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Brendan Cescon

FILMMAKER & MUSICIAN

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The Secret History of Fake Hair in Movies and TV

Most male actors have used wigs or augmentation to enhance their hairlines.

Sean Connery famously wore a toupee in every single James Bond movie.

Bond followed the classic "leading man" archetype, tall dark and handsome, and many of the actors playing this type of character wore wigs to emphasize a masculine ideal. Even Christopher Reeve wore a hairpiece in at least some of the Superman movies.

You see the trend, right? Iconic male heroes are expected to look a certain way. Superman has super strength, so why shouldn't he have a super-hairline?

This followed the tradition of nearly all the legendary actors during the Golden Age of Hollywood -- Fred Astaire, Gene Kelly, James Stewart -- all wore wigs or toupees of some kind.

John Wayne admitted to wearing a hairpiece, famously explaining that “It’s not phony. It’s real hair. Of course it’s not mine, but it’s real.” You can even see it fly off in a quick shot from "North to Alaska."

Many of these actors from the Golden Age of Hollywood wore hairpieces manufactured by Max Factor, a Polish-American entrepreneur who revolutionized the cosmetics industry, and more specifically the wig industry of Hollywood. Previously, toupees were crude and obvious, simply sitting on the head with a conspicuous seam. Hence the derogatory term "rug." Factor innovated with more intricate pieces that wove single hairs into a nearly invisible mesh, creating a more believable hairline that looked great on camera. Max Factor actually changed the entire cosmetics industry forever, and popularized the term "make-up."

Once hairpiece technology became good enough and affordable enough, it became virtually universal for leading men.

Humphrey Bogart was a seasoned wig-wearer, including in both "Casablanca" and "The Maltese Falcon." He even allegedly had a seventeen year affair with his wig-maker, Verita Bouvaire-Thompson. She claims to have slept with one of his wigs under her pillow, which is information she volunteered. Nobody even asked.

William Shatner wore toupees during his entire run on Star Trek, and allegedly liked them so much that he'd steal one at the end of every season.

Christopher Lee on and off wore them during his earlier film career. Later, when he wasn't wearing a wig while playing Saruman, he was still wearing a hair system, even off camera.

You see, years of deceptive hair practices have clouded what is seen as a "normal hairline." It's actually extremely uncommon for a man in his 40s or 50s not to have measurable hair loss, but that's not often reflected in movies, especially leading men.

Someone explained it like this on Reddit -- Realistically, imagine all the hairlines of men you know over forty years old. Now imagine the hairlines of all the men on film/TV. It's not natural, is it? Because media is elevated.

To the untrained eye, this isn't always obvious. Jet black hair with an uncompromised hairline looks great on camera, but often appears fake in real life.

Alec Guinness wore a wig in Star Wars, having lost most of his hair years earlier.

John Travolta has worn a series of hair systems for years, on and off camera. He even wore a custom Danny one when he surprised an audience at a Grease screening.

I also assumed he'd worn one for Pulp Fiction, but actually that's mostly his real hair augmented with extensions. Samuel L. Jackson, however, did wear a wig. Originally, director Quentin Tarantino pictured an afro for his character, but when reviewing options, Jackson opted for a jheri curl instead.

Jason Alexander wore a hair system for a bit, which mirrored one of his character's plotlines from Seinfeld.

Ted Danson wore a hairpiece for most of his run on Cheers, to cover his crown, and that even made it onto the show.

There's a rumor that Vince Vaughn once accidentally knocked off Ben Affleck's toupee at a party in the early 2000's. I have no idea if that's true.

But his Batman wig looks great! Affleck wanted Bruce Wayne to have a distinctive widow's peak, like he often does in the comics. Hence the hairpiece.

I can't find evidence that Vince Vaughn generally wears wigs, except once on Ellen. He'd recently shaved his head for the film "Brawl in Cell Block 99," which is a hidden gem and you should definitely watch it if you haven't.

