pantera, Vision of Disorder and Biohazard were replaced by Cradle of Filth and other bands dependent on location; Amorphis, In Flames, Moonspell, Children of Bodom, and Necrodeath. Drummer Bostaph left Slayer before Christmas in 2001, due to a chronic elbow injury which would hinder his ability to play.[39] Slayer's "God Hates Us All" tour was unfinished so King contacted original drummer Lombardo, and asked if he would like to finish the remainder of the tour. Lombardo accepted the offer, and stayed as a permanent member.[39]
Slayer toured playing Reign in Blood in its entirety throughout the fall of 2003, under the tour banner "Still Reigning". Their playing of the final song "Raining Blood" culminated with the band drenched in a rain of fake blood. Live footage of this was recorded at the Augusta Civic Center in Augusta, Maine, on July 11, 2004 and released on the 2004 DVD Still Reigning. The band also released War at the Warfield and a box set, Soundtrack to the Apocalypse featuring rarities, live CD and DVD performances and various Slayer paraphernalia.
From 2002 to 2004 the band performed over 250 tour dates, headlining major music festivals including H82k2, Summer tour, Ozzfest 2004, the Download Festival and a European tour with Slipknot. While preparing for the Download Festival in England, Metallica drummer Lars Ulrich was rushed to hospital with a mysterious illness, and was unable to perform.[40] Metallica vocalist James Hetfield searched for volunteers at the last minute to replace Ulrich; Lombardo and Slipknot drummer Joey Jordison volunteered, with Lombardo performing the songs "Battery" and "The Four Horsemen".[40]
[edit] Christ Illusion (2006--present)
The album Christ Illusion was originally scheduled for release on June 6, 2006, and would be the first album with original drummer Lombardo since 1990's Seasons in the Abyss.[41]. However, the band decided to delay the release of the record as they did not want to be among the many, according to King, "half-ass, stupid fucking loser bands" releasing records on June 6,[42] although USA Today reported the idea was thwarted because the band failed to secure sufficient studio recording time.[43] Instead, Slayer released Eternal Pyre on June 6 as a limited-edition EP. Eternal Pyre featured the song "Cult", a live performance of "War Ensemble" in Germany, video footage of the band recording "Cult", and a five minute video of a Slayer fan carving the band's name onto his forearm. Five thousand copies were released and sold exclusively through Hot Topic chain stores, and sold out within hours of release.[44] On June 30, Nuclear Blast Records released a 7" vinyl picture disc version limited to a thousand copies.[45]
Christ Illusion was released on August 8, 2006, and debuted at #5 on the Billboard 200, selling over 62,000 copies in its first week.[46] The album became Slayer's highest charting, improving on its previous highest charting album, Divine Intervention, which had debuted at #8. However, despite its high positioning, the album dropped to #44 in the following week.[47] Three weeks after the album's release Slayer were inducted into the Kerrang! Hall of Fame for their influence to the heavy metal scene.[48]
Slayer performing at The Unholy Alliance Tour
Slayer performing at The Unholy Alliance Tour
A worldwide tour dubbed The Unholy Alliance, was undertaken to support the new record. The tour was originally set to launch on June 6, but was postponed to June 10, as Araya had to undergo gall bladder surgery.[49] In Flames, Mastodon, Children of Bodom, Lamb of God, and Thine Eyes Bleed, Which features Araya's brother Johnny Araya, were supporting Slayer.[50] The tour made its way through America and Europe and the bands who participated, apart from Thine Eyes Bleed, reunited to perform at Japan's Loud Park Festival on October 15, 2006.[51]
The video for the album's first single, "Eyes of the Insane", was released on October 30, 2006.[52] The track was featured on the Saw III soundtrack, and won a Grammy-award for "Best Metal Performance" at the 49th Grammy Awards, although the band were unable to attend due to touring obligations.[53] A week later, the band visited the 52nd Services Squadron located on the Spangdahlem U.S. Air Force Base in Germany to meet and play a show. This was the first visit ever to a military base for the band.[54] The band made its first network TV appearance on the show Jimmy Kimmel Live! on January 19, playing the song "Eyes of the Insane", and four additional songs for fans after the show, although footage from "Jihad" was cut due to its controversial lyrical themes. Slayer toured Australia and New Zealand in April with Mastodon, and appeared at the Download Festival and Rock Am Ring.[56] The band planned to attend the Heineken Jammin' Festival,[57] Switzerland's Greenfield Festival, and a summer tour with Marilyn Manson.[58] In May 2007, Blabbermouth.net announced that a 'first English language Slayer biography' was being written by British author Joel McIver, although no release date was announced.[59]
