Category: mungenet

Weighted Optimisation in Photoshop 6.0 There is a new feature in Photoshop 6.0: Weighted optimisation. This allows a single JPEG or GIF image to have variable compression . There is no special browser plug in required; and is reasonably easy to set up. It is useful when there is a featured object, or text that must be of high quality, and the rest of the image is needed to be as small as possible. This module is © 2000 Adobe Systems, Inc and cannot be reproduced without the written consent of the author.
1. Create a selection around the object you wish to have in high quality.
2. Feather the selection, and Expand the Selection (Select>Feather and Select>Modify>Expand)
3. From the Channels palette, click on the “Create Channel from Selection” button Name the selection something useful.
4. File>Save For Web. The button to click on to access the Modify Quality is the small circle.
5. The black marker on the slider represents the black area in the chosen channel. Therefore, the black areas are getting a greater compression setting in the JPEG compression algorithm. The white end of the slider is having less compression. Areas in between get variable compression depending on the ‘greyness’
6. With GIF images, there is no compression per se. Therefore, with GIF compression the Save for Web dialog box changes the lossiness of the GIF which reduces the resulting file size.

Faster Editing with your Eyes Shut

Eyes Wide Shut, Stanley Kubrick’s is famous for many reasons: Tom and Nicole’s final film together; Stanley Kubrick’s swan song; and a film renoun for taking nearly eighteen months to film, let alone the time complete many edits.

As you create a video program, the number of source clips and settings you edit and manage become more complex. This can get in the way of your creative flow, so here are some tips and techniques to simplify a complex project and edit efficiently. We don’t all have years to edit our masterpieces, nor wish to expire before delivering the product.

Allocating sufficient RAM

Premiere plays and exports video most efficiently when up to approximately 64 MB of RAM (Windows) or 48 MB (Mac OS) is available to it. You can make more RAM available to Premiere, but above the recommended amounts the performance gains are not as significant. Make sure you aren’t running unnecessary programs, such as custom screen savers, that may be using memory that could be used more productively by Premiere. In Mac OS, leave at least 2 MB of unused RAM so that the system software has room to load additional Mac OS system components such as QuickTime.

Choosing between RAM (physical memory), Hard drive (disk space) or CPU (megahertz or gigahertz; number of CPUs) and Operating System (Windows, Mac) is always a difficult choice.

– Choose an operating system based on your personal taste and depending on who can support you. If you have friends and collegues who can support MacOS, personally, I would choose a Mac. Its these friends who will help out at the cost of a coffee or nice bottle of red

– If using Windows 95 or 98, based on your hardware capture cards and drivers, seriously consider Windows 2000

– If your RAM meets requirements, invest in a second faster hard drive

– If you are using many filters or effects, extra CPU performance and/or a dual processor would be a good investment

– Realtime cards are a boon when editing day in, day out.

Using low-resolution clips or offline files

Large frame sizes take longer to process than small frame sizes. When you edit you are viewing frames nearly all the time, so slow frame display can cause longer editing sessions. For better performance during editing, use low-resolution versions of your clips, or use offline files. Then capture the same clips later using high-resolution settings, and replace the low-resolution versions for recording or exporting the final version of the program.

This process is only effective when you are capturing with device control. Device control captures the timecode on the tape, which enables you to replace frames precisely. Only DV and analog with 3rd party device controllers have this facility.

If you’ve already captured the clips at high resolution, you can use Premiere to export low-resolution versions of them for editing and then substitute the high-resolution clips before recording or exporting the final version. You can also temporarily substitute a still image for a video clip. Using low-resolution or still versions of clips also lets you store more clips in the same amount of disk space.

Using low-resolution versions of clips is standard practice in offline editing, but you may prefer the speed benefits of using offline files even when your system is fast enough for online editing.

You can also create an offline file at any time. To create an offline file:

– Choose File > New > Offline File.

– Type a filename. In general, use the filename of the actual source video that is missing.

– For Duration, type the length for the offline file.

– For Timecode, type the timecode value of the In point of the missing source video.

– For Reel Name, type the name of the reel containing the missing source video.

– Choose a time format from the Format menu that corresponds to the source video.

– Choose a frame rate from the Speed menu.

– Select either or both Has Video or Has Audio, according to the contents of the source video. Then click OK.