Wigs aren't only worn to hide receding hairlines. Sometimes they're used to compensate for scheduling conflicts, even for actors with iconic hair.

John Krasinski wore a wig for part of season 3 of "The Office," because he was filming George Clooney's movie "Leatherheads" around the same time, and had a shorter, noticeably old-fashioned haircut.

Robert Pattinson wore a wig for reshoots of Breaking Dawn: Part II, since half his head was shaved for David Cronenberg's film "Cosmopolis."

In the Eleventh Doctor's regeneration scene in Doctor Who, Matt Smith wore a wig emulating his iconic hairdo, since he'd shaved his head for Ryan Gosling's movie "Lost River." Coincidentally, he shared the scene with Karen Gillan, who was also wearing a wig. She'd recently shaved her head for the part of Nebula in Guardians of the Galaxy.

Tom Hiddleston wore a wig for some of his appearances as Loki, including in The Avengers. However, he grew his real hair out and died it for the Loki TV show.

Chris Evans has worn a hairpiece, usually a topper, in nearly every single appearance as Captain America. This is a case of an actor who seemingly has great hair, but wears augmentation for consistency and as an alternative to frequent hair dying. This can be confirmed in some behind the scenes photos, where he took off his helmet and has noticeably different hair. He did however wear a full wig in the post-credits shawarma scene in The Avengers. He had short hair at the time to film "Snowpiercer." He also had a beard, which is why he's blocking his face.

The Marvel movies have their fair share of wigs of varying quality. Their purpose is generally style consistency, and they're not limited to superhero characters.

Jacob Batalon wears a wig in the Spider-Man series, given he has alopecia and is completely bald, which he confidently rocks off camera.

Hugh Jackman generally has great hair, but that didn't stop him from wearing wigs of varying altitudes as Wolverine.

Henry Cavill wore one during his cameo as Logan too. And actually, Cavill's a great case study for demonstrating male hair loss stigma.

He's handsome as hell, has great hair that worked for Superman, could have worked for James Bond, yet despite that, he gets hate online from trolls who claim he's "balding."

Why? Because he has natural visible temple recession, so minor that he makes me look like George Costanza, yet this is the reaction from haters online.

And that's why so many modern actors have turned away from hair systems, and opted for surgical options instead. In the last fifty years, hair transplant technology has exploded in quality and affordability. Many actors now openly admit to having hair transplants, sometimes even multiple, and in my opinion these are the leading men who 70 years ago would have had toupees. But now they don't have to.

This trend isn't just for the media elite -- it's trickled down to influencers, and every day people. You may even know those who've had great-looking hair transplants. I do. But I don't know anyone who wears a rug anymore. I know they exist, but maybe they're just so good I haven't noticed.

But aside from fantasy, sci-fi, or period wigs, I think the cosmetic male hair augmentation industry of Hollywood has largely shifted away from hairpieces and become surgical.

But this is hard to know for sure, since modern hairpiece technology has evolved so much since the early Max Factor days. 3D scalp scanning and laser hair density mapping have enabled high quality wigs with ultra-thin polyurethane faux-skin bases, which can create seamless hairlines on camera. Imperfections are sometimes cleaned up digitally, which makes accurate wig-detection quite difficult.

Pixel peepers zooming in on 4K Blu Ray screenshots are unlikely to detect most hair systems, unless they're brutally obvious.

If you're a male actor and surgery is an option, and wigs are better than ever, it's hard not to resist having a perfect hairline on screen. And personally, it doesn't bother me. I don't mind superheroes and super spies having super hairlines. But I do think it's helpful and important to be aware of the illusion, so we don't judge our own hairlines based on false standards.

Tuesday 04.21.26
Posted by brendan cescon
 

"Trim Audio Levels" -- DaVinci Resolve Keyboard Shortcuts

One of my favorite features in Premiere Pro was the ability to nudge volume via keyboard shortcut. This made volume automation incredibly efficient and convenient — and when something is efficient and convenient, you’re more likely to do it. A lot.