[edit] Influence
Slayer is credited as one of the "Big four" thrash metal bands along with Megadeth, Anthrax and Metallica, all of which rose to fame in the early 1980s.[1] These four bands have had a great influence on thrash and death metal scenes. "Their downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork set the standard for dozens of emerging thrash bands, and Slayer's music was directly responsible for the rise of death metal" states MTV, ranking Slayer as the sixth "greatest metal band of all time,"[15] also ranking number 50 on VH1's "100 Greatest Artists of Hard Rock".[60] Hanneman and King ranked number 10 in Guitar World's "100 greatest metal guitarists of all time" in 2004,[61] and were voted "Best Guitarist/Guitar Team" in Revolver's reader's poll. Lombardo was also voted "Best Drummer" and the band entered the top five in the categories "Best Band Ever," "Best Live Band," "Album of the Year" (for Christ Illusion), and "Band of the Year."[62]
The band's 1986 release, Reign in Blood has been an influence to extreme and thrash metal bands since its release. The album was hailed the "heaviest album of all time" by Kerrang! Magazine,[3] a "genre-definer" by Stylus Magazine,[63] and a "stone-cold classic upon its release" by All Music Guide.[64] In 2006 it was named the best metal album of the last 20 years by Metal Hammer.[65] Richard Christy, former member of Death was blown away by Dave's performance on the album Reign in Blood,[66] as was Cannibal Corpse drummer Paul Mazurkiewicz.[67]
Drummer Lombardo has been an influence on many modern metal drummers including Ray Herrera of Fear Factory,[68] Pete Sandoval of Morbid Angel,[69] former Cradle of Filth drummer Adrian Erlandsson,[70] and Krisiun drummer Max Kolesne.[71] Patrick Grün of Caliban's inspiration to play drums came from Lombardo,[72] with Jason Bittner of Shadows Fall inspired by Lombardo's double bass, utilizing double bass when starting his own music career.[73]
[edit] Style
Early works were praised for their "breakneck speed and instrumental prowess," combining the structure of hardcore tempos and speed metal the band released fast, aggressive material.[1] The album Reign in Blood is the band's fastest, performed at an average of 250 beats per minute.[74] The album Diabolus in Musica was the band's first with drop D tuning, God Hates Us All the first with drop B tuning - utilizing seven-string guitars.[75] All Music Guide cited the album as "abandoning the extravagancies and accessibility of their late-'80s/early-'90s work and returning to perfect the raw approach",[76] with some fans labeling it nu-metal.[77]
Hanneman's and King's dual guitar solos have been called "wildly chaotic,"[1] and "twisted genius."[78] Drummer Lombardo uses two bass drums, instead of the double kick which is used on a single bass drum. Lombardo's speed and aggression earned him the title of the "godfather of double bass" by Drummerworld. Lombardo states his reasons for using two bass drums: "When you hit the bass drum the head is still resonating. When you hit it in the same place right after that you kinda get a "slapback" from the bass drum head hitting the other pedal. You're not letting them breathe." When playing the double bass Lombardo uses the "heel-up" technique, angling his pedals.
Writing lyrics and music
Hanneman, King and Araya contribute to the band's lyrics, and Lombardo, King and Hanneman create the music. Araya's first contribution to lyrical content was 1988's South of Heaven, forming a lyric writing partnership with Hanneman, which can overshadow the creative input of King.Hanneman states writing lyrics and music is a "free for all"; "It's all just whoever comes up with what. Sometimes I'll be more on a roll and I'll have more stuff, same with Kerry — it's whoever's hot, really. Anybody can write anything; if it's good we use it, if not we don't."
When writing new material the band writes the music before incorporating lyrics. King or Hanneman will use a 24-track and drum machine to show band members the riff they have created, and to get their opinion. Either King or Hanneman and Lombardo will mention if any alterations can be made. The band will play the riff to get the basic song structure, and figure out where the lyrics and solos will be placed.
