Sure, the name of the site may be Create Digital Motion, but don’t get me wrong — we know digital is evil. Or, specifically, digital gets real evil at certain times. There are the latency-inducing, problem-causing HDMI cables when VGA or S-Video or Composite would do the job, the “look at our brand, new storage format” trend that turns out to be “look at the hideously onerous, new copy protection method we’ve just invented.”

We know a little bit of our soul died when we brought in all this digital tech to our work. (Happy side note, though: my eyes now glow red. It’s totally awesome at parties.) So, we now proudly present The Battle for Analog, a completely nonsensical look at the analog world we might leave behind. (Well, unless you carry some mobile VHS decks to a gig, which could be a great idea … a little magnetic distortion live, anyone?)

And to kick things off, we’ve got a look back at VHS’ stand against the puppy-killing DVD, via our friends at the All Retro, All The Time, Retro Thing. So, at the risk of “boneheaded nostalgia” as someone described this in comments on RT, I present this mock VHS PSA from musclebeaver, with music from the Transformers music proudly playing in the background:

And, uh, yeah, it does appear to have been crafted in After Effects. Where is that Export to VHS option in CS3, anyway?

PS - I think Blu-Ray winning out over HD-DVD is finally Sony’s revenge for losing on superior Betamax.

It’s really a pity The Video Case is a tongue-in-cheek design project from the Museum of Lost Interactions and not a real product. Yes, I know, we’re supposed to laugh at how this not-actually-from-1979 design is so primitive compared to our fancy-schmancy video iPods. But consider the design achievements here:

1. The rigid suitcase protects from shock, and conveys the sense of substantial equipment and physical attachment.
2. The large form factor means a screen that’s actually watchable, and could be shared with others.
3. Internal speakers create a fully-integrated multimedia experience, in contrast to the endless attachments portable media players require.
4. Analog video means easier scrubbing forward and backward via onboard controls.


5. Settings like brightness and contrast have dedicated controls rather than being hidden in menus.


6. Real knobs provide tangible feedback.


7. Onboard analog output ideal for visualists and live mixing.
8. Tapes create a physical connection to ephemeral media as an object.
9. No DRM.


10. He’s got Star Wars.


11. He probably taped it off of TV instead of tithing Apple.
12. It’s the original, not that crazy Special Edition where all sorts of random details are changed arbitrarily. What if film preservation centers started doing that? “Hi, we’ve restored this 1907 film to a vividness never seen since its release. Um, except 3:04 - 4:17. We thought that was stupid, so we re-shot it with Legos.”


13. Dude. It’s a video case. VHS playback in a briefcase. Anyone got a briefcase they’re not using so we can build this thing? We already know portable VHS makes you super-happy so you do jazz dance at sunset on the beach.

Project Page: Exhibits: The Video Case

In 1983, Panasonic presented a bold future of videography, one in which cameras adjusted exposure and focus all by themselves, and we would sling portable VCRs over our arm to film ourselves doing interpretive jazz dance as the sun set over the Pacific. We would have terrific legs and short shorts, and dance with the sheer exuberance auto-focus inspired … until we realized we neglected to move the tripod as the tide came in, and our expensive Panasonic gear floated out to sea.

It’s nice to hear Panasonic’s old slogan “Just Slightly Ahead of Our Time” — an atypically pragmatic marketing slogan. (Like, “Futuristic Looking for At Least a Few Months, We Think.”) Maybe even they knew this whole clunky VCR - docking station wasn’t going to catch on. Yet, I still kinda want that camera.

Via stepheno.net, a Norwegian TV and Media Production student, and TechEBlog.