DaVinci Resolve has a similar feature called “Trim Audio Levels.” In the Keyboard Customization window, you have multiple options — you can increase or decrease by 1 dB or 3 dB. I generally find 3 dB increments to be perfect, especially since dialogue is usually ran through a compressor anyway, so I use this trim option to perform macro volume adjustments, and the compressor will catch it at the end to fine tune it anyway.

I’ve mapped “Decrease by 3 dB” to the “[” key and “Increase by 3 db” to the “]” key.

Perhaps at a later date I’ll outline the exact layout and positioning of my left hand on the keyboard during editing in greater detail, but for now I’ll say this — I usually leave my index finger on the backspace key, my middle finger on the “+” key, my ring finger on the “-” key (these two keys let me zoom in and out quickly), and my pinky on the “P” key (to activate the pen tool in Premiere… I may change this now that I’ve migrated to DaVinci).

This positioning is highly versatile because I have bonus F9, F10, F11, and F12 keys above this row that act as cut, trim left/right of playhead, etc… And right below this row I have the [ and ] keys which I use to automate volume.

Wednesday 01.14.26
Posted by brendan cescon
 

"Select Clips" -- DaVinci Resolve keyboard Shortcuts

Since my recent migration to Resolve, I’ve been running into functions that I miss nearly every day. Most of them exist in DaVinci’s ecosystem, but ascertaining their exact names is a bit of a chore, since they’re not standardized across all NLEs.

ChatGPT ends up being perfect for this, especially when traditional vague Googling isn’t delivering.

Anyway. I missed the function of being able to select all the clips on a timeline to the right of my mouse (or to the left, although I rarely use that function for some reason).

In Resolve, this is called “Select Clips” and you have multiple options — “Select Clips Forward” or “Select Clips Backward.”

I have mapped the following keyboard shortcuts:

“Select Clips Forward” = Alt+F

“Select Clips Backward” = Alt+B

In these cases, “F” stands for “forward” and “B” stands for “backward.”

Monday 12.29.25
Posted by brendan cescon
 

"New Bin" -- DaVinci Resolve Keyboard Shortcuts

I’ve mapped the “new bin” function to Ctrl+B in DaVinci Resolve. I believe my default was Ctrl+\ which makes no sense, so I’ve changed it. “B” stands for bin, obviously.

You’ll notice that this is my first post explaining shortcuts used in DaVinci Resolve. Why? Because I have officially switched to Resolve, after a myriad of disappointments with Premiere.

I’ve been working on several large projects in Premiere for months — a 6-part docuseries and a feature film. Needless to say, Premiere choked up and fucked me on both these projects. I will go into detail at a future time, because it’s really quite a story. Long story short, ep 1 of the docuseries was almost unopenable because the project was so slow. For the feature, I had 85 minutes of an assembly that also froze up and maxxed out my RAM any time I’d try to do anything. Mouse-clicks took three minutes to register.

After much troubleshooting, I got to the root of the problems, and basically it’s all Premiere’s fault. I’ve been pissed off at this program for quite awhile, and that was finally the last straw. If I get 85 minutes into a rough cut for a movie, and the project becomes unusable, that is UNFORGIVEABLE. Do better.

So it’s Resolve from here on out baby. And so far, I’m impressed.

Wednesday 12.17.25
Posted by brendan cescon
 

"Go to Next Marker" -- Premiere Pro Keyboard Shortcut Series

I use markers a lot for notes. Usually on the timeline, occasionally on the clip. It’s a hassle clicking through and finding all of these, but luckily there’s a shortcut for it —

“Shift+M” will jump you to the next chronological marker in your timeline. You can click through and find all the markers pretty quickly this way. It seems to treat timeline and clip markers as the same thing.

I’m not sure if there’s a way to only jump between one or the other, but regardless, this is a handy little navigational tool, especially if you have dozens of markers!