Feuds
As of 2007, Araya and King have an ongoing feud with Dave Mustaine of Megadeth. It began when Mustaine attempted to convince King to stay with Megadeth rather than the "lame spikes" and "eyeliner" with the "poseurs" in 1984. Mustaine proceeded to tell Araya he liked it when he "sucked his dick" at the 1991 "Clash of the Titans" tour. Araya rebutted calling him a "homo" on stage. Since their falling out at the tour, King lashed out at Mustaine in several interviews stating he is a "cocksucker", "everybody hates him", and he is a "dictator". Recently in GuitarWorld.com's Dear Guitar Hero, King "admires him to this day" but as a guitarist even though he considers Mustaine as a "hypocrite".
Relations between Machine Head and Slayer deteriorated when King labeled Machine Head as "sell-outs" after the release of its 2001 album Supercharger. King continued to criticize the band stating "They're responsible for rap-metal", "they fooled me into thinking they're metal", "'they have no integrity left." Machine Head front man Robb Flynn stated King was not provoked, and these comments had come from nowhere. Flynn, who once idolized King rebutted "Oh, Mr. SUM 41 video has so much fuckin' integrity now!? Shit?!" after King appeared in Sum 41's music video "What We're All About", also stating "King's eaten so many cheeseburgers his brain's starting to clog up." However, on June 16, 2007 Flynn reported that the two sorted out their 'beef' at the Metal Hammer Awards, at which Slayer won an award for 'Metal Icon'.
Controversy
The lyrics of "Angel of Death" were inspired by the acts of Josef Mengele during World War II
Slayer has been accused of holding Nazi sympathies, due to the band's eagle logo bearing resemblance to the Eagle atop swastika, Schutzstaffel stickers on guitars, and the lyrics of "Angel of Death". The lyrics of "Angel of Death" were inspired by the acts of Josef Mengele, the doctor who conducted human experiments on Jewish and Roma prisoners during World War II at the Auschwitz concentration camp, and was dubbed the "Angel of Death" by inmates. Throughout their career, the band members were asked about these accusations, and have stated numerous times they do not condone Nazism, and are merely interested in the subject.
Slayer's cover of Minor Threat's "Guilty Of Being White" raised questions about a possible message of white supremacy in the band's music. The controversy surrounding the cover involved the changing of the refrain "guilty of being white" to "guilty of being right", at the song's ending. This incensed Minor Threat frontman Ian MacKaye, who stated "that is so offensive to me".
In a 2004 interview with Araya, when asked, "did critics realize you were wallowing in parody?", Araya replied, "No. People thought we were serious!...back then you had that PMRC, who literally took everything to heart, when in actuality you're trying to create an image. You're trying to scare people on purpose". Araya also denied rumors that Slayer members are Satanists, but they find the subject of Satanism interesting and "we are all on this planet to learn and experience".
The controversial cover of "Christ Illusion"
The song "Jihad" of the album Christ Illusion sparked controversy among families of the September 11 victims. The song deals with the attack from the perspective of a religious terrorist. The band stated the song is spoken through perspective without being sympathetic to the cause, and supports neither side. Seventeen bus benches promoting the album in Fullerton, California were deemed offensive by city officials. They felt the Antichrist and skull were inappropriate, and felt the name "Slayer" pertains to a murderer. City officials contacted the band's record label and demanded that the ads be removed. All seventeen benches were removed.
In India, the album was recalled by EMI India after protests with Muslim and Christian religious groups due to the nature of the graphic artwork. The album cover depicts Christ mutilated, missing arms and an eye, in a sea of blood with severed heads. On October 11, 2006 EMI announced that all stocks had been destroyed, noting it had no plans to re-release the record in India in the future.
