I read a lot of content from articles/essays I save online. Sometimes I want to annotate these articles and organise them for research purposes. At the moment the best way to do this is Evernote, but I find the iPad / Android app clunky for reading and highlighting. The interface is designed for writing, and is a constant frustration. Are there any better solutions? Other 'solutions' I have tried:

Pocket: a fantastic service, I just wish they would add highlighting and notes!

Instapaper: offers a paid highlighting service. The app is great for reading, but for organising and extracting notes later it isn't good. Plus, the fee is too high.

Kindle: for a while I saved articles to Kindle for later highlighting. Is worked pretty well until I wanted to extract my notes, at which point I came up against the closed wall of the Amazon system.

Diigo: their online highlighting service is pretty fantastic, but the iPad app is just awful, and hardly works as it is supposed to.

Convert to pdf: I could convert everything I want to read/highlight to PDF and use an app like the fantastic PDF Expert to highlight and save. But this feels like too much hard work.

This is a question that has been asked before. But I am hoping that something new and extraordinary has come along!

The Incredible Effects of The Thing, Cinefantastique issue detailing the design and implementation of many of The Thing’s effects sequences.

The visuals of both the desolate Antarctic and the ever-morphing alien creatures in The Thing were envisioned long before the movie was shot. Extensive storyboards were drawn by artist Michael Ploog so that all the departments of the production were on the same page in their preparation for the shoot. This is nothing new… but the similarity between the storyboards and the final imagery shot by legendary DP Dean Cundey is staggering. Storyboards are often only a guide, but in this film they were so specifically rendered that they became gospel. The detail and artistry of Ploog’s work up front, allowed the crew to have clear and defined goals on those frigid shooting days in both Alaska and Canada.

To demonstrate this point… I’ve taken two scenes from The Thing and laid down the storyboards next to the shots in the final edit of the film. The video below examines the discovery of the alien spaceship and the transformation of Norris in the shocking scene that still haunts me today. Just like Hitchcock worked with Saul Bass to create the famous shower scene in Psycho, Ploog crafted beautiful storyboards for Carpenter so that the time on set was best utilized to tell the story. Be it pencil to paper or an iPad app filmmakers can share the envisionment of the worlds they are creating by using storyboards. —Vashi Nedomansky, The Thing: Storyboards to Film Comparison

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OVER THE NEXT DECADE video game engines will be used in film-making, with the two disciplines combining to eliminate the movie post-production process. That rather ambitious claim comes from Lucasfilm, the California production company responsible for the Star Wars franchise. Speaking at the Technology Strategy Board event at BAFTA in London this week, the company's chief technology strategy officer Kim Libreri announced that the developments in computer graphics have meant Lucasfilm has been able to transfer its techniques to film-making, shifting video game assets into movie production. Real-time motion capture and the graphics of video game engines, Libreri claimed, will increasingly be used in movie creation, allowing post-production effects to be overlayed in real time. Real-time motion capture refers to the use of a special suit covered in reflective markers along with specialised cameras so computers can calculate the motion of the underlying skeleton in a way that can be used to drive a computer generated character. Extracting and visualising these performances in real-time enables interactive virtual production and allows lens shots on virtual scenes. Apparently this technology will provide means for the removal of the post-production process. "Everyone has seen what we can do in movies, and I think most people will agree the video game industry is catching up quite quickly, especially in the next generation of console titles. I'm pretty sure within the next decade, we're going to see a convergence in terms of traditional visual effects capabilities - [such as] making realistic fire, creatures, and environments - but working completely interactively," Libreri said. "We think that computer graphics are going to be so realistic in real time computer graphics that, over the next decade, we'll start to be able to take the post out of post-production; where you'll leave a movie set and the shot is pretty much complete," Libreri said. Lucasfilm is confident in this concept as it has been testing it in the development of a series of prototypes created with the team at Lucasfilm's motion picture visual effects company Industrial Light & Magic (ILM). The first was a short film created in eight weeks, with Lucasfilm and ILM working together to heavily modify the Lucasarts' gaming engine. They changed the rendering techniques to produce a video that wasn't rendered in the traditional visual effects way at 10 hours a frame, but generated at 24 frames a second. That's 41 milliseconds per frame, generated on a games engine with a lot of games hardware." "The prototype was a film created on a games engine and a vision statement for where ILM would like to go in the future, and at the same time how Lucasfilm is getting into the same generation of console hardware," Libreri said. After the prototype movie, Lucasfilm and ILM worked on a Lucasarts Star Wars video game project called 1313, which was shown off at the E3 gaming conference in 2012. The game was in development for around two years using Nvidia gaming hardware, before it was cancelled when Lucasarts was shut down by Disney in April this year. However, 1313 has been used by Lucasfilm to demonstrate real-time motion capture, giving it the confidence to believe that video games engines could be used in movies and could one day replace the post-production process. "I think that the current way that we make movies is very pipeline stage process, takes away a little bit of the organic nature of a movie set or real environment. I'm hoping real time graphics technology brings back the creative possibilities that we have in the real world," Libreri said. "Let's not dismiss the artistry you put into a final shot, we do spend a lot of time steadily tweaking blooms and lens flares or the lighting in a shot, but we'll be able to get a lot closer so that more run of the mill windows replacements will be created interactively on stage." Lucasfilm believes that over the next ten years, this concept of exchanging assets between movies and video games will also pave the way for capabilities for viewers to customise movies in real time. Libreri used the future example of an animated Disney film that could be streamed live on an iPad from the cloud, allowing anyone that watches it to customise it; changing the costumes of the princesses, or putting their own friend in the background. "There's so many things that you can do with the fact that video graphics is going to be real-time and not this post-process that we've had traditionally," he added. "If you combine video games with film-making techniques, you can start to have these real deep, multi-user experiences. Being able to animate, edit and compose live is going to change the way we work and it's really going to bring back the creative experience in digital effects. To wrap up Libreri showed off a video demonstrating Lucasfilm's "performance capture stage" driving the game engine for 1313. The video shows the possibilities of this converging world of video games and movies and can be viewed below.