Wednesday 09.24.25
Posted by brendan cescon
 

"Ungroup Clips" -- Premiere Pro Keyboard Shortcut Series

I’ve used the shortcut for grouping clips for years (Ctrl+G). However, it never occurred to me that there might be a shortcut for ungrouping clips. Up until this point I’ve been right clicking and selecting “ungroup” like a plebeian. The microseconds it takes to dive into a right-clicked menu compounds drastically over time. Who knows how many decades of my life have been wasted doing such a thing!

Well that ends now. The default shortcut for ungrouping clips is Ctrl+Shift+G.

I tested it. It works. What a time to be alive.

Tuesday 09.23.25
Posted by brendan cescon
 

"Extend Selected Edit to Playhead -- Premiere Pro Keyboard Shortcut Series

Here’s a useful one I can’t believe I didn’t know before today:

Let’s say you have a clip that you want to extend longer. You can click the edge of the clip and drag it out. That works. But an instantaneous way to do it is to use the “Extend Selected Edit to Playhead” feature, whose default keyboard shortcut is “E”.

Ensure the playhead is where you want the clip to extend to. Then click the edge of the clip (the “edit point”). Hit “E” and boom, done.

I think this will be most useful when trying to fill in gaps between clips. Either way, I wish I’d learned this one years ago.

Monday 09.22.25
Posted by brendan cescon
 

Two Projects, One Idiot

The next week is shaking out to be a real humdinger. Currently I’m cutting a six episode docuseries. That’s my main focus for the next three weeks, up until MIPCOM on October 13th where our sales agent is hoping to generate interest or even find smitten buyers.

At the same time, in the background, I’m in pre-production for my movie The Silver Game. Auditions are in. Announcing cast in the next two weeks (literally today I’m supposed to watch at least 100 of them).

So this week I have a handful of parallel objectives —

First and foremost, I need to deliver two episodes for that doc. Most of the heavy lifting on this has already been done (parsing footage, cutting selects, etc…), I’m just finishing the initial assembly phase. Will this take a lot of focused work? Absolutely. This is the absolute priority for my day work, and will easily take at least full edit days, maybe even some overtime.

After hours, I’m working on the plan for The Silver Game, as well as prepping some sets. The plan is a lot of things — script breakdown, schedule, visual guide, etc… A lot of this has already been done, but now that we’re less than two months out from production, I need to consolidate what we know and update the current timeline. My intention is to write about one part of this plan a day for the next week, wrapping up that document on September 28th.

After completing this plan, I also need to do a rewrite on the script. There’s a few changes I want to make before we send it off to the final cast. So I’ve got roughly until October 5th for that.

In two weeks, my gaffer and I are going to be running some car simulation tests in my garage. Very indie. That means there must be space in the garage for not only a car, but the simulation equipment. Given that there currently is barely enough room for a human, I’m going to need to do some deep cleaning. Is it possible that I wrote a whole feature film just to force myself to clean my garage? Yes! Is it probable? Also yes!

On paper, that seems like a lot to do in a week. Because it is! But it’s also all my favorite stuff (sans cleaning). The trick is to focus on good habits. Sleep, diet, exercise. That’s what’ll keep my mental faculties lubricated and focused. Also no heroin benders. I’ve never done heroin, and now is certainly not the time to start.

Sunday 09.21.25
Posted by brendan cescon
 

"Audio Channels" window, and more "Close Gap" Shenanigans -- Premiere Pro Keyboard Shortcut Series

Two new shortcuts for today.

First, Shift+G opens the audio channels window. I use this pretty often when modifying stereo tracks into dual mono, especially when dealing with dialogue on camera audio.

Secondly, I recently discovered the “Close Gap” feature, but I’m realizing I want to use it so often that I don’t want to hunt it down in the Sequence menu. It doesn’t take THAT long, but it’s long enough that it adds up and I ain’t wasting my time with that anymore (it only took a day).

So I’ve assigned the keyboard shortcut Shift+Backspace. This intuitively makes sense to me, since we’re deleting/backspacing a bunch of gaps, and we’re shifting our focus from one gap to lots. Shift, backspace, get it? I’m trying to make it easy to remember. Don’t sue me.

