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Old 04-06-2021, 03:37 PM   #31001
Vilya Vilya is offline
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Quote:
Originally Posted by Ender14 View Post
Unless you're doing editing or something that requires super fast read/write speeds the EVO is sufficient. You won't notice much of a speed difference in games or day to day use between the 2.

Are you getting SATA or NVMe?
My mobo only supports SATA. The difference in read/write speeds is only like 10 MB/s between the Pro and Evo series, but the Pro is warranted for twice as much lifetime data writing, 4800 TBW vs. 2400 TBW or 5 years whichever comes first.

Last edited by Vilya; 04-06-2021 at 03:43 PM.
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Old 04-06-2021, 03:48 PM   #31002
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Quote:
Originally Posted by Vilya View Post
My mobo only supports SATA. The difference in read/write speeds is only like 10 MB/s between the Pro and Evo series, but the Pro is warranted for twice as much lifetime data writing, 4800 TB vs. 2400 TB or 5 years whichever comes first.
Ah. Yeah, PCIe NVMe is the fastest if your mobo supports it. As far as the warranty difference I guess that is whether you think it is worth the extra money. I've been using the NVMe EVO for over 2 years now without issue.
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Old 04-06-2021, 03:53 PM   #31003
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Originally Posted by Ender14 View Post
Ah. Yeah, PCIe NVMe is the fastest if your mobo supports it. As far as the warranty difference I guess that is whether you think it is worth the extra money. I've been using the NVMe EVO for over 2 years now without issue.
My mobo is 8 years old (Asus Sabretooth Z87) and I am loathe to tackle the massive project of upgrading it; that's a whole LOT of work.

I'll get the SATA EVO; I am confident that the 5 year warranty will expire long before I ever write anything remotely close to 2400 TB of data.
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Old 04-06-2021, 04:00 PM   #31004
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Originally Posted by bhampton View Post
I (currently) prefer a clunky headset or glasses to having something installed in my brain which could be the next logical step.

[Show spoiler]

I have the PSVR and the ancient Oculus Go. The go isn't very heavy and can be used with it's built in speakers making it totally wireless which I think helps a lot to alleviate some of the awkwardness.

Take 3D and make it "look around"-able and interactive and it really can be immersive. Add a little medication and you may forget it's not real.

If I had to chose between VR and movies then movies wins as it's always been fun.

[Show spoiler]
However, if I want to spend quality time with Valentina Nappi and Alina Lopez then it's much easier to organize with VR.


On the topic of all this, I have to double double check but I believe somehow I don't have the movie Brainstorm...... ?!?

[Show spoiler]

Doesn't get a good review here,.... I am fairly sure it should be remastered and it's becoming more relevant every day.

-Brian
There is plenty of room in my skull for a chip implant, but I really don't need any more surgical scars. I am used to wearing eyeglasses, but anything heavier or more cumbersome than that is just unacceptable to me.

I saw Brainstorm a long time ago and I own it on laserdisc. It is not a movie that I consider to be worth buying twice, so I have not upgraded it. Maybe I should revisit it, but I remember being by it.

Last edited by Vilya; 04-06-2021 at 04:05 PM.
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Old 04-06-2021, 04:54 PM   #31005
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Went a little crazy last night and placed a 10-disc BD order from Hamilton Books!

The Divine Move (2 copies)
The Rolling Stones LIVE - Some Girls 1978
Max Fleischer's Superman Collection
Pray for Death
The Connection
Ned Kelly (Mick Jaggar)
Innocent Bystanders
Nosferatu in Venice
Pretty Peaches Trilogy


They charge a $4 fat shipping fee and sales tax and even with that (also I ordered two copies of the Divine Move), my total was like $98 and some change so divided by 10, was $9.78 per title.
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Old 04-06-2021, 06:04 PM   #31006
bhampton bhampton is offline
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Quote:
Originally Posted by Vilya View Post
I saw Brainstorm a long time ago and I own it on laserdisc. It is not a movie that I consider to be worth buying twice, so I have not upgraded it. Maybe I should revisit it, but I remember being by it.
It could be the first movie with VAR. I think I last had it on VHS, so I can't really say how I would feel about it now. I liked the concept of the story.
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Old 04-06-2021, 07:25 PM   #31007
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Quote:
Originally Posted by Vilya View Post
My mobo is 8 years old (Asus Sabretooth Z87) and I am loathe to tackle the massive project of upgrading it; that's a whole LOT of work.

