By Gordon Meyer

P3GizmoGuy@gmail.com

In the world of electronics, lots of folks define “obsolete” as “no longer state of the art.”  By that definition, they freely claim that by the time a new product hits the stores, it’s already obsolete.  I couldn’t disagree more.  To me, a product like a computer is only obsolete if it can no longer do what you want the way you want it to.  And since a computer is an essential productivity tool for just about everyone in the P3 universe I want to share with you how I’m milking mine for a bit more time before I retire it.

Even though there are constant improvements to hardware and software in the computer world, the truth is, older computers can often still have a lot of life and productivity left in them, especially with the help of an easy internal upgrade in RAM (random access memory – as opposed to the storage memory provided by your hard drive).

Case in point is my own ancient (by computer terms) Compaq PC that I got over 8 years ago.  At that time, its standard 128MB of RAM seemed more than adequate and doubling it to 256MB seemed darned near indulgent.  But even though that 256MB is technically more than enough for most standard Windows apps, my poor old PC has been kvetching along for some time.

Then someone pointed out my own advice to a friend in a similar situation a few years back who wanted to boost her PC’s performance but didn’t want to spend a fortune doing so.  The solution for both of us was a memory upgrade.

Since my computer is so old, I’ve long lost the info specifying what kind of RAM I need.  Fortunately, there’s an online solution through memory maker Lexar/Crucial.  Just go to http://www.crucial.com/systemscanner/index.aspx where you can download a small, brief app that will scan your computer’s motherboard to identify just how much RAM you have, how much that motherboard can support and which memory modules will be compatible with your computer.

According to Crucial’s memory scanner, my system has two slots for memory modules, each of which capable of handling up to a gig of RAM for a 2 GB total.  Naturally as part of the diagnostic screen there was a place for me to order the recommended RAM and at a competitive price (about $38 for each 1GB memory module).

As for swapping out the RAM modules, while Crucial does offer pretty good instructions, it’s really a pretty simple process since those modules can physically only fit one way in their respective slots.  It actually took more time to shut down my computer and crack open the case than it did to remove the old modules and install the new ones.  (Reminder: circuit boards like memory modules are very sensitive to static electricity, so you need to ground yourself before handling them.)

Most memory manufacturers buy the RAM chips from someone else and then assemble them on their own circuit boards.  Crucial, through its parent company Micron, does every step of the manufacturing process in-house giving them total control over their product.  I like that.   

While upping my memory isn’t a substitute for getting a new computer (that’s hopefully happening soon), it absolutely extends my PC’s useful life. That 8X memory boost has noticeably improved its performance, especially with Firefox, which loads and runs MUCH faster now.  I am a happy camper.

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On January 28th I was privileged to attend Sundance U.S.A., a new addition to the festival which allowed audiences to feel the Sundance spirit as eight cities across the U.S. screened eight direct-from-the-festival films in one night.

Directed by “Entourage” star Adrian Grenier, Teenage Paparazzo was screened at the Downtown Independent in Los Angeles, California. The film documents the true life story of a young teenager who has a unique obsession for celebrities and photographing them as part of the paparazzo. Adrian Grenier was in attendance along with fellow crew members who worked on the film to answer questions from the audience. I believe Sundance U.S.A. was a hit in Los Angeles allowing movie lovers attend Sundance without flying to Park City, Utah.

For more info please visit — http://festival.sundance.org/2010/film_events/sundance_usa/

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I finally had a chance to check out some screenings. I interviewed the director and screenwriter of the short, Shimásání, Blackhorse Lowe. He proudly promoted his project, as he explained how he got a grant through the very helpful New Mexico Film Office and received a great Panavision package to shoot this black and white period piece. Festival Publicity/Distribution:  Michelle Svenson MSvenson@gmail.com.  

While at the Utah party earlier in the week I met a young filmmaker named Adam Donaghey with Zero Trans Fat Productions. He had a very interesting business card, one which resembled the nutritional facts on food products. As we spoke about Sundance, I noticed an even more interesting flyer around his neck for a film called My Mom Smokes Weed. He told me that he was a co-producer and to check it out. Tonight was when it showed, as it was part of the shorts program. After all the screenings, we had an opportunity to participate in the Q&A. My three favorites were:  (of course) My Mom Smokes Weed by Director Clay Liford. He explained that this was a semi-autobiographical that involved a recently-widowed mother, who took up a new hobby. It was hilarious, knee-slapping comedy … and so was the short.

Next, was Successful Alcoholics by Director: Jordan Vogt-Roberts and Screenwriter T.J. Miller. It was amazing to see how many audience members could relate to this one. There were times of hysterical laughter to complete silence from the brutal reality that the filmmakers said included a few personal experiences.

Director Mark Albiston presented Six Dollar Fifty Man set in New Zealand in the 1970s. One of the first questions asked during the Q&A was what everyone was thinking: Where did you find that kid? The lead was an eight-year-old boy whose imagination takes him (and the audience) to extraordinary heights. The acting was great and it was a very creative piece.