Friday 09.19.25
Posted by brendan cescon
 

"Close Gap" -- Premiere Pro Keyboard Shortcut Series

Can’t believe I was today years old when I learned about the “close gap” feature in Premiere Pro. I don’t want to even admit to you the bizarre and creative ways I’ve been ripple deleting dozens of gaps in large sequences. But that was the old me.

Let’s say you’ve got a bunch of clips on a timeline, and you want them all to snap together without any spaces. You COULD click every single gap and ripple delete. If you want to hate your life but milk your hourly rate, I guess you could do this.

But a better way to go is to highlight all the clips, open the SEQUENCE menu (at the top of Premiere), and then select “Close Gap.”

Voila. No gaps.

Thursday 09.18.25
Posted by brendan cescon
 

"Select at Playhead" -- Premiere Pro Keyboard Shortcut Series

It’s important to always be learning new things. I’ve edited in Adobe Premiere Pro for well over ten years, and I’m embarrassed by how many tools and keyboard shortcuts I don’t know. With each project I work on, I try to learn at least one new thing. The simplest “new thing” is a keyboard shortcut. Stacked over dozens of projects and several years, these minor additions compound greatly and can dramatically increase editing speed.

I strongly believe that the tools we use should not slow us down, and I’m constantly in search of the ability to create at the speed of thought.

Anyway. I’ve decided to start documenting some of these things I’m learning here on my blog, mostly for myself, and possibly for anyone who happens to stumble across it.

Today’s keyboard shortcut is called “SELECT AT PLAYHEAD.” The default key assignment is D.

What this does is selects all clips on targeted tracks that are vertically intersected by the playhead. Previously, I would click, drag, and highlight these clips. But hitting D is much simpler.

But remember — it only works on targeted tracks. So if you don’t have a track targeted, it will not select any clips on that track. Obviously this may be useful. There are times where I don’t want it to select a music or ambience bed, so I un-target that track. But just keep it in mind.

Give it a shot!

Wednesday 09.17.25
Posted by brendan cescon
 

Steven Soderbergh's Completely Useless Wrap Statistics for "The Knick" Season 2

This is a list of stats originally published on Indiewire, but unfortunately was taken down. Maintaining its existence is an act of internet archaeology on my part, and hopefully other film nerds will find utility in it.

The list is as follows:

  • Total Set ups: 1889 (25.52 daily average) - (Season One: 2081; 28.5 daily average)

  • Total Scenes shot: 468 (Season One: 557)

  • Total Pages shot: 495 5/8 (Season One: 539 4/8)

  • Total amount of time spent editing: 235 hours, 26 minutes, 10 seconds (Season One: 465 hours, 30 minutes, 50 seconds)

  • Most Set-ups shot in one day: 63 - A New Knick Record (Season One record was 60) (Day 71 in 11 hours 50 minutes - includes lunch break - Int. Surgical Theater - Thackery performs surgery — Season One record was Int. Surgical Theater - Christiansen's Previa surgery)

  • Number of Days more than 40 Set-ups were shot: 8 (Season One: 12)

  • Total number of two-camera Set-Ups: 247

  • Total number of Set-Ups shot with one camera only: 1642 or 86.9% of the season.

  • Least number of Set-ups shot in one day: 4 (Day 47- Ext. Knick - wrapped early due to bad weather - 4 hours, 12 minutes after call)

  • Number of Set-Ups shot on a 18mm lens: 557

  • Number of Set-Ups shot on a 25mm lens: 470 (Season One: 0)

  • Number of Set-Ups shot on a 35mm lens: 244

  • Percentage of Total Set-Ups shot on 18 and 25mm lenses: 55.8%

  • Number of Set-Ups with Visual Effects: 176 (as shot)

  • Number of RED Camera bodies used: 2 (Season One: 6)

  • Number of times the word “Douse” appears in the script: 2 - one sexual; one refers to oysters and cocktail sauce (Season One: 8 - 4 sexual)

  • Number of times the word “Heroin” appears in the script: 27

  • Number of time “Cocaine” appears in the script: 36 (Season One: 56 - a 35.7% decline in Cocaine use from Season One to Season 2)

  • Number of Surgical Procedures performed: 18

  • Most number of Pages shot in a day: 11 (Season One: 11 4/8 in 13.8 hours) (Day 56 - Int. Henry’s Hotel Suite - in 11 hours 42 minutes - including lunch break - runner up for second longest shoot day.)