I'll get the SATA EVO; I am confident that the 5 year warranty will expire long before I ever write anything remotely close to 2400 TB of data.
Yes the Samsung EVO's are great SSD's, I have a 1TB and a 512GB as C: in mine and my wife's computers. They are going on 3 years now with no problems. Samsung SSD's are at the top of the line!

Last edited by alchav21; 04-12-2021 at 08:21 PM.
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Old 04-08-2021, 05:58 PM   #31008
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Authors Earn More Leverage in Film and TV Rights Market Amid Pandemic - Hollywood Reporter - 4/8/21

Netflix picked up both Andy Weir’s 'Project Hail Mary' and Isabel Wilkerson’s 'Caste' in seven-figure deals in 2020.

Amid a bustling year for deals given streaming demand, writers increasingly ask for more creative control in projects: "We are able to ask for things that we weren’t able to ask for in the past."

Quote:
During Hollywood’s pandemic shutdowns in 2020, one market stayed bustling: media rights sales. That has been a boon to some authors and agents who were able to get book-to-film or TV packages sold during a quieter time for the industry. “We felt like we had to make the most of opportunities during this period — otherwise, it would be very shortsighted of us,” says CAA books agent Michelle Kroes of the uptick on interest in the rights market.

The top four agencies’ divisions that handle media rights have been doing more business since the start of the pandemic as compared to the same time period the previous year, with CAA and UTA each pegging their deal totals at more than 250. The growth in streaming deals and interest in diverse stories are contributing factors to a booming rights marketplace, one where authors long sidelined in Hollywood adaptations now hold a more prominent role.

“[The pandemic] escalated what was going to happen a few years from now. It was just in a much shorter window,” says UTA’s media rights group co-head Jason Richman. The launching of studio streaming services created a need for content, and the past year's e-suite reorganizations left new hires with slates that needed filling. Adds Richman, “There has been so much change that it creates opportunity."

There was an initial worry that the production shutdown would affect the interest in materials for development, but that worry was quickly quelled, as high-priced deals were made on expedited timelines. In March, shortly after studio lots were shuttered, The Martian writer Andy Weir’s latest novel, Project Hail Mary, sold with Ryan Gosling attached to star, in a massive $3 million deal to MGM. Months later, in August, debut author Femi Fadugba's The Upper World, with Daniel Kaluuya attached to star, was shopped on a Monday and by Friday had sold to Netflix in a $2 million deal.

Those who have participated in the rights market, both as buyers and sellers, are in agreement on one thing: Authors finally have leverage. As seven-figure bidding wars, often with upward of a dozen potential buyers, become more commonplace, authors and their reps are able to negotiate for more creative control, and stakes as writers and producers. “We are able to ask for things that we weren’t able to ask for in the past, and there is a sense of acceptance,” notes ICM’s Josie Freedman.

Several sources note that during the first several months of the pandemic, most major agencies had yet to reach a deal with the Writers Guild — UTA broke ranks in July — which left authors as the primary writing voice in many packaged projects, adding leverage. (All agencies have since come to terms with the guild, with WME the last holdout firm agreeing to terms in February.) Even after the guild standoff ended, authors have kept leverage thanks to unparalleled interest in rights.

Television has always been a more welcoming medium, where writers rooms allow authors-turned-screenwriters to safely navigate breaking their stories alongside veteran showrunners, but the past year has seen an uptick in writing and producing credits in the feature space. This February, Makeready, and producer Misha Green tapped debut novelist Namina Forna to adapt her 2020 best-selling fantasy trilogy The Gilded Ones for film.

Pandemic must-watch viewing like Netflix's Bridgerton inspired a romance boom, with back catalogs from a stable of romance and “beach read” authors like Sylvia Day and Elin Hilderbrand mined across streamers, networks, and studios. While Netflix's Queen’s Gambit, which languished in development for decades, has inspired buyers to take chances on possibly costly period stories and genre-agnostic titles.

“An importance has been placed on literary authors for material that didn’t necessarily fit into a genre. It doesn’t have to be romantic comedy or horror,” says Freedman. In October, ICM sold Isabel Wilkerson’s expansive scholarly work Caste to Netflix, with Ava DuVernay set to direct.

Moreover, reps note a desire for material from nonwhite authors, and studios’ ask to keep those authors attached to their work. Says Flora Hackett, of WME’s literary packaging department, “If it’s a singular voice — especially if it is reflective of their own experience — people want to have the author involved. Certainly, more so than five or 10 years ago.”