Main article: Slayer discography
Studio albums
* 1983: Show No Mercy
* 1985: Hell Awaits
* 1986: Reign in Blood #94 US[16]
* 1988: South of Heaven #57 US[16]
* 1990: Seasons in the Abyss #40 US[16]
* 1994: Divine Intervention #8 US[16]
* 1996: Undisputed Attitude #34 US[16]
* 1998: Diabolus in Musica #31 US[16]
* 2001: God Hates Us All #28 US[16]
* 2006: Christ Illusion #5 US[16]
EPs/Box Sets
* 1984: Haunting the Chapel
* 2003: Soundtrack to the Apocalypse
* 2006: Eternal Pyre
DVDs/Live CDs
* 1984: Live Undead
* 1991: Decade of Aggression
* 1995: Live Intrusion
* 2003: War at the Warfield
* 2004: Still Reigning
[edit] Band members
[edit] Current members
* Tom Araya - bass, lead vocals (1981--present)
* Jeff Hanneman - guitar (1981--present)
* Kerry King - guitar (1981-present)
* Dave Lombardo - drums (1981--1986, 1987--1992, 2001--present)
[edit] Former members
* Paul Bostaph - drums (1992--1996, 1997--2001)
* Jon Dette - drums (1996--1997)
* Tony Scaglione - drums (1986--1987) (Less)
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53, 01:00, 2009-08-27 05:03:38 Description: People playing darts at the Lark Tavern in Albany, NY. Thank you for your patience, random serious people :) This is my second video test with a Canon 5D Mark II, at a higher shutter speed this time, (More) People playing darts at the Lark Tavern in Albany, NY. Thank you for your patience, random serious people :) This is my second video test with a Canon 5D Mark II, at a higher shutter speed this time, with the same Canon 50mm f/1.4. Once again, nothing interesting going on here, but an opportunity for me to describe my workflow in more details. Or lack thereof. Here are my first experiments taming the beast. Update 01/01/09: Augment the "Create Proxy Files" section with a comparison between several codecs and several frame sizes. Update 30/01/08: Add a "About previews and pre-rendering" section. Update 29/01/08: I found out how to auto-scale low-res proxy files to the project's frame size, and updated this document accordingly. This fixes one major issue. The issue: -------------------- As I described in my first video test (vimeo.com/2624143), the amount of data captured by the 5D is hammering both my computers at home (see hardware specs at the end of this document). At 1920x1080p 30fps, the H.264 codec used by Canon seems to push about 39 Mbps of video down the pipe. Ugh. While I can *replay* the clips nicely from Quicktime or Windows Media Player, I'm not able to perform any native editing from Adobe Premiere CS4; the first few seconds play fine, but it's a complete halt soon after that, even in Draft mode. Basic tasks like trimming assets, tweaking ends points, adding and previewing transitions are out of my reach. While this could be blamed on the H.264 MainConcept codec used in Premiere (ffmpeg's x264 in WMP and Quicktime's H264 codec replay fine), and/or my specs, I'm doubtful I will be able to do any serious work on native 5D's video files at full-res anyway, short of buying a very expensive rig and/or a compatible H.264 hardware decoder card. One solution: -------------------- This is, however, not a new problem; people have been dealing with high resolution files in the past through clever use of proxy files and offline editing: en.wikipedia.org/wiki/Offline_editing From what I understand, proxy files are alternate versions of your original clips, either re-encoded for faster access and/or resampled to a smaller, lower resolution frame size (preferably with the same aspect ratio). Editing, pre-viewing and draft rendering are performed using those proxies; once you are happy with the results, the final high-resolution movie is created by first replacing the proxies with the original full-res clips. Easy enough. H.264 is not a slow codec per se, but the bitrate in the full-res 5D files is really high, at about 38.6 Mbps, about the same as a Blu-Ray DVD, more than a HD DVD. I'm not going to re-encode 1920x1080p clips using a different codec at full-res; a faster decoder would only mean more (i.e. less compressed) data. Not only would I end up with a huge amount of video but I'm actually not even sure either my hard-disks or Premiere could sustain that much. Storage is cheap, but at 1920x1080 30fps, this is still a lot of image processing going on. Resizing the clips to a lower 640x360 frame size seemed the way to go in my situation, and I'll describe shortly how I created my proxies and switched between full-res and low-res. Now if that whole proxy switcheroo seems to make reasonable sense to me, why is it so tedious to set up in Adobe Premiere CS4? Granted, I'm new to Premiere, but from what I gather on Adobe's "About online and offline editing" help page, I'm not the only one to struggle: tinyurl.com/9jzdhk My workflow: -------------------- Here is quick overview of my workflow: 0) Create proxy files for your original 5D clips (I'll go over this in a separate section, let's just stick to the workflow). 