Greg Veis, YouTube Hunter Gives You Jonathan Glazer

In this the third part of our ongoing 433-part series, Better Know a Director, we'll do a once-over on the work of Jonathan Glazer. The Fightin' Glazer. Undoubtedly, you've seen some of his work before. Sexy Beast was a pretty big deal, although Birth, rightfully, was less of one. He's also directed a bunch of music videos, including Jamiroquai's once ubiquitous "Virtual Insanity." But as I discovered at a not-that-recent Resfest, watching his work in isolation doesn't do the man justice. Themes emerge. Patterns develop. More than other directors who've cut their teeth on adverts and music videos, he's a storyteller—enamored with visual trickery, yes, but more interested in a piece's emotional impact. Not until the last few years, for instance, have Spike Jonze's music videos, brilliant as they are, elicited more of a response than "Whoa, cool." (To his credit, Jonze's "Weapon of Choice" deals more elegantly with the psychic difficulties of aging than any other video ever.) Glazer, on the other hand, has always gone for the deep stuff. His videos are four-minute meditations on death ("Street Spirit"), the dangers of vengeance ("Karma Police") and dystopia ("The Universal"). And if there's a music video more uncomfortable to watch than Nick Cave's "Into My Arms," I'm not too keen on seeing it. Here they all are, back-to-back:

It's even more difficult to pack a wallop within the confines of an advertisement. For one, an ad is shorter. Also, you're tasked with selling something. But Glazer glides easily into high art in this medium, too. Watch these three Guinness commercials and try to figure out how he does it (or disagree with me if you don't think he pulls it off at all). I'll share my guesses with you first: 1) Each commercial, though only a minute long, has a very clear narrative arc—beginning, middle, end. Lots of commercials don't, or if they do, they seem hastily scraped together and meaningless. These are rich stories he's telling, the kind you'd expect a Irishman to tell you after five Guinnesses, which, come to think of it, is the product he's shilling. Funny how that works out. 2) He uses animals and mob scenes to set mood. The horses in the surfer video, the screaming dogs in the dreamer one, the crowd in the last—these images aren't evocative of anything in the specific, but they stick. They seem primal somehow, almost ancient. Again, perfect notes to hit if you're selling a famous and famously old beer. Art and commerce, baby. Glazer knows the alchemy.

More Glazer after the jump.

Anyway, there's much more of his work to check out. His Palm Director's Series DVD is a great place to start. But since I can't buy you all a copy, I'll end with his latest advertisement. It was filmed last summer and is for the Sony Bravia. It's not his best work (because it doesn't tell a story!), but it's cool lookin'...

Original image
iStock // Ekaterina Minaeva
Man Buys Two Metric Tons of LEGO Bricks; Sorts Them Via Machine Learning
May 21, 2017
Original image
iStock // Ekaterina Minaeva

Jacques Mattheij made a small, but awesome, mistake. He went on eBay one evening and bid on a bunch of bulk LEGO brick auctions, then went to sleep. Upon waking, he discovered that he was the high bidder on many, and was now the proud owner of two tons of LEGO bricks. (This is about 4400 pounds.) He wrote, "[L]esson 1: if you win almost all bids you are bidding too high."

Mattheij had noticed that bulk, unsorted bricks sell for something like €10/kilogram, whereas sets are roughly €40/kg and rare parts go for up to €100/kg. Much of the value of the bricks is in their sorting. If he could reduce the entropy of these bins of unsorted bricks, he could make a tidy profit. While many people do this work by hand, the problem is enormous—just the kind of challenge for a computer. Mattheij writes:

There are 38000+ shapes and there are 100+ possible shades of color (you can roughly tell how old someone is by asking them what lego colors they remember from their youth).

In the following months, Mattheij built a proof-of-concept sorting system using, of course, LEGO. He broke the problem down into a series of sub-problems (including "feeding LEGO reliably from a hopper is surprisingly hard," one of those facts of nature that will stymie even the best system design). After tinkering with the prototype at length, he expanded the system to a surprisingly complex system of conveyer belts (powered by a home treadmill), various pieces of cabinetry, and "copious quantities of crazy glue."

Here's a video showing the current system running at low speed:

The key part of the system was running the bricks past a camera paired with a computer running a neural net-based image classifier. That allows the computer (when sufficiently trained on brick images) to recognize bricks and thus categorize them by color, shape, or other parameters. Remember that as bricks pass by, they can be in any orientation, can be dirty, can even be stuck to other pieces. So having a flexible software system is key to recognizing—in a fraction of a second—what a given brick is, in order to sort it out. When a match is found, a jet of compressed air pops the piece off the conveyer belt and into a waiting bin.

After much experimentation, Mattheij rewrote the software (several times in fact) to accomplish a variety of basic tasks. At its core, the system takes images from a webcam and feeds them to a neural network to do the classification. Of course, the neural net needs to be "trained" by showing it lots of images, and telling it what those images represent. Mattheij's breakthrough was allowing the machine to effectively train itself, with guidance: Running pieces through allows the system to take its own photos, make a guess, and build on that guess. As long as Mattheij corrects the incorrect guesses, he ends up with a decent (and self-reinforcing) corpus of training data. As the machine continues running, it can rack up more training, allowing it to recognize a broad variety of pieces on the fly.

Here's another video, focusing on how the pieces move on conveyer belts (running at slow speed so puny humans can follow). You can also see the air jets in action:

In an email interview, Mattheij told Mental Floss that the system currently sorts LEGO bricks into more than 50 categories. It can also be run in a color-sorting mode to bin the parts across 12 color groups. (Thus at present you'd likely do a two-pass sort on the bricks: once for shape, then a separate pass for color.) He continues to refine the system, with a focus on making its recognition abilities faster. At some point down the line, he plans to make the software portion open source. You're on your own as far as building conveyer belts, bins, and so forth.

Check out Mattheij's writeup in two parts for more information. It starts with an overview of the story, followed up with a deep dive on the software. He's also tweeting about the project (among other things). And if you look around a bit, you'll find bulk LEGO brick auctions online—it's definitely a thing!

Original image
Nick Briggs/Comic Relief
What Happened to Jamie and Aurelia From Love Actually?
May 26, 2017
Original image
Nick Briggs/Comic Relief

Fans of the romantic-comedy Love Actually recently got a bonus reunion in the form of Red Nose Day Actually, a short charity special that gave audiences a peek at where their favorite characters ended up almost 15 years later.

One of the most improbable pairings from the original film was between Jamie (Colin Firth) and Aurelia (Lúcia Moniz), who fell in love despite almost no shared vocabulary. Jamie is English, and Aurelia is Portuguese, and they know just enough of each other’s native tongues for Jamie to propose and Aurelia to accept.

A decade and a half on, they have both improved their knowledge of each other’s languages—if not perfectly, in Jamie’s case. But apparently, their love is much stronger than his grasp on Portuguese grammar, because they’ve got three bilingual kids and another on the way. (And still enjoy having important romantic moments in the car.)

In 2015, Love Actually script editor Emma Freud revealed via Twitter what happened between Karen and Harry (Emma Thompson and Alan Rickman, who passed away last year). Most of the other couples get happy endings in the short—even if Hugh Grant's character hasn't gotten any better at dancing.

[h/t TV Guide]