Sony G90 manual Ingly just beyond reach, Than ever we needed in strange, dark caves

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COPYRIGHT Absolute Multimedia, Inc., Issue 26, September/October 1999.

The Perfect Vision (ISSN #0895-4143) is published bi-monthly, $32 per year for US. residents, Absolute Multimedia, Inc., 7035 Bee Caves Road, Suite 203, Austin, Texas 78746. Application to mail at Periodi- cal Postage rates is pending at Austin, Texas, and additional mailing offices. POSTMASTER: Send address changes to The Perfect Vision, Subscription Services, Box 3000, Denville, New Jersey 07834. Printed in the USA.

Editor-in-Chief . . . . . . . . . . . . . . . . . . .Harry Pearson

Executive Editor . . . . . . . . . . . . . . . .Sallie Reynolds

Senior Editors . . . . . . . . . . . . . . .Greg Rogers, Video

Thomas O. Miiller, Audio

Greg Sandow, Music & Multimedia

Technical Editor, Audio . . . . . . . . . . . .Robert Harley

Assistant Editor . . . . . . . . . . . . . . . . . .Bob Gendron

Technical Consultant, Audio . . . . . . .Richard Marsh

Contributing Writers . . . . . . . .Alice Artzt, Bill Cruce, Thom Duffy, Neil Gader, Bob Gendron,

Robert Harley, Alen Koebel, Bruce Lawton,

Tom Martin, Andrew Quint,

Barry Rawlinson, Paul Seydor,

Jonathan Valin, Heidi Waleson

Art Director . . . . .Nancy Josephson for Design Farm

Proofreader . . . . . . . . . . . . . . . . . . . . .Aubin Parrish

Artists . . . . . . . . . . . . . . . . .Gary Oliver, Illustrations

David Omer, Cover Photography

Steve Friedman, Benigni Photos

Absolute Multimedia, Inc.

Chairman and CEO . . . . . . .Thomas B. Martin, Jr.

Publisher . . . . . . . . . . . . . . . . . . . . .Mark Fisher

Finance & Adminstration Trish Kunz

Accounting . . . . . . . . . . . . . . . . . . . .Scott Pettit

Advertising Representatives . . . . . . .Anne Hart,

Mike Grellman

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Advisors . . . . . . . . . . . . .Vito Colaprico (printing), Richard Sabella (HP’s business), Howard Arber (HP’s legal affairs)

Absolute Multimedia, Inc. · 7035 Bee Caves Road, Suite 203 · Austin, Texas 78746 (512) 306-8780 · Fax (512) 328-7528 · absolute_multimedia@msn.com

I N T H I S I S S U E

I s s u e 2 6 , S e p t e m b e r / O c t o b e r 1 9 9 9

his was a hard issue. Our third time out and maybe three’s a jinx, maybe

we got a little cocky. In any case, nothing jelled for the longest time. Then,

because TPV has Twinkle-Dust Factor, something finally clicked, and the Ttopic rose to the surface: We were questing for the Mythical Beast. The elu- sive, the magical and mysterious. The thing you want – It – ever and teas-

ingly just beyond reach.

The experience of “art” is a mystery, after all, and requires that willing suspension of disbelief. Furthermore, we want this shimmering thing in our homes – so quotidian, the antithesis of the magic carpet. If It can ever happen at home at all, the process requires an extraordinary blend of multi-sensual cues with true artistic vision – more

than ever we needed in strange, dark caves.

Paul Seydor tells you how film editors strive for It. Alen Koebel haunted INFO- COMM looking for It. Alice Artzt says she found It in Roberto Benigni. For Tom Miiller, It turned his “perfect” room into a Tiger. Greg Rogers says you might be able to find perfect color – but not without real know-how. Greg Sandow digs at the very heart of

the experience before he finds a little of It.

HP points out that while Special Editions are supposed to have It, suppositions by nature create unassuageable desires. Jonathan Valin takes on the vision of the great

Imago himself, Ingmar Bergman, in the hope that some spells work forever.

Why, you say, I might have It in my hands right this minute! But drat, you can’t get the system to work – you keep punching buttons and get picture but no sound, sound but no video. Where are those simple, hunky knobs of yore that clicked so cleanly from off to on and let you know when you’d got there? For some of us, It might just be

sound and vision at the same time – every time.

Still, we have good, solid stuff here: Controllers (maybe they’re that great old knob in new skin, if we can figure out how to use them). DVDs. Projectors, line doublers. Even whole systems (Part 1, of course. This is still a quest. And we are yet ourselves.)

Highlights: Sandow in Cuba at the Buena Vista Social Club; Seydor on the Cutting Room Floor; Rogers on Color; Rogers on Runco & Sony; Miiller in the War Room with Revel; Rawlinson with the Alchemist of Linn. Valin with Queen Elizabeth (he’d rather

be with Mrs. Brown). And HP with Kubrick and the Space Monsters. SR