If you’re seeing this popup when you launch Eclipse itself, or the Eclipse installer on your macOS, this post is for you. First, there’s a bit more details on the Eclipse and JDK bug trackers. To fix this, you will need to uninstall the problematic JDK version and install the latest one on your macOS machine:

  1. Run the /usr/libexec/java_home -V command to list all installed JVM versions.
  2. Identify the problematic version of the JVM – in my case it was “14, x86_64: "Java SE 14" /Library/Java/JavaVirtualMachines/jdk-14.jdk/Contents/Home“.
  3. Delete that version – with something like “sudo rm -rf /Library/Java/JavaVirtualMachines/jdk-14.jdk/
  4. Install the latest matching JVM / JDK – at the time of this writing it is 14.0.1
  5. Verify that it appears in the list of installed JVMs with /usr/libexec/java_home -V
  6. If needed, point the Eclipse.app/Contents/Eclipse/eclipse.ini to the location of the newly installed JVM (-vm parameter)

Continuing the ongoing series of interviews with creative artists working on various aspects of movie and TV productions, it is my delight to welcome Zachary Galler. In this interview he talks about his path through the various positions in the camera department in his career so far, the hidden complexity of what goes on behind the scenes to bring these stories to our screens, digital vs film, and working with multiple directors across the season arc of a show. Around these topics and more, Zachary dives deep into creating the worlds of the delightfully sumptuous “Briarpatch”.

Kirill: Please tell us about yourself and the path that took you to where you are today.

Zachary: My name is Zack Galler, and I started in this industry about 18 years ago. I grew up going on set, because my dad was a director of documentaries and small commercials when I was a kid.

I had the love for films since I was 14 when my dad took me to see “Pulp Fiction” in a theatre. It’s cracked my head open like an egg, and I realized that there was stuff that you could do and say at the movie that I hadn’t even conceived of as a kid. I fell in love with it, and I started gorging myself on all sorts of different things. It started with Tarantino who was, for me, the coolest director. When I got a little bit older, I started getting into European cinema, but basically I had this love for film when I was in high school. I used to go on set with my dad and he also knew some casting directors. So as a summer job growing up, I would go be an extra on a TV show and spend my time there.

Then I went to film school in New York for about 18 months, and ended up feeling like there are so many prerequisites. It felt like it was things I had already discovered on my own, and I ended up dropping out to play music – not knowing exactly how I was going to be getting involved in film in New York City. At some point I was talking to a gaffer on a job that I PA’ing on, and he got me a job working in a lighting rental warehouse. That was my introduction to the technical side of things. I worked there loading grip trucks to go out on jobs in the New York area for about a year. Then I started going out on sets and worked my way up from there.

I was an electrician and a grip, and then I was a gaffer. I had a really good DP taking me under his wings early on, probably before I was ready. That gave me the confidence to explore and he taught me so much. The first film I shot that had any cohesiveness to it was for this Columbia grad student, and I started building my portfolio from there doing music videos and shorts in New York – teaching myself camera language using the knowledge I had from lighting.

I shot a bunch of indie movies, and I was really lucky that the first feature I did got into Sundance competition, and the second feature I did got into Berlin. After about 6-8 indie movies, my agent reached out about a TV show and it’s been a lot of TV ever since and a couple movies in between. So that’s been my journey through the lighting department, starting as a truck driver and a warehouse guy, and working hard ever since.


Cinematography of “Briarpatch” by Zachary Galler.

Kirill: When you talk about what you do for a living, how do you convey this complexity of how many people are involved in bringing these stories to the screen?

Zachary: The way that I look at my job is that I’m creating a world for the viewer to escape into or exist within, and cinematography has to be comprehensive like that.

Think about what it takes to make your everyday life going, and now imagine installing that temporarily in the warehouse somewhere or making that on a random street in New York. It takes a lot of people because there is a ton of detail, and the better shows are a complete world. You need to have a safe work environment that lets people to work within these space. It has to be well thought-out from an aesthetic angle. There are many layers of detail in the production design, the location and the lighting, and it takes a lot of people to put these things together in a way that lets you take them down again after you’re done shooting.