After editing, to replace an offline file with a source video file:

– In a Project or Bin window, select the offline file.

– Choose Project > Replace Clips.

– Locate and select the actual source video file, and click OK.Using keyboard shortcuts

Almost every function in Premiere has an associated keystroke, including some functions that don’t appear as commands or buttons. Some keyboard shortcuts are very fast because they require pressing only one key. Keyboard shortcuts appear next to menu commands and in the Tool Tips for buttons and controls, and are fully documented in the Quick Reference Card that comes with Premiere. Keyboard shortcuts that have no equivalent in menus, tools, or buttons are listed in Premiere’s online Help.

For example, when accessing Premiere’s clip properties on Windows, you can use the ALT key in combination with the underlined letter keys in the Clip pop-up menu, or use the keyboard combination listed to the right of the menu command. As a time saver, the arrow keys can be used to navigate through the menus.

Shortcut keys, when available, appear in the Tool Tip after the tool description. To ascertain the keyboard short cut, just move the mouse over an item, and wait for the Tool Tip to appear. For example, the Mark Out button’s Tool Tip displays the letter O (in parenthesis) as the shortcut key to mark an Out point.

Using bins

During the process of capturing and editing you might accumulate many clips in your project, making it difficult to locate an item in the Project window. Organize items by creating and using bins in the Project window, which are like folders on your hard disk. If you use clips that you want to include in more than one project, you can save bins as files that are stored outside of projects.

To make a bin available for use in other projects, select the bin and choose Project > Export Bin from Project, or right-click (Windows) or Control-click (Mac OS) the bin and choose Export Bin from Project. Then, type a name, choose a location for the bin, and click Save. Bins created and saved in Windows use the extension .PLB. To use the saved bin file in any project, click File > Open, select the bin file (.PLB), and click Open.

In previous versions of Premiere, you could create containers called libraries, which were used to store clips from one or several projects. A library was stored as a separate file apart from any project. Although Premiere 6.0 doesn’t directly support libraries, you can open a library. The library is converted into a bin when you open it in a Premiere 6.0 project.

Closing unneeded windows and palettes

As you edit, each open window and palette requires processing time to update its display. To lighten the processing load, keep open only the windows and palettes that are necessary. Pressing the TAB key on your keyboard causes all of Premiere’s palettes to disappear and pressing the TAB key again causes the palettes to reappear.

To aid the process in Premiere 6.0, you can save Workspaces. A workspace is a particular configuration of palettes and windows for use later on. Arrange the palettes and windows to your taste, and go to Window > Workspace > Save Workspace. To select and reset your palettes and windows to a saved workspace, just select it from the Window > Workspace menu.

Hiding and locking tracks and clips

If you are working on a complex video program with many tracks, you can hide tracks you aren’t currently editing by marking the tracks as shy and then choosing Hide Shy Tracks from the Timeline window menu. To mark a track as shy, press Ctrl (Windows) or Command (Mac OS) as you click the eye icon (for video) or speaker icon (for audio) at the left edge of a track. The icon then appears as an outlined eye (for video) or outlined speaker (for audio)

To hide shy tracks, go to Timeline > Hide Shy Tracks.

If you do not want to modify a track or clip but you still want to see it, you can lock it. This can prevent you from accidentally modifying it.

Eyes Wide Shut depicts a couple in having marriage difficulties. Isn’t it strange how life imitates art.

How I Learned to Stop Worrying and Love Frames

Last month I made reference to Kubrick’s last film, Eyes Wide Shut. This month to find an interesting piece of trivia I visited my favourite movie web site, The Internet Movie Database: www.imdb.com, and searched for “stop motion.” Another Stanley Kubrick film was returned on the top of the list: “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.” Spooky – or merely a coincidence?

A common question from Premiere users is “How do I create stop-frame motion in Premiere?” Stop-frame video is sometimes called a “strobe” effect. I am sure you remember going to clubs in the 1970’s and 1980’s where a strobe light made all the dancers appear as still in time. At least my dancing looked better this way!

You can capture video using File>Capture>Stop Motion; but what if the clip is already imported? Well, its easy to accomplish – without resorting to filters or effects or exporting single frames of video as pictures and reimporting. Its all in the magic of the ‘Frame Hold Options’ dialog box.

The first step is to place the video clip you wish to have ‘stop framed’ in your Premiere timeline.