  • Least Number of Pages shot in a day: 2 7/8 (Day 19 - Algernon & Opal attend Carr’s speech. Cornelia searches Speight’s abandoned house)

  • Longest Day: Day 71 -11 hours, 50 minutes (includes lunch break) (8a call - 7:50p wrap - Thackery performs surgery - also most set-ups shot in one day: 63 see above)

  • Shortest Day: 6 hours, 40 minutes - 7:30a - 2:10p - (includes lunch break) (Day 16 - Ext. New Knick construction site -10 setups 4 6/8 pages and 2 scenes - runner up for coldest shoot day: 4 degrees at call)

  • Number of Shooting Days: 75 (74 +1 second unit day - Boat Unit)

  • Number of Shooting Days 12 hours or longer: 0

  • Earliest Wrap time: 2:10p (Day 16 - Int. Barrow’s Office - Thack’s Office - Knick Hallway - 7 hour 10 minute day)

  • Latest Wrap time: 4:54 am - 9 hours, 54 minutes including lunch break - 25 setups. (Day 74 Last day of shooting - Night shoot 7p Call - Int. New Knick Construction Site)

  • Most Episodes shot in one day: 6 - Day 30 (Season One: 7)

  • Coldest Ext. Day Shoot: Ext. Woman’s Prison - Cleary and Harriet leave the prison - Location: Ft. Wadsworth, Staten Island - Wind Chill at call: 0 degrees.

  • Most Creative Use of Location: Ft. Wadsworth, Staten Island for Nicaragua circa 1890. (Runner up: Yonkers for doubling San Francisco)

  • Only Scene where the entire Principal cast worked together: Episode 7 Scene 44 Int. Ball Room. (First place winner for most cast members included in one single shot - Runner up for longest uninterrupted shot - Establishing the Ball - 3 minutes)

  • Longest single uninterrupted shot: Episode 9 - Cornelia confronts her father - 3 minutes, 56 seconds (10 takes filmed; take 10 used in the show)

  • Shortest shots used: Episode 10 - surgery scenes - two shots at five frames each

  • Number of Breakfast Burritos consumed by Cast, Crew and Background: 1496 (Okay, that I made up but in fact would only be an average of 19.9 burritos per day so probably in the ballpark)

    ...and now that’s a wrap

Wednesday 09.03.25
Posted by brendan cescon
 

Judging Your Art Too Early is Why You Quit

Don't judge a project too early in the process. Let it suck. Incomplete projects are full of flaws, and if you get too hung up on them, you'll never finish.

Get through the whole thing -- the first draft, the rough cut, the demo, whatever -- and then you can judge it and start making changes.

But it's essential, as a creative, that you maintain momentum and artistic purity all the way through that first version, or else you ain't never finishing.

Thursday 05.15.25
Posted by brendan cescon
 

Material Input/Output

Last week, I finished the first draft of a new script. Bouncing between two titles: "Executive Material" or "Animal Blood and Gummy Bears."

    Not only am I getting faster at writing, the first drafts are getting less first-drafty.

    So far, I've written two features this year. I've learned that the quantity (and quality) of material output is directly proportional to the quantity (and quality) of material input.

    In essence, more books read = more scripts written. Better books = better scripts.

Tuesday 05.06.25
Posted by brendan cescon
 

The Final Stretch

I am 58 pages into the first draft of a new script. I'm over halfway done. I have the beginning, the end, and the middle — now I just need to connect the beginning to the middle and the middle to the end. I'm missing the middle-middles.