1) Create a new Premiere project. The "New Sequence" video and audio settings should match the settings of your original assets, i.e. your native 5DMII files, 1920x1080p @ 30fps. Check my detailed "New Sequence: Canon 5DMII native settings" preset at the end of this document. 2) Drop a few native 5D clips in the project. Important: do *not* put them in the timeline. 3) Switch to offline editing. a) In the left panel, select all clips, right-click and select "Make Offline...". No deleting the originals! The full-res clips are now disconnected from your project. b) In the same panel, select all clips, right-click and select "Link Media...". This is our opportunity to replace the now-disconnected full-res clips with any low-res proxies created earlier. Note that if you put your proxies in a separate folder but keep the same file names as the original assets, Premiere will only ask you the location of the first proxy then find the others in the same folder automatically. 4) Adjust the clips settings. If your proxies are not at the same resolution (frame size) as your original assets, select all clips then select "Clip -> Video Options -> Scale to Frame Size". Remember that your project's frame size is locked and needs to match the native full-res format, i.e. 1920x1080p. Your low-res proxy files (say, 640x360) will show up fine in the source window, but they will be displayed centered within a huge (and mostly empty) 1920x1080 frame in the composite area. Selecting "Scale to Frame Size" will make sure your low-res assets are "upscaled" automatically to match the project frame size. If you don't do so, expect translating, scaling or any size-dependent manipulation not to work; a 10 pixels translation would not move the same relative area once you switch back to the 1920x1080p clips. Important: this option can *only* be set on clips that are not in the timeline yet; see step 2). 5) Edit the movie. At this point, this should be smooth-sailing. Add transitions, move clips around, trim, preview, etc., until your are ready to create the full-res movie. 6) Switch to online editing. Almost the same as 3a) and 3b), select all clips, make them offline, then link them back to the *full-res* native clips. The previewing area should look the same, Premiere should not even need to apply "Scale to Frame Size" since your assets now match the exact same settings as your project, 1920x1080p. Again, if your proxies and original assets are in different folders but share the same file names, Premiere should only ask you about the first one and find the others automatically. 7) Render the final movie. Select "File -> Export -> Media...", pick your export settings, start the rendering queue and go grab a coffee. In Columbia. Note that I do not export my movie to full-res, I render to a more friendly 1280x720p frame size that I can safely upload to Vimeo and display straight from my XBox 360 to my HD screen in the living room. Check my detailed "Export Settings: Canon 5DMII Medium Res (H264)" preset at the end of this document. FYI, it took about 12 minutes on my laptop to render this very basic 1 minute clip above. That's about it so far. This is still a little tedious for a few reasons: - Switching between offline and online clips is a pain: if my proxy files do not have the exact same file name and extension as my original files, Premiere will ask me to locate each one of them, one by one, starting from the original file location. This gets old *fast*. Keep that in mind when creating your proxy files (my proxies are .avi when I use the Lagarith codec, native 5D clips are .mov), and try to put your proxies in a separate folder. - Since there is no guarantee step 7) will be your final step, any last minute tweak will you send back to step 3) once more to work with proxy files, then 4), and 5), etc. Once you get familiar with this workflow, you will notice that you can skip step 2) and 3) entirely and drop your proxy files directly to a new 1920x1080p project. Proxy files are, after all, what you will be working with most of the time. Only in step 6) do you need to switch your proxies with your original full-res files. Conclusion: -------------------- So here you go. Name your proxies carefully and this should work in most situations. I'm a big fan of Adobe products; from a software engineering perspective, I think they are quite impressive. Premiere is a great product in that respect as well, so that's why I'm surprised offline editing remains a little tricky. What I wanted to see in Premiere: - drop my native 5D files, - right click on my clips, let me point to proxy files (and make it easy for me to do