Also:

http://www.theinquirer.net/inquirer/news/2295956/lucasfilm-will-combine-video-games-and-movies-to-axe-post-production-process

I've realized that, as great as the iPad is for academic reading, I really need to annotate the PDFs in order for things to stick.I love what Sente allows you to do on the Mac (I have a PC), in that you can highlight a sentence and it gets copied in real time to a summary page that you can see side by side with your reading. That way, when you're done, you have an accurate and formated summary page of the article you've read. Is there anywhere to find this on the iPad?

Warning: Contains obligatory reference to Minority Report's Tom-Cruise-Swishy-Hands-Sequence

Björk's forthcoming Biophilia is an album. It's also an iPad app suite featuring interactive programs for each of its 10 songs... and a treatise on the natural world that involves everything from immense planets to tiny atoms... and a traveling exhibition that showcases one-of-a-kind instruments including a 10-foot bass-playing pendulum... and it's also an educational tool that aims to offer a modern take on music education, replacing notation and by-the-book theory with instinct and creativity. Biophilia-- due out later this year on One Little Indian/Nonesuch-- is many things.

Who is the common reader now? I do not think there is any way to evade a simple answer to this question. Common readers—which is to say the great majority of people who continue to read—read for one purpose and one purpose only. They read for pleasure. They read to be entertained. They read to be diverted, assuaged, comforted, and tickled. The evidence for this phenomenon is not far to seek. Check out the best-seller lists, even in the exalted New York Times. See what Oprah's reading. Glance at the Amazon top 100. Look around on the airplane. The common reader—by which I don't mean the figure evoked by Dr. Johnson and Virginia Woolf, but the person toting a book on the train or loading one into his iPad or Kindle—the contemporary common reader reads for pleasure, and easy pleasure at that. Reading, where it exists at all, has largely become an unprofitable wing of the diversion industry.

Life in America now is usually one of two things. Often it is work. 

Philip Dodd goes to one of Britain's largest second hand bookshops and is joined by a panel of publishers, authors and an audience of readers for a public debate that tackles the vexed question: Is the book dead? As e-books outsell hardbacks for the first time is reading itself facing a future that is empowered or impoverished?

The venue is Barter Books in Alnwick, Northumberland, which famously occupies a former railway station. Onstage with Philip will be guests writer David Almond, author of the prize-winning novel Skellig, Chris Meade of the Institute for the Future of the Book, thriller writer Louise Welsh and the historian Sheila Hingley.

Just recently, yet another device to read books electronically has just been launched - experts predict it will make this a mainstream activity. So Philip asks: why we are once again hearing concerns that innovations like e-readers and the iPad impede our imagination, shorten our attention span and make us intellectually shallow. Others argue

Earlier this week, the New York Times company forced the iPad Pulse News Reader app to be pulled from the App Store. The reason? It took the Times’ RSS feed and put it inside its own app.

To be clear, the RSS feed in question was a headline, a one-sentence introduction and a link to the full story on the NYT site. That’s it. Worse? Steve Jobs highlighted the app earlier during his WWDC keynote – and the NYT itself wrote a glowing review of the app just a few days before.

As mystifying as the move seems from the outside, it’s yet another sign that established old media entities are still really struggling to understand the web. Time and time again, it feels as if old media companies, rather than embracing the massive potential of the web, seem to shoot themselves in the foot.

So consider this a public service. For all those people out there working in established media, here are five things you still don’t seem to get about the web:

Traditionally, publishers have sold books to stores, with the wholesale price for hardcovers set at fifty per cent of the cover price. Authors are paid royalties at a rate of about fifteen per cent of the cover price. On a twenty-six-dollar book, the publisher receives thirteen dollars, out of which it pays all the costs of making the book. The author gets $3.90 in royalties. Bookstores return about forty per cent of the hardcovers they buy; this accounts for $5.20 per book. Another $3 goes to overhead costs and the price of producing and shipping the book—leaving, in the best case, about a dollar of profit per book.

Though this situation is less than ideal, it has persisted, more or less unchanged, for decades. E-books called the whole system into question. If there was no physical book, what would determine the price? Most publishers agreed, with some uncertainty, to give authors a royalty of twenty-five per cent, and began a long series of negotiations with Amazon over pricing. For