It's exciting. So close. The final stretch. It feels like falling. In a very good way.

Friday 05.02.25
Posted by brendan cescon
 

Trying to Sleep

In bed and my mind is going nuts as usual…

Why can't it do this earlier in the day? Why all the bright ideas now?

Wednesday 02.19.25
Posted by brendan cescon
 

Apps are cool, I like apps

Note to self: Create some sort of system that allows you to track how many app subscriptions you have. Most are on an annual plan. This is infrequent enough that I can pretend I don't have any.

On the other hand, I'm deeply concerned that I’ve subscribed to so many that I will soon become bankrupt and have to resort to a life of crime in order to maintain this lifestyle.

The problem is that apps are cool. Very cool. Terrifying cool.

There are apps for anything you could possibly want to learn. Anything. And that's what's messing me up - I keep thinking of skills and hobbies and miscellaneous fields of expertise that I would like to acquire, and I keep purchasing annual app subscriptions for such things.

Do I use them all? No. Do I use some? Yes. Are they enriching my life? Also yes.

Will I stop this dangerous and reckless behavior? Not likely.

Wednesday 02.12.25
Posted by brendan cescon
 

quicksand

Today was one of those days where I could feel the internet baiting me into procrastination.

Feel like getting shit done today? Well FUCK YOU! Here's a fat helping of outrage to derail your day.

It's really remarkable. And the worst part is it's so easy to spiral after being triggered by something. It's a miracle I got anything done today - but I did. Why? Because I prepared for this!

The trick is to have an emergency protocol - a "BREAK GLASS IN CASE OF EMERGENCY" type plan. Because I'm a pro. And I've been in the trenches.

See, the internet is vast. Hella vast, in fact. And the odds that you'll stumble across something that will improve your life are devastatingly low. So when you're surfing the web, as our forefathers called it, it's far likelier that you will be tempted down a rabbit hole of useless and often inflammatory information.

The internet is much like quicksand. Would you go sprinting into quicksand without the proper equipment and preparation? Knowing the risks, would you go sprinting into quicksand at all?!

Monday 11.06.23
Posted by brendan cescon
 

upgrading the studio

I'm leveling up my home studio. It's time. Given the influx of new, higher profile projects, I need an acoustically treated 5.1 surround sound setup. This is for sound design in film, as well as music production. Ideally I would have a Dolby Atmos setup, but I think that'll come later. We'll build it in a modular way - so that in the (near) future, I can add on to it and make it proper Dolby Atmos. But for now, 5.1 will suffice.

I also think it's time to learn Avid Media Composer. It will be required for some of the things I'm setting my sights on.

My home studio should be optimized for all of these things, and more.

2024 is going to be a big year for me. And us.

Sunday 11.05.23
Posted by brendan cescon
 

a smattering of chaos

It's the golden age of content! Unlimited access to everything. Fiber-optic pornography and high-fructose nihilism. Is this the future we hoped for? No! But will it suffice? Also no!

Let's consider the following - two jews, a prostitute, and a twice-impeached cyber-president walk into a bar. One orders a "Vesper," and the rest ask for diet Pepsi, on the rocks.

The bartender asks if diet coke is okay. But it isn't. It's actually super-not-okay.

What would YOU do in this situation? Let's be honest. You wouldn't do anything. Because you're a whiny little people-pleaser who's had every ounce of dispositional authenticity stripped away from your pretty (yet vapid) flesh computer.

Are you following? Do you see what I'm getting at?

The point is simple - destroy all, change everything. We must eradicate what we know in order to make room for what we don't.

And we must be careful when adhering to rules.

See, the mistake is in thinking that there are rules.

Rule #1: THERE ARE NO RULES. Only tools, and those who are too cowardly to abandon them.

There are no rules. Remember that.

There are NO RULES.

Friday 11.03.23
Posted by brendan cescon
 
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