There’s an interesting interview with Harris Savides I read a long time ago where he compares this to merchant marines. You have this army of a sorts that comes in, does their thing and then takes it all down and disappears. Usually, it’s a hugely efficient, well-run machine.

Kirill: If I go along with this metaphor, do you want me as a viewer to think about this complexity, to think about all the layers that go into telling these stories when I’m watching it? I certainly don’t think about everything that was involved in making that loaf of bread when I buy one at my local grocery store.

Zachary: Ideally, the viewer is never thinking about anything technical like that, but rather ingesting it through the osmosis of what we’re serving. I’m there to serve the story and the actors, and usually they are holding up their end of the bargain. I don’t want the viewer to think about the camera or notice a cool looking light. I’d love for them to be able to immerse themselves in the world.

Hopefully, we’re creating worlds that look seamless and not contrived. My ideal goal is to always create a realistic world for you to exist in. But if a viewer is feeling self-aware, that becomes less effective, and the spell that we’re trying to cast is a little bit less strong.


Cinematography of “Briarpatch” by Zachary Galler.

Kirill: Your portfolio has sections for different types of productions, from music videos to commercials to narrative storytelling. Is there any particular kind of production that is your favorite, or do they all exercise different parts of your creative brain?

Zachary: They all exercise different parts and they all have their own merits. I feel lucky that I’ve had the chance to work on a diverse variety of projects. Feature films definitely scratch a different itch than commercials, and TV is an in-between – and each requires a different skill set.

TV is such an interesting combination of crafts. You have to be so aware of your time and schedule. When I’m working on a TV production, it feels like you’re fighting schedule, while on movies you’re fighting the budget – and it’s all made better or worse by how much you can get everybody to care about the story you’re telling. Commercials are a whole another, sometimes frustrating, ball-game altogether. On music videos you usually fighting against your resources, but they provide such a fun platform to experiment visually.

Once you come up with the way that the world exists on your TV production, you have to go so fast – but not necessarily formulaic. By the time you’re on set, there are certain choices that you’ve already made, and there’s not a lot of time or room for discovery. Sometimes you get lucky and you get to work with people that support that, but that doesn’t happen frequently.


Cinematography of “Briarpatch” by Zachary Galler.

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Radiance 3.0.0

May 31st, 2020  |  Flamingo · Substance · Swing · Trident

It gives me great pleasure to announce the fourth major release of Radiance. Let’s get to what’s been fixed, and what’s been added. First, I’m going to use emojis to mark different parts of it like this:

💔 marks an incompatible API / binary change
😻 marks new features
🤷‍♀️ marks bug fixes and general improvements

Dependencies for core libraries

  • Gradle from 5.6.1 to 6.4.1
  • Kotlin from 1.3.50 to 1.3.72
  • Kotlin coroutines from 1.3.0 to 1.3.7
  • Batik from 1.11 to 1.13

Substance

  • 😻 A more flexible skin accent system
  • 😻 New skins – Graphite Sienna, Sentinel and Harvest
  • 😻 Support color references in color scheme files
  • 😻 New Caps Lock indication on focused password fields
  • 😻 New association kind for checkbox and radio button “boxes”
  • 💔 Revisit APIs for loading color scheme bundles
  • 💔 Remove the title pane heap status widget
  • 🤷‍♀️ Use Helvetica Neue on macOS Catalina
  • 🤷‍♀️ Visual refresh of checkbox marks
  • 🤷‍♀️ Support for fallback fonts (CJK, etc)
  • 🤷‍♀️ Fix for incorrect usage of HIGHLIGHT_TEXT association kind on renderers.
  • 🤷‍♀️ Fix for background of popup menus opened from toolbar buttons.
  • 🤷‍♀️ Fix improved contrast across core skins.
  • 🤷‍♀️ Multiple fixes for table rollover hightlights and animations
  • 🤷‍♀️ Fix for some components under very large font sizes
  • 🤷‍♀️ Performance fix for column selection in large tables
  • 🤷‍♀️ Fix for icons in file chooser drop downs
  • 🤷‍♀️ Fix for incorrect bounds of maximized frames on secondary monitors