so), or flag the original assets as "I need a proxy here" so that Premiere batch-queue the selected clips and render the proxies automatically, - when it's time to render the final movie, present me with a checkbox that lets me use the proxy files or the native files *for all clips involved in my sequence*; i.e. do not force me to switch back and forth between low-res and full-res, on and on. Update: Adobe After Effects seems to be doing it exactly right. tinyurl.com/7lewou Hopefully I'll be able to refine this process in the future, or not use Premiere, I'm not quite sure yet. Project files are in XML format, I guess one could write a script to replace proxy files with native files automatically. Premiere itself is scriptable directly at run-time, but I've been burned before by scripting on Mac. The Premiere SDK is available for free as well and an export plugin could be created to work directly on a proxies-based project and export a new project using the corresponding native files. I'm not looking forward to any of this :) Good luck. Feel free to add any comments/updates. A link to this article was posted to several forums: cinema5d.com/viewtopic.php?f=29&t=364 dvinfo.net/conf/canon-eos-5d-mk-ii-hd/140600-workflow-premiere-cs4.html forums.dpreview.com/forums/readflat.asp?forum=1032&thread=30493944 forums.dpreview.com/forums/readflat.asp?forum=1032&message=30493876 adobeforums.com/webx/.59b76728 Here are a few threads to follow as well: adobeforums.com/webx/.59b755fb adobeforums.com/webx/.59b75c51 elementsvillage.com/forums/showthread.php?t=43135 forums.dpreview.com/forums/readflat.asp?forum=1032&message=30298160 The rest of this document: creating proxy files, a note about previews and pre-rendering, my hardware specs, detailed Premiere export settings... Creating Proxy files: -------------------- Creating proxy files in batch using Adobe Media Encoder is pretty easy. Launch the program, drop your original 5D files, select the whole batch and pick an export preset. If you have not created a preset so far, just select one file, click on "Settings...", adjust your settings, save them as a preset and apply this preset to all remaining files. Start the rendering queue and go get a book. What settings to choose for your proxy files may vary. Check my detailed "Export Settings: Canon 5DMII Low Res Proxy (Lagarith)" preset at the end of this document. Even if the native 1920x1080p clips were uncompressed, I don't think Premiere could edit them fast enough in real-time, even in Draft mode: I chose to downsize my files to 640x360 (1/9th). Make sure you keep the same aspect-ratio. I also picked a codec that performs well for Non-Linear-Editing: Lagarith. lags.leetcode.net/codec.html compression.ru/video/codec_comparison/lossless_codecs_2007_en.html My nine original 5D clips weighted a total of 366 MB. My proxy files weighted about 273 MB. Not *that much* smaller for a frame size 1/9th the original frame size, but keep in mind that this is a fast lossless codec. I sacrificed some disk space for faster decoding, though I could probably go lossy. I actually would like to use a Quicktime codec to keep the same file extension; feel free to pass any suggestion. Check this thread as well: adobeforums.com/webx/.59b755fb Update 01/01/09: since I wasn't satisfied with using AVI files for proxies, I converted one original 79 MB (16 s.) clip using several codecs at several frame size, and checked if I could achieve smooth playback from Premiere CS4. In the tables below, each row is read as: frame size | container type | codec (bitrate): size MB (size %) | smooth playback? | comments where QT stands for "QuickTime format/container", AVI for "Microsoft AVI format/container", P2 for "P2 Movie" (aka DV, DVCPRO, etc). Here is the original 5D Mark II file: 1920x1080 | QT | H.264 (38.6Mbps): 79 MB (100%) | no | Here are 8 different proxy types at full-resolution, sorted by increasing file size. Premiere CS4 was not able to playback any of them smoothly on my laptop; 1 wouldn't even play (ffmpeg x264 codec); 4 looked pretty bad just by checking still frames. 1920x1080 | AVI | x264 (6Mbps): 12 MB (15%) | no | corrupted, won't play 1920x1080 | QT | H.264 (6Mbps): 12 MB (15%) | no | 1920x1080 | QT | Video: 46 MB (58%) | no | look bad 1920x1080 | QT | Motion JPEG A/B: 55 MB (70%) | no | look no good 1920x1080 | QT | Cinepak: 60 MB (76%) | no | look horrible 1920x1080 | AVI | PicVideo MJPEG3: 198 MB (250%) | no | 1920x1080 | QT | JPEG2000: 230 MB (291%) | no | 1920x1080 | AVI | Lagarith: 379 MB (480%) | no | 1920x1080 | QT | Animation: 535 MB (677%) | no | look horrible 1920x1080 | AVI | ACDV: 678 MB (858%) | no | look corrupted Here are 5 different proxy types at half-resolution. Good news, 4 of them playback pretty decently and could be reasonably used as proxies. 