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Attended Slamdance’s Fireside Chats for a panel discussion on the “Indie Filmmakers Guide to Insurance and Legal Issues.” The Fireside Chats are a series of Slamdance panels which allow for an informal discussion between filmmakers and industry professionals. During this particular panel, professionals involved in legal, production and insurance companies assisted filmmakers with questions on their production rights; in particular, the fair use catagory and how utilizing it comes in handy for documentary filmmakers, since they don’t have to obtain rights. Filmmakers at the panel were also worried about losing their rights through deals with production companies. Although panelists agreed “the more exposure, the better,” they also advised on taking cautionary approaches.

Afterwards, headed to the joyfully crowded press and industry reception to mingle with filmmakers on their Sundance films. Films that were represented included: Wagah, Bilal’s Stand, My Perestroika, Vegetarian and Obselidia. Many filmmakers report favorable reviews and are ready to attend their final screenings.

Also, stopped by the NY Film building to get insight on their pending tax incentive, which includes a budget of $420 million per year for the existing 30 percent production tax credit all the way through 2014. The changes include, a minimum of at least 10 percent of shooting days in a qualified New York facility. Also, a minimum of 75 percent of postproduction costs must be incurred in New York. Productions must either use an end-credit acknowledging financial support from New York state or provide a promotional video for the state as part of the film or DVD release.

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We headed over to the Sundance House at the Kimball Art Center for BMI and Sundance-sponsored Music & Film: The Creative Process Composer/Director roundtable discussion from 11:00 a.m. to 1:00 p.m. Some of the composers/directors included were Michael Penn/Anthony Burns, David Torn/Adrian Grenier, Craig Hazen/Leon Gast and many others. Then from 6:00 to 9:00 p.m. we attended its Snowball Turns Dance Party where clips of dancing from eclectic films were displayed on big screens. We had an opportunity to video-tape our interviews with several filmmakers.

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As we’re in the early stages of Sundance, I have to say that Australian made Animal Kingdom is the film to see. Writer-Director David Michod grew up admiring gangster movies, so for his first feature — his shorts were previously seen at Sundance — Michod created an entertaining film about armed robbers and renegade detectives in Melbourne, Australia. I enjoyed everything about it including superb casting, acting, art direction and Adam Arkapaw’s great photography. This is independent filmmaking at its best.

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With the snow steadily coming down, we headed back over to the Bing Bar where the New York Film Office representatives and J. Lee Thompson from JVC gathered to promote filming in New York with new incentive proposals. After that, we ended the night at the Riverhorse for Kodak’s party where we mingled with the staff and picked up opportunities to interview filmmakers for the following day.

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Monday began with lots of snow and a brunch sponsored by the Utah Film Commission. I had a chance to mingle with filmmakers and film commissioners, including Drew Mayer from San Antonio Film Office. Then, I took funny pictures in front of Utah backdrops with P3’s Dyana Carmella and Jennifer Marino, and Diane from Deluxe Toronto.

We stopped off at Sundance sponsors, Timberland and Loreal, for some free swag on our way to the Bing Bar for a fireside chat with Executive Producer Ben Silverman (“The Office,” “The Biggest Loser,” “Ugly Betty” and “Kath & Kim”).  Ben gave a lot of great advice on decision-making that helped him achieve his successful career.

As we were walking down on Main Street, we met up with John and Sten from the Montana Film Office. They asked us to join them at Tao for another party celebrating independent filmmaking. We networked and had great conversations with several filmmakers and Kevin from AFCI.

After leaving Tao, we headed over to the Utah Magazine launch party where several 3D TVs and glasses were available for viewing some amazing Utah footage. After the event closed, we headed back over to the Bing bar for a star-studded after party that wrapped Day 3.

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FujiFilm partnered up with FotoKem, Otto Nemenz, Iron Mountain and Raleigh Studios to host the 2010 Sundance Indie Moguls party. The oxygen bar, fabulous food and music were a big hit again this year. To spice things up, stripper poles and pole professionals were added. As the night went on and the drinks flowed, a few amateurs took a stab at climbing the beams. Larry from FotoKem took us on a detailed tour of the venue, and we wrapped up the fun-filled day with a deep tissue massage from a Park City masseur in the massage lounge.

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When we were at the Jefferson Parish party, we met Diane Cuthbert from Deluxe Toronto. She invited us to their event, so we headed to Cafe Tierigo on Main Street. I had a chance to me Shane Hurlbut, ASC (Terminator), who had the Canon 7D camera with him. He filled me in on the amazing footage he captured with it during the filming of his recent commercial for the Navy swimmers. You should check it out:  www.hurlbutvisuals.com.

Next, we visited the Montana Film Office’s event where we enjoyed live musical performances, great food (compliments to Montana Film Commissioner and AFCI Board Member Sten Iversen). Sten and Location Coordinator John Ansotegui joined forces with Bozeman Convention and Visitors Bureau and Moving Pictures Magazine to co-host the Moving Pictures Media Lounge.  The new partnership was developed to increase Montana’s presence at this year’s Festival. We also had an opportunity to network with many filmmakers and see old friends like David Shepheard, film commissioner of the Abu Dhabi Film Commission (formerly with the Bristol Film Commission), Marshall Moore and Ricky Flores from the Utah Film Commission.

We held several video-taped interviews that we’ll be posting to our website and including in more blogs … stay tuned for more updates.

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