Flamingo

  • 💔 General evolution of command button APIs
  • 😻 Support for toggle split buttons
  • 😻 Add API to wire notification on ribbon spinner changes
  • 😻 Add API to wire notification on ribbon task selection
  • 🤷‍♀️ Multiple focus traversal fixes for ribbon content
  • 🤷‍♀️ Fixes for clipped wrapped ribbon components
  • 🤷‍♀️ Fix to not use round corners on command buttons in menus
  • 🤷‍♀️ Fix for crash in narrow command button panels
  • 🤷‍♀️ Fix for crash in showing keytips on toggle anchored ribbon commands
  • 🤷‍♀️ Fix for crash on showing keytips on undecorated windows
  • 🤷‍♀️ Fix for dynamic changes to ribbon gallery content
  • 🤷‍♀️ Fix for large icons on internal frames
  • 🤷‍♀️ Use the public Taskbar API to set the ribbon frame dock icon

Trident

  • 💔 Move all public APIs to org.pushingpixels.trident.api package
  • 💔 Remove generic UI toolkit support and leave only Swing support
  • 😻 Add support to provide dynamically computed from / to values on timelines.

Neon

  • 💔 Move all public APIs to org.pushingpixels.neon.api package

Photon

Plasma

This release marks a special milestone for me. The very first Substance release happened exactly fifteen years ago, on May 30th 2005. I didn’t quite imagine that I’d be here today, still working on the same codebase.

There’s still a long road ahead to continue exploring the never-ending depths of what it takes to write elegant and high-performing desktop applications in Swing. If you’re in the business of writing just such apps, I’d love for you to take this Radiance release for a spin. Click here to get the instructions on how to add Radiance to your builds. And don’t forget that all of the modules require Java 9 to build and run.

Here’s to the next fifteen years!

Continuing the ongoing series of interviews with creative artists working on various aspects of movie and TV productions, it is my pleasure to welcome Almitra Corey. In this interview she talks about her path through the various positions in the art department in her career so far, working on projects rooted in realism, collaborating with different directors across the arc of a season of an episodic production, clearing artwork, and what stays with her after a production is over. Around these topics and more, Almitra dives deep into creating the worlds of the gorgeously crafted first season of “High Fidelity”.


Almitra Corey during scouting on “High Fidelity”. Photo by Jesse Peretz.

Kirill: Please tell us about yourself and the path that took you to where you are today.

Almitra: I started working in production in 2004 about a year after moving to New York from Virginia and it was in kind of an accidental way. I started in the Accounting Department and about 1.5 years later made the move to the Art Department. When I made that move, it clicked for me that I had been doing production design in college, but didn’t know what it was yet.

My college degree is in Sculpture & Extended Media, and I also had a minor in Film & Photography, and an interest in Art History as well. I had planned on becoming a curator or a gallerist all through undergrad. When I moved to New York after college, I worked for the French video artist, Pierre Huyghe, on a couple of projects. We were making films, but it was in the constructs of the art world. I wasn’t thinking about it as a movie or a TV show, as I hadn’t put everything together yet. After that he helped me get a job at the DIA Museum as a docent. Working in the art world was exciting and also made me realize that it wasn’t actually what I wanted to do after all. A few months later I got a job through a friend of a friend helping out in the Accounting department on a TV show and never looked back.

After working in Accounting for a short period, I realized the Art Department was what I wanted to do. I thought I wanted to be a Scenic Artist for a while, and then I wanted to be a Decorator for a long time, and eventually I made my way to Art Directing. I did a few movies with a great Production Designer who’s a dear friend, and after working with him for a couple of years as well as designing a handful of short films and music videos, I was hired to design my first feature. That was “The Invitation” with Karyn Kusama in 2014, and I’ve been a Production Designer ever since.