By right clicking (MacOS: control click) on this clip on the Timeline and go to Video Options>Frame Hold. (this can also be accessed from the menu Clip>video effects>Frame Hold…

The Frame Hold Options dialog box appears:

The key part to creating the stop motion effect is to adjust the frame rate. This does not alter the original clip, just the rate of playback in the final movie. In the ‘Alternate Rate’ section, place a new frame rate. For instance, if you would like to have a single frame per minute, the alternate rate is 1. For two frames every minute, the alternate rate is 2.

The good news is that audio will play back at normal speed. All we are adjusting is the video component of the movie.

A poster frame can be held during the duration of a completed video clip using the Frame Hold Options dialog box. Just specify “Frame 0” in the Hold frame popup. You can also hold the In point or Out point as the hold frame. The Poster frame special frame in clips. This poster frame is used in the Storyboard feature of Premiere as a user-specified frame that represents the content of the complete clip. It is marked using the Clip>Set Clip Marker>0 (Poster Frame). It can be placed anywhere in the clip. If the frame doesn’t freeze, make sure that you set the marker on a clip and not on the Timeline ruler.

The de-interlace option is important. With a single frame of interlaced video, it may appear jittery or washed out.

You may also need to apply frame blending, which interpolates between available frames to create intermediate frames that can make motion seem smoother. This also creates an interesting ghosting effect. You may or may not want this effect.

According to the Internet Movie Database (www.imdb.com) originally, “Dr Strangelove” filmed in 1963, was to have a custard pie fight and at one point, the President took a pie in the face and fell down, prompting George C Scott’s character to exclaim, “Gentlemen! Our gallant young president has just been struck down in his prime!” Kubrick had already decided to cut the pie fight before the Kennedy assassination, but this line (or possibly even the whole sequence) would certainly have been cut due to its eerie similarity to real events. Spooky.

A copy of David Trescot’s presentation (Introduction to Digital Video) and my presentation (Video to the Web) are now here.

There are a couple of links that may be of interest:

More indepth technical information on DV; more generic information specifically here.

Current supported cards in Premiere 6.0 are listed at Premiere 6.0 Certified Cards

The Nicky Guides offer a different perspective on the world of digital video

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Adobe is posting more Premiere 6.0 Technical Guides in the support section of our web site – including finding an appropriate codec and video codec compression methods, and factors that afffect video compression

Another site I recommend visiting is the Terran site explaining Codecs, Architectures: CodecsCentral

All things Microsoft Windows Media Player is here: WindowsMedia

Apple’s web site for QuickTime is comprehensive, but a little too focused on the software developer rather than the web author: Quicktime

(The JavaScript control of the QuickTime plug in is detailed there).

Real Networks has a very complete site detailing how to author for their platform. Real Networks

April 1996

Avril with the lights and glimmer of LA in the distance

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January 1997

Avril standing in front of “Moof” at the Apple HQ — Cupertino, California.

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May 1997

Avril on a water taxi in Venice.

Avril and Nick dine at a monastery in Florence.

Problem. In the present version of Adobe GoLive 5.0, there is a nifty feature called Rollover buttons. This uses GoLive actions to automatically create Javascript rollover buttons as part of your page design. The rollover contains images for different states; and the Javascript switches the image inside the web browser. In the present version of Adobe GoLive, 5.0, the images must be GIF or JPEG images. There is a new GoLive 5.0 feature of SmartObjects, where you can directly place Adobe Photoshop “.psd” files onto your pages. Unfortunately in GoLive 5.0 there is no mechanism of using Photoshop images as part of Rollovers. But there is a workaround that has other side benefits. I call it “Farming” your .PSD files into one placeholder HTML page in your GoLive 5.0 site. You still obtain the benefit of SmartObjects: automatic updating and dynamic scaling, changing optimisation settings and output file management.
Solution. Workaround is to create a “Photoshop Farm File.” This is simply a .html file in your web site. 1. Create a new HTML file in your web site, and set the Publish to “Never” When this file is set to “Publish: Never” it ensures the HTML file is never sent to the web server, as there is no need to place it on the server. Click on the icon of the file in the site window, and in the Inspector you can set the status.
2. Open the new farm HTML file and drag and drop/place your Photoshop files into this document.
Set the appropriate settings, dimensions, compression using the Save for Web dialog box
Save resulting file to directory in your site. Now that the Photoshop files are SmartObjects, you get the benefits of resizing, editing the original Photoshop file.
3. In your HTML page that is going to contain the real rollover, create your smart rollovers as normal, but pointing to the JPEG/GIF output from the ranch file above.
There are some potential downsides to using Farm files: You need to open the ranch file to update if the psd updates (this also is potentially a time saver when designing) GoLive 5.0 cannot have more than 2 output files from the same source file (GoLive only updates the first smartobject of the file occurance) — send in request to golivewishlist@adobe.com! Extensions With a little more courage and time, you could write an extendscript to “corral” all SmartObjects into “farms” to one-stop editing This will also work with Adobe Illustrator 9 files, too! This module is © 2000 Adobe Systems, Inc and cannot be reproduced without the written consent of the author.