As for what genres are selling, Hackett notes, “We say this to publishing agents all day long when we are looking for material: optimism.” While producers at the top of the pandemic asked after COVID-friendly stories that centered on only a few characters or took place in one location, this trend quickly died off and was replaced with big buys in the speculative fiction space that can lend themselves to star-driven franchises and spectacle cinema.

Hackett adds: “No one wants apocalyptic right now. Nobody wants a story where a virus is coming. It’s like, ‘We know.’”
I think it is great we are seeing Authors more involved with the film and TV productions these days. Rather then adapted for a film you get content that is a lot truer to a authors perspective to how it would be. You also get to see a lot more diverse content perspectives rather then Hollywood just making copycat films derived from previous film content that we suffered from for years.
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Old 04-08-2021, 06:11 PM   #31009
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For you Netflix haters.

Netflix Nabs Post-PVOD Streaming Rights to Sony's Feature Films in Multi-Year Deal - Hollywood Reporter 4/8/21

Quote:
The multiyear, exclusive first pay window licensing deal in the U.S. will begin with the studio's film slate next year, which includes anticipated titles like 'Morbius' and 'Uncharted'.
Unlike Disney, NBCUniversal and ViacomCBS, Sony notably has not launched a direct-to-consumer streaming service to compete with Netflix. Instead, the studio is cementing its future in a major deal with Netflix.

Sony has inked a multi-year, exclusive first pay window licensing deal in the U.S. that will allow Netflix first pay window rights to Sony Pictures titles following their theatrical and home entertainment windows, the studio announced Thursday. (The typical pay one window is 18 months.) Since 2006, Sony's pay-TV partner has been the Lionsgate-owned Starz.

For theatrically released films, the pact will begin with Sony's 2022 film slate, which includes Morbius, Uncharted, Bullet Train, and the sequel to the Oscar-winning Spider-Man: Into the Spider-Verse. In the future, this will also include installments from major Sony franchises like Jumanji and Bad Boys.

Under the deal, Netflix, which has been spending billions to build out a library of its own in anticipation of the launch of studio streaming services, will also have access to a new library of films. The streamer will have the ability to license the rights to select titles from Sony's library, which includes Columbia's nearly century-old catalog. (Netflix and Sony already have a pre-existing output deal for Sony Pictures Animation titles, first inked in 2014.)

Over the course of the deal, Netflix has also committed to financing a number of titles from the studio's motion picture group. These will encompass the films that Sony intends to make directly for streaming from inception or decides at a later point to license for streaming. The announcement notes that Sony's theatrical output will "continue at its current volume."

With the pact, Netflix will have access to a new pipeline of first-run film offerings, including a steady supply of Marvel content, which has been out of reach for the streaming service since the launch of Disney+. Per deal terms, these will include future installments of Spider-Man and Venom. (Venom: Let There Be Carnage and Spider-Man: No Way Home, the next installment in their respective franchises, are both set for 2021 releases so will not be included in the pact.)

“At Sony Pictures, we produce some of the biggest blockbusters and the most creative, original films in the industry. This exciting agreement further demonstrates the importance of that content to our distribution partners as they grow their audiences and deliver the very best in entertainment," said Keith Le Goy, Sony's president of worldwide distribution.

Added Netflix film head Scott Stuber: “This not only allows us to bring their impressive slate of beloved film franchises and new IP to Netflix in the U.S., but it also establishes a new source of first-run films for Netflix movie lovers worldwide.”

This deal comes after the other major studios have drawn their respective lines-in-the-sand, as to how they will be handling their theatrical titles, streaming services, and VOD.

Warners sent shockwaves throughout the industry when it announced the entirety of its 2021 movie slate would be available both on HBO Max and in open theaters, day-and-date. Universal struck a deal to have its movies debut on premium video-on-demand services 17 days after. Paramount stated that some of its major theatrical titles including Mission: Impossible 7 and A Quiet Place Part II, will debut on Paramount+ 45 days after their big-screen runs.
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Old 04-08-2021, 06:37 PM   #31010
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Sony has inked a multi-year, exclusive first pay window licensing deal in the U.S. that will allow Netflix first pay window rights to Sony Pictures titles following their theatrical and home entertainment windows, the studio announced Thursday. (The typical pay one window is 18 months.) Since 2006, Sony's pay-TV partner has been the Lionsgate-owned Starz.
The movies will therefore show up on Netflix about 17 months after they are released on Blu-ray. Why should we care?
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Old 04-08-2021, 07:13 PM   #31011
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The movies will therefore show up on Netflix about 17 months after they are released on Blu-ray. Why should we care?
Lol

16 great blu rays showed up here today. So glad I rebought this series.... I gave my blus to a friend who in turn gave them to someone else. Glad I was able to "fix" this before they were gone oop. My first experience with GRUV was lovely.