There’s not a lot of people I know who had the path that I’ve had, starting in Accounting, then being an Art Coordinator for about 5 years, and then Art Directing. Most people start as Art PA or Art Director, or go straight to Production Design. But I didn’t originally want to be a designer. I came up in New York under traditional, old-school designers who had been working for 30+ years or had a background and a degree in architecture, theater design or production design. It didn’t seem like something that was in the cards for me.

I loved the idea of Set Decoration, but after doing a couple of smaller projects as a decorator, I realized that I was more drawn to designing.


Set design for “High Fidelity”, record store. Courtesy of Almitra Corey.

Kirill: As you look at these first 15 years of your career, are you still surprised by some things when you join a new production?

Almitra: Every time. It’s funny because it’s such a cliche that everybody has always said since I started working in film and television. Every show is different, and it is true.

The last couple of shows I’ve done have been wonderful, and also unique. There was nothing bad about either show. They were incredible and I’m proud of both of them, but they were both very new structures for me. I’m doing the fourth season of “GLOW”, and I’ve never been on a show that existed before. I’ve only done pilots and first seasons, and it was a new thing for me – coming into a show that was this incredibly well-oiled machine. They had three seasons under their belt, and “GLOW” is an iconic show.

You join all the people that had been working on it together, and you come in as the new person. But so did Jeff Waldron, the Director of Photography, as he is new this season too. My whole department is new as well, except for Construction. It’s the same construction team who’s been there since the beginning, and that made it possible to come in pretty smoothly. Every day there was something new. It can be the the communication style, or the type of budgeting, or just little logistical things – but they were brand new to me.

Kirill: Do you find that in the last few years the art department is expected to do more to match the depth of storytelling and meet viewers’ expectations on the sophistication of the worlds you’re building?

Almitra: I’ve never done multiple seasons of a show. I’ve only done one season so far each of the three different shows. But the answer to your question is yes.

I just recently rewatched the whole season of “High Fidelity”, and I definitely was already making mental notes of places that I can grow the sets in the potential second season. It wasn’t that I was watching it and picking out mistakes or things I didn’t like. I’m actually quite happy with the way that show turned out, and I love the way it looks. But there were places where I was thinking about the story and Rob as a character, and how her set can change, how the store can change and grow with time in a realistic way.

“High Fidelity” specifically, but in general also the shows I work on tend to be rooted in reality and realism. I want there to be a reason behind everything we put on the sets – as much as possible.


Set design for “High Fidelity”, dive bar. Courtesy of Almitra Corey.

Kirill: Do you worry how your work will be seen in 20-30 years, or will you be happy that some of that work is still relevant and finding its audience after all the time that will have passed?

Almitra: I don’t necessarily worry about how “my” work will be seen in 20-30 years. I don’t think I’ve done any projects that I feel wouldn’t hold up visually. There are a couple of movies I’ve done that I can see finding another audience throughout the years.

I did a movie called “Lucky” with Harry Dean Stanton. That movie was quiet, beautiful, small, and well-loved by people who saw it. I think that’s a movie that I expect will have a little bit of a resurgence at some point. It was a beautiful performance, and it was Harry’s last performance before he passed. Another example for me is “The Invitation” that is such a perfect story. I think it will hold up for a long time because it’s an iconic, suspenseful horror-thriller film, and I think that it’ll be relevant for a long time.

I think about those two movies holding up as a whole, being around and being relevant for a long time. But I don’t necessarily think about my work independent of the whole.

Kirill: Do you find it hard to talk with people about what you do for a living? How do you explain what a production designer does?

Almitra: I have a couple of quick and easy ways to describe it to people. I just say that everything you see on the screen that’s not an actor is pretty much my work and the Art Department’s work. That’s the quick and dirty response that includes all of the departments under the umbrella of the “Art Department”.

If I’m describing it a little bit more in detail, I’ll talk about building a set, or what Construction and Set Decoration do more specifically under my whole department. I’ll say that Construction builds the house, and Set Dec makes it a home. I think this is a common way PD’s can easily describe the job to give a general idea of how it works and what we actually do in a practical way.


Production design of “High Fidelity”, dive bar, by Almitra Corey.

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