These photos were taken by my friend in Adelaide circa 1987.

I saw a photo frame for sale in Adelaide with this photo inside. Needless to say, I purchased the frame, and never took the photo out! I think this was the 1988 Apollo Stadium gig in Adelaide.

The backend was supplied and sponsored by IBM (they can’t promote this due to IOC contracts – and since their systems in Atlanta melted down, its a good thing for us!) It was an AIX 4.1 box running the Netscape Commerce server. The link to TelstraNet was 2Mbits – also provided by an IBM R&D; arm in Melbourne. The server only reached 20% utilisation which I found impressive as the hit count was extremely high (10K hits/hour) The fast server, sending out HTML (not heavy CGI munging) and a fast pipe resulted in a better site than the competition!

We were getting news (such as winning medals) posted to the site within a minute of the result occuring. In one case, where the Australian Women’s Hockey Team – the Hockeyroos – won a gold medal, we posted a story and picture within 10 seconds! Whilst not as “instant” as TV, people at work could keep up to date without losing their job! The site also had large amounts of background material that TV does not have the ‘time’ to usually show. Its interesting that newspapers are restricted to the size of the paper, TV restricted to time and the web is restricted to bandwidth.

We published an average of 20 pictures and 100 stories per day on this site – many of these stories are replaced and/or reprocessed; all within a 6 hour period. All stories and pictures were stored in a FileMaker Pro 3.0 database.

It was Frontier 4.0.1, however, that did all the hard HTML ‘munging’ work. It takes the data out of the FileMaker Pro 3.0 database and does some smart find-and-replacing from templates to generate the final HTML. Using Fetch, the results were sent to the Netscape-server via FTP. Frontier uses the AppleScript technology built into System 7.0 to get these other application to “do the job”. At last count, the ‘HTML-processing engine’ was Frontier is about 1000 lines of UserTalk; the database consists of 7 related tables.

The database system was built for flexibility. For instance, once it became clear that the IBM results service was, err, not as responsive as it could have been, we created our own “Australian Results” page. This was unplanned, but the database had the flexibility to build new parts of the overall web-structure within 10 minutes. I outlined the details of this Munge-machine at the ATS in Brisbane in August.

Brainwaave built all the HTML templates and did the design work. CGIs and Java were also supplied by Brainwaave. All I had to do was take the content from the database and process it into the correct templates. There are a couple of techniques I use; all rely on some nifty Frontier code to make work.

I have also scripted the picture-import and text-import process. Pictures are automatically uniquely named, sized (for WIDTH= & HEIGHT= commands) and thumbnails generated – again, from Frontier scripts.

As to the content; it come from Fairfax (Age and Sydney Morning Herald) journalists & photographers in Atlanta. The Photos were scanned and sent from 9500’s in Atlanta via ISDN to a set of Macintoshes in Sydney. These Macintoshes ran AppleScript scripts written by Fairfax to send them to Sun servers which run a series of picture databases. We pulled the pictures out of the database and processed them using Adobe Photoshop into an Internet-ready form (JPEG format) Some of the pictures were from Reuters and much of the ‘breaking news text’ is from Australia Associated Press wires. These pictures/stories are replaced with Fairfax content where possible.

Picture previews were stored in the FileMaker database so that when pictures were assigned to stories, we actually saw the picture. Saved on mistakes!

Text came out of Fairfax’s Tandem-mainframe running the SII INL newspaper publication system. A PC took a serial feed from the SII and ftp’d the text files to a Macintosh 8100/80 running Peter Lewis’s NetPresenz. Frontier read these files, stripped unwanted characters/formatting, and added them to the FileMaker database.