Last edited by bhampton; 04-08-2021 at 07:52 PM.
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Old 04-08-2021, 08:33 PM   #31012
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The movies will therefore show up on Netflix about 17 months after they are released on Blu-ray. Why should we care?
Its not concerning just new movies waiting for their release window to be done, it also applies to a unspecified number of older titles from Sony’s movie vault. (Columbia Pictures, Sony Pictures Classics, Screen Gems and TriStar Pictures )
Note this is only for the USA market, which is 73 million subscribers.

From a business valuation perspective it means that Sony is a top supplier to Netflix now.
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Old 04-08-2021, 08:34 PM   #31013
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You had me at Netflix haters
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Old 04-08-2021, 09:00 PM   #31014
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You had me at Netflix haters
Everything is a means to being entertained you know, and no I was not making fun of anyone in particular.
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Old 04-08-2021, 09:14 PM   #31015
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Quote:
Originally Posted by JohnAV View Post
Authors Earn More Leverage in Film and TV Rights Market Amid Pandemic - Hollywood Reporter - 4/8/21

Netflix picked up both Andy Weirís 'Project Hail Mary' and Isabel Wilkersonís 'Caste' in seven-figure deals in 2020.

Amid a bustling year for deals given streaming demand, writers increasingly ask for more creative control in projects: "We are able to ask for things that we werenít able to ask for in the past."



I think it is great we are seeing Authors more involved with the film and TV productions these days. Rather then adapted for a film you get content that is a lot truer to a authors perspective to how it would be. You also get to see a lot more diverse content perspectives rather then Hollywood just making copycat films derived from previous film content that we suffered from for years.
The downside being films in potatovision with minute bit rates!
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Old 04-09-2021, 09:51 PM   #31016
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The downside being films in potatovision with minute bit rates!
Hardly. Authors involved in films is well know, Game of Thrones, Harry Potter, there are lots of films derived for a author books in which they assist with the films development, acting, and its presentation.
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Old 04-09-2021, 10:16 PM   #31017
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Quote:
Originally Posted by JohnAV View Post
Hardly. Authors involved in films is well know, Game of Thrones, Harry Potter, there are lots of films derived for a author books in which they assist with the films development, acting, and its presentation.
I was referring to the distribution method and itís limitations.
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Old 04-10-2021, 02:29 PM   #31018
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Yes the Samsung EVO's are great SSD's
agree (then again I probably don't get as much use out of them as some here (so my experience might not be as valuable as others)
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Old 04-10-2021, 02:36 PM   #31019
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For you Netflix haters.
Quote:
Originally Posted by JohnAV View Post
Its not concerning just new movies waiting for their release window to be done, it also applies to a unspecified number of older titles from Sonyís movie vault. (Columbia Pictures, Sony Pictures Classics, Screen Gems and TriStar Pictures )
Note this is only for the USA market, which is 73 million subscribers.

From a business valuation perspective it means that Sony is a top supplier to Netflix now.
I could get it being interesting info for
1) someone that uses Netflix (gaining content is always good for someone using the service
2) someone that uses a competitive streaming service. (not having the content available because it goes to a different provider always hurts if you are interested in it)

but as someone that has been called a Netflix hater by different people on this thread I can't see how it is relevant to me in any way.
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Old 04-12-2021, 04:45 AM   #31020
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Quote:
Originally Posted by alchav21 View Post
Yes the Samsung EVO's are great SSD's, I have a 1TB and a 516GB as C: in mine and my wife's computers. They are going on 3 years now with no problems. Samsung SSD's are at the top of the line!
I ordered a new 2 TB Samsung 870 EVO. It will join a Samsung 830 PRO and two 840 PROs; these three drives are 512 GB each and they have worked flawlessly for 8 years and counting. The irony is that the new 2 TB SSD costs about 40% of what the three 512 GB SSDs did all those many years ago.
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