960x540 | QT | H.264 (6Mbps): 12 MB (15%) | YES | 960x540 | AVI | ACDV: 31 MB (39%) | YES | 960x540 | QT | JPEG2000: 34 MB (43%) | no | degraded and choppy 960x540 | AVI | PicVideo MJPEG3: 68 MB (86%) | YES | 960x540 | AVI | Lagarith: 119 MB (150%) | no | very choppy Here are 5 different proxy types at one-third-resolution. Not surprisingly, all of them playback smoothly and could be used as proxies, though the JPEG2000 one looked very degraded. 640x360 | QT | JPEG2000: 7 MB (9%) | YES | look very degraded 640x360 | QT | H.264 (6Mbps): 12 MB (15%) | YES | 640x360 | AVI | ACDV: 19 MB (24%) | YES | 640x360 | AVI | PicVideo MJPEG3: 40 MB (50%) | YES | 640x360 | AVI | Lagarith: 63 MB (80%) | YES | And finally the P2 format (i.e. DV, DVCPRO, DVCPROHD, DVDPro100), which stands in-between as it horizontally compresses recorded images to 960x720 pixels for 720p output (i.e. the pixels are not "square" anymore but this displays just fine). I guess this format is bitrate-oriented as well since both 960x720 and 720x480 output produced the same file size. en.wikipedia.org/wiki/DV#DVCPRO Note that converting to this format creates a folder hierarchy containing various files and both audio/video streams separated; just drop the video stream found in CONTENTS/VIDEO to Premiere. Do not expect to be able to read the .MXF video stream directly from Windows Media Player. 960x720 | P2 | DVCPro100 720p 30: 115 MB (145%) | YES | fine but scrubs fast 720x480 | P2 | DVCPro50 NTSC: 115 MB (145%) | YES What to pick, what to pick? Again, keep in mind that this is for a specific laptop configuration, though the tables above could be used to sort codecs relative to each other. So far I had used the Lagarith codec at 640x360, but if I stick to this resolution I may as well use ACDV or QuickTime H.264 to save some space. More importantly, a QuickTime codec would make it much easier for me to switch between proxies and original assets, since they could share the same file names in separate folders. If I choose a higher-resolution, say 960x540, I could once again use either ACDV or QuickTime H.264, preferably the later. On my widescreen monitor, the sub-windows used inside Premiere to display either the source assets or the preview area are about 660x370; a 640x360 proxy would display just fine. For the sake of completion I created a few new 960x540 proxies using QuickTime H.264 at 3 different bitrates: 3, 6 and 12 Mpbs. I could not really notice any difference inside Premiere, they all played back reasonably smoothly. 960x540 | QT | H.264 (3Mbps): 6 MB (8%) | YES | 960x540 | QT | H.264 (6Mbps): 12 MB (15%) | YES | 960x540 | QT | H.264 (12Mbps): 24 MB (30%) | YES | Note: if you are looking for a free batch converter, I can suggest Virtualdub, which I'm a big fan of, but I spent an unhealthy amount of time trying to get it to process native 5D files, without success. I've read H264 can be opened from Virtualdub, I just doubt 5D files specifically can. I upgraded my Haali Splitter, my ffmpeg distribution, downloaded the Quicktime Virtualdub plugin, no dice. This would either display a green screen and crash, or fail to render the movie properly besides the I-frames. virtualdub.org/ tateu.net/software/ forum.videohelp.com/topic359864.html About previews and pre-rendering: -------------------- Update 30/01/08: Some people suggested I preview (pre-render) the timeline (or pieces of my timeline). I can, but this is certainly not the same. I quote the doc: "Areas that can’t be played at the project’s full frame rate are indicated by a red line in the time ruler. To play these areas, you can set the time ruler’s work area bar over the red preview indicator and render a preview file. This renders the segment as a new file on the hard drive, which Adobe Premiere Pro can play at the project’s full frame rate". Such previews are pieces of your *timeline* that are pre-rendered *including* all effects. Proxies, on the other hand, are original clips in the assets list. What I mean here is that I can use the same clip several times in my timeline, with different effects applied: if this asset doesn't playback originally, even without any effects, then the corresponding two instances of this clip won't either. I can certainly preview (pre-render) my timeline for both instances of this same clip and achieve smooth playback that way, but that implies I need to pre-render twice (one for each instance), and that I will have to pre-render again and again each time I change the timeline settings, effects and transitions on those two instances. On the other hand, if I use a good (fast enough) proxy, its contents will be used twice in my timeline and playback should be smooth for all instances of this clip, as long as I don't pile 10 effects on it of course. My point is: given the same amount