The Filemaker database stores the text and pictures in a way that allowed us to ‘assign’ them to locations within the web site. Frontier took the database and ‘mixed in’ the templates and generated the final HTML.

The search server was Starnine WebSTAR running on an Power Macintosh 8500/150 with the Apple eg ACGI. I wrote a Frontier script that took the raw .html from the main IBM server and ‘replicated’ it to the Macintosh 8500 for indexing. If a user found a story that matched their search, they were re-directed to the main IBM AIX server.

The ‘listserv’ – or Newsflash! as we called it, used Starnine ListSTAR/Apple Internet Mail Server on another Power Macintosh 8500/150 and a Quadra 650. At the end of the Games, we had 1017 subscribers on the list. I pushed for the listserv as a method of ‘pushing’ information out to people who were interested -and- a way of attracting people back to the site. The ListSTAR server was easy to create and manage and I would really recommend it.

The Macintosh 8100/80 was also running the VICOM Internet gateway; all the Macintoshes in Atlanta Web central were on a 10baseT Ethernet network; and the server had a 28.8K PPP connection to Brainwaave and subsequently TelstraNet. Using this gateway, all the Macs have access to the Internet.

So, could all of this be done with Windows? Probably, but not with the integration of multiple small applictions from different sources into a cohesive system – all within 2 person-weeks.

Background

In June 1996 Apple Computer Australia, Fairfax Publications, Brainwaave Communications, IBM, Comtech, Netscape began the Fairfax@Atlanta (1996) project.

In Australia, sport is a national pastime. Our sporting heroes are more revered than movie stars or rock musicians. Therefore, the Olympics is a 4 year feast to all sporting-mad Australians. Boxing, Cycling, Diving – and the list goes on – present a smorgasboard of viewing to the sports fan.

Fairfax Publications, one of the companies in the Fairfax empire (which includes The Sydney Morning Herald, Financial Review, The Age, Sunday Age and the Sun Herald), decided to marry the Internet with the Olympics.

Fairfax@Atlanta

was one of four Australian-team focused web sites. The nearest competitor was Inside Atlanta run by News Interactive, a company in the Murdoch News Corp empire. Other web sites were much smaller, and usually later with the news and information. Basically, it was a two horse race. As reported in Australian PCWEEK, Fairfax@Atlanta (1996) won gold for the Australian Olympic site.

Apple’s role and positioning was to gain experience with web-publishing on a grand scale; that is, outside of the PageMill/SiteMill level. Apple sponsored the site with my time (Nick Hodge) over a 5 week period; along with a bevy of hardware and software technology.

Initial analysis of the requirements of a “web publishing system” -and the intended volumes scared the hell out of me. No off-the-shelf tools exist for web publishing in this volume within this time scale.

Statistically, we finished up publishing 1,300 documents and 700+ pictures. On our peak days we began at 4:00am and completed work at about 2:00pm. Within this period, about 100 text items and 20 pictures were posted to the site. All links and structure were automatically generated as part of the publishing process.

Background:

Jon Casimir, a respected journalist for the Sydney Morning Herald interviewed Neil Finn on May 19th.

As Jon is a friend of mine, I proposed the following: why not see what questions the member of the “Tongue in the Mail” maillist would like to ask Neil … Jon being very ‘net savvy agreed!

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Results:

Jon Casimir’s first article appeared in Wednesday 20th May’s Sydney Morning Herald: Out of the house, Neil Finds a New Muse

There is an article slated for the “Metro” section of the Sydney Morning Herald in about 4 weeks time. Stay tuned.

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My Question for Neil:

‘Try Whistling This’ marks a transition from the acoustic ‘Finn’ album to a more digital sound; how has the digital age altered your craftmanship?

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Here are the Questions Submitted:

With Crowded House it often felt like attempts to be loud and rocky never quite came off, they sounded kind of self-conscious and polite, wheras on your new album it seems to happen much more easily and successfully – what changes have brought this about?

Though I’m sure everyone else will be asking this – why funky dancey grooves now when you’ve never used anything like that before in 20 yrs of making music? is it the radical development it sounds like with respect to your previous work or just a different feel to experiment with?