of effects/transitions, it seems to me that a proxy might allow you to skip the pre-render step much more often. Pre-rendering works fine, I'm just trying to tackle the problem earlier in the workflow. As far as I'm concerned, the situation is actually much worse than that: I can *not* playback or scrub my 5D clips in a timeline, even without any effects. If I had to use pre-rendering only, I would have to put all my high-res clips in the timeline, pre-render *all of them*, edit my transitions/effects, then pre-render again and again for each change, etc etc. The problem for me here is that at full-res, the Preview format is just killing my computer. It doesn't provide any flexibility; previewing is essentially creating a less useful proxy file automatically, without the control on frame size and compression. That might be a non-issue on somebody else's machine, but on my PC the preview file format is set to Uncompressed UYVY 422 8bit. None of the few other formats are that much better either, the preview settings offer only a very small subset of the codecs you can use for a proxy. I just tried again, dropping a single 80 MB file (16 s.) on my timeline and triggering a preview; it took *way* longer to create that preview than just batch-creating proxy files using Premiere's Media Encoder. Actually I had to give up after 10 minutes because Premiere had generated, out of this 80 MB file, something already larger than 1.6 GB. I just don't have the space/horse-power to store/edit files that size, but your mileage may vary. Also, let's face it, I do not need to edit at 1920x1280p; none of the sub-windows in Premiere uses anything close to that effective resolution. Granted, my masks would look a tad more accurate if I created them again a full-res frame than a one-half or one third proxy, but I could use a larger proxy for specific cases... --------------------------------------------------------------------------- My specs: Laptop: Dell Latitude D630 - Intel Core 2 Duo T7700 @ 2.4 GHz, - 4 GB RAM, - Windows Vista 32 bits - 64GB Solid State Drive :( Desktop: Dell Dimension 8400 - Intel Pentium 4 @ 3.2 GHz, - 2 GB RAM, - Windows XP 32 bits, - 150 GB Raid 1 (probably @ 7200 RPM) --------------------------------------------------------------------------- New Sequence: Canon 5DMII native settings (matching the Canon 5DMII native video format as close as possible) General: * Editing mode: Desktop, * Timebase: 30 fps Video Settings: * Frame size: 1920h x 1080v (1.0000), * Frame rate: 30 fps, * Pixel Aspect Ratio: Square (1.0), * Fields: No Fields (Progressive Scan) Audio Settings: * Sample rate: 44100 Hz --------------------------------------------------------------------------- Export Settings: Canon 5DMII Low Res Proxy (Lagarith) (matching the Canon 5DMII native video format as close as possible, except for the frame size downsampled to 640x360) * Format: Microsoft AVI Filters: Video: * Video Codec: - Video Codec: Lagarith lossless codec, - Codec Settings: Always Suggest RGB, Mode = RGB, Use Multithreading (that codec performs better in RGB, but YUV would do fine) * Basic Settings: - Quality: 100, - Width: 640, - Height: 360, - Frame Rate: 30, - Field Type: Progressive, - Aspect: Square Pixels (1.0), - Render at Maximum Depth: No, - Depth: 24 bit * Advanced Settings: - Expand Stills: No Audio: * Audio Codec: Uncompressed, * Basic Audio Settings: - Sample Rate: 44100 Hz, - Channels: Stereo, - Sample Type: 16 bit, - Audio Interleave: 0 --------------------------------------------------------------------------- Export Settings: Canon 5DMII Medium Res (H264) (matching Vimeo and XBox 360 recommended format, 1280x720) * Format: H.264 Filters: Multiplexer: * Basic Settings: - Multiplexing: MP4, - Stream Compatibility: iPod (IMPORTANT for Xbox 360 compatibility) Video: * Basic Video Settings: - Codec: MainConcept H.264 Video, - TV Standard: NTSC (I'm in the US) - Frame Width [pixels]: 1280, - Frame Height [pixels]: 720, - Frame Rate [fps]: 30, - Field Order: None (Progressive), - Pixel Aspect Ratio: Square Pixels, - Profile: High, - Level: 3.1 * Bitrate Settings: - Bitrate Encoding: VBR, 2 Pass (slower, but recommended) - Target Bitrate [Mbps]: 6 (original 5DMII is at 38.6, BluRay 40, HD DVD around 36) - Maximum Bitrate [Mbps]: 10 * Advanced Settings: - Set Key Frame Distance: No Audio: * Audio Format Settings: - Audio Format: AAC * Basic Audio Settings: - Codec: AAC, - Output Channels: Stereo, - Frequency: 44.1 kHz, - Audio Quality: High * Bitrate Settings: - Bitrate [kbps]: 224 (your mileage may vary) * Advanced Settings: - Precedence: Frequency (not sure about this one) (Less)
Channel: vimeoTags: altuwa USA Albany NY test video Canon 5D Canon 5D Mark II workflow darts dart Lark Tavern Premiere
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