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Why is Twisty Bass called Twisty Bass?

What event/s inspired the song Try Whistling This?

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I’m a songwriter, and would like to ask Neil which instrument he composes on primarily, and what kind of acoustic guitar(s) he has in his home/studio (not looking for brand endorsement; I just know that there’s usually a single favorite guitar that’s usually close at hand for songwriters).

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How do you see your writing abilities progressing now the new album has been released and was the split of Crowded House any inspiration to the writing of your new material ? How do you feel when you hear Split Enz come on the radio these days ?

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One feature of all your work to date has been the banter at your live shows, either with Tim or with Paul or Nick. Is that changing now you’re solo, or have you already got a ‘banter groove’ happening with your band? And will you be encouraging paper planes?

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The new album is really impressive. What Iâve found interesting is how much my 14 year-old daughter loves your new material. How do you feel about reaching such a young audience and how have you maintained this appeal over the last 20 years?

There are always a group of lines in your songs that, along with a goosebump inducing melody, really stand out, hit home and play on the mind. Do you start with these lines and build the song around them or do you start from the top and they follow naturally from the original idea?

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How do you feel about the success and recognition you’ve earned?

Do you yearn for more high-profile, world-wide recognition (i.e. American success)?

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John Lennon is supposed to have said (about music): “If it’s real, it’s simple usually. And if it’s simple, it’s true.” It is bound to be possible to achieve this no matter what technology you avail yourself of to make your recorded music. It is. It’s not the arrangements or approach or even structure of the song that makes this happen. So what is it? What makes something ring true? And something not? Even different projects by the same person. What do you think is the essence of this simplicity?

Can you have strong personal ambition for your musical career and still maintain integrity as an artist?

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Each time we hear about the death of a celebrity, more recently Linda McCartney – and bearing in mind your contribution to the Princess Diana tribute album – do you ever feel inspired to write songs for the recently departed?

How do you react when a fellow musician/artist has played you a really good demo (or live version) of a new song of theirs and then when you hear the final version, it has been over produced – even ruined – in the studio? Do you tell them what you think?

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When you are in the studio, how much of a perfectionist are you? i.e., do you find yourself recording vocals or other parts over and over again until you get it “just right”? Has your level of perfectionism changed over time in your career (are you more or less of a perfectionist now)?

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How does the sound of the new album compare with Crowded House? Did you intentionally start out writing songs that would not sound like Crowded House, did the difference largely come out in the studio, or are there compelling similarities between your solo work and Crowded House albums?

Tim visited Burlington, Vermont in 1989/90, opening for 10,000 Manaics. Have you ever considered visiting or, better yet, playing here?

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Do you wish to write an album with any other artists in the future?

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In terms of Crowded House, would the songs ‘Black and White Boy’ and ‘In My Command’ and ‘Instinct’ best represent your new songs?

I can’t remember you having any one word titles for your songs. It is the kind of thing i’d expect to see on an REM, Pearl Jam or Radiohead album. Is this because you have focused more on the music and worried less about the lyrics?

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From Split Enz, with songs like ‘Years Go By’ ‘Voices’ ‘History Never Repeats’ and through Crowded House with ‘Love This Life’ ‘Distant Sun’ ‘Private Universe’ ‘Everything Is Good For You’ and ‘Instinct’ for example, it seems you take life as it comes, always looking at the past while wondering what the future holds in a light-hearted manner, while cherishing those special places and moments in your life. Is this true in any way?

The songs ‘Kare Kare’ and ‘Private Universe’ could not have summed up better the place attachment I have to our families bach in the Marlborough Sounds, and the general scenery, memories and atmosphere present there. Is ‘Private Universe’ about place attachment to you?

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Neil, even though you have been a solo songwriter for much of your career, you have always been a musical collaborator with your brother or with a band. How different was writing and recording this solo album from those experiences? Were you expecting to feel more liberated and able to carry through on your own vision, or did you miss the sounding boards that you used to work with?

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Any plans for a few shows in the US?

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How does the sound of the new album compare with Crowded House? Did you intentionally start out writing songs that would not sound like Crowded House, did the difference largely come out in the studio, or are there compelling similarities between your solo work and Crowded House albums?”

Tim visited Burlington, Vermont in 1989/90, opening for 10,000 Manaics. Have you ever considered visiting or, better yet, playing here?