(Arthur POV)
I can't help but grin as I look at the computer before me. It's not much to look at - a jumble of gears, film strips, and projectors that would probably give any self-respecting engineer a heart attack. But to me, it's beautiful. It's the future.
After hours of rigorous testing, I'm impressed by what this machine can do. Its memory capacity is substantial, thanks to the high-density storage capabilities of the film strips. It can perform complex calculations, sure, but what really sets it apart is its ability to execute specialized film editing programs.
This computer can automatically detect scene changes, analyze frame composition, and even trace optimal cut points based on pre-programmed criteria.
It's capable of basic color correction and can automate the tedious process of syncing audio with video. The machine can handle hours of footage, categorizing and organizing scenes far faster than any human editor could.
It's truly promising. With just a bit more tinkering, I believe it could revolutionize our entire editing process. Imagine being able to input raw footage and have the computer generate a rough cut based on our predefined parameters.
It could potentially reduce weeks of editing work down to days.
This computer is specifically designed for editing. I made this choice deliberately, knowing that editing has always been a pain in the ass for me. By focusing on this one aspect of filmmaking, we've created a specialized tool that could change the game entirely.
So this first computer is all about film editing. It's streamlined, efficient, and exactly what we need at this stage. But I'm already thinking ahead. The next computer I plan to make will indeed have a keyboard for input and use a projector as a screen. With that, I might be able to produce a simple operating system, maybe even create some basic games or other applications.
Developing this second computer isn't going to be a walk in the park.
I can already feel a headache coming on just thinking about it. We're going to have to experiment with alternative materials, and who knows if that'll go spectacularly right or horribly wrong.
And don't even get me started on translating binary code into a less complicated assembly language. It's not just about writing code; I need to develop entire computer architectures. Each set of hardware will need its own unique machine code, and the assembly language has to be designed around that. It's like trying to invent a new language while simultaneously building the mouth to speak it.
Even with all the computer knowledge I've inherited, it's enough to make my brain hurt. I find myself massaging my temples more often these days, trying to ward off the impending migraine that comes with contemplating the sheer magnitude of what I'm trying to accomplish.
Programming in binary code is already a nightmare. Sure, I can do it without errors thanks to my knowledge, which is why I can confidently program our prototype to edit films.
But it's still a labor-intensive process that makes me want to tear my hair out sometimes.
For now, our first computer will have to serve as our temporary editor. The downside? I'm pretty much the only one who can code in binary perfectly to instruct it.
George can code too, but he's not as... well, perfect as me. One small mistake could ruin the entire program, and in the worst-case scenario, it could destroy the film we're trying to edit.
It's a big risk. Only those who know binary code can use it, and even then, one error could send hours of work down the drain. We might be working with copies of the films, but even that feels wasteful.
But we don't have much choice. It'll have to do for now. Developing a more advanced computer - one that I'd actually call a "computer" with pride - is going to take time. We're talking about coding each set of hardware, designing assembly language around those components... it's a massive undertaking.
Being realistic, even with my knowledge and George's help, we're looking at a few months of work. And that's assuming we're working on it full-time, which we're not. We've got films to make, after all. This computer development is just a side project for now.
I'm hunched over my desk, tinkering with some circuits when Klein bursts into the room, practically vibrating with excitement.
"Boss!" he exclaims, waving a piece of paper. "You won't believe this!"
I look up, raising an eyebrow. "What is it, Klein? Did George set something on fire again?"
Klein shakes his head, grinning from ear to ear. "It's about 'The Demonfather'. The international box office numbers are in."
Now he's got my full attention. I'd almost forgotten about the international release in the chaos of our recent projects.
"Well, don't keep me in suspense," I say, setting down my tools. "How bad is it?"
Klein's grin, if possible, gets even wider. "Bad? Boss, it's incredible! We've made about 11 million in just two days of screening in Empirica, the Moon Kingdom in the Evros region, and the Southern Archipelago, Nesia and Tiger kingdoms in South Anatolia!"
I nearly choke on my drink. "Eleven million? In two days?"
Klein nods enthusiastically. "Yes, and get this - we're doing even better in Empirica than we did here!"
I lean back in my chair, a slow smile spreading across my face. "Well, I'll be damned. This is good... This is very good."
As the implications sink in, my mind starts racing.
"This is good..." I couldn't help but smile wider as the realization sank in. With the growing success of "The Demonfather," our company's coffers were swelling. And that meant more resources for my pet project - the computer.
As I leaned back in my chair, a thought struck me. Maybe it was time to think bigger. Hiring professionals who knew their way around binary code and computing machines could really speed things up. It was a tempting idea, especially considering how undervalued those skills were in this world.
I chuckled to myself, imagining the reactions of the magic-obsessed masses. In a world where everyone was busy hurling fireballs or perfecting their sword techniques, the idea of pursuing computing was seen as a waste of time. Even the more practical types were all about mechanical skills or craftsmanship. The dwarves, with their powerful guns and cannons, were the pinnacle of technological achievement as far as most people were concerned.
But I knew better. Those "wasted" skills could be the key to revolutionizing everything.
Shaking my head to clear it of daydreams, I turned to Klein. "Alright," I said, pushing aside my grandiose plans for the moment. "Let's work on our next project."
Klein nodded, and I couldn't help but notice the extra spring in his step. It wasn't just him, either. The whole team seemed to be riding high on our recent success. There was an energy in the air, a palpable excitement that hadn't been there before. They'd tasted success, seen their hard work pay off in spectacular fashion, and now they were hungry for more.
I smiled to myself as I watched them bustling about, chattering excitedly among themselves. This was exactly what we needed. For our next project, we'd have to give it our all. Every ounce of creativity, every drop of sweat would be crucial.
After all, the more successful our next film was, the more funds I'd have for computer development. It was all connected, each success building on the last, pushing us further into uncharted territory.
I made my way to the main studio floor, where my team was huddled in small groups, chattering excitedly. As soon as they spotted me, a hush fell over the room. All eyes turned to me, eager and expectant.
I cleared my throat, feeling a mixture of pride and nervousness. "Alright, guys," I began, looking at each face in turn. "Now that you've seen the success of our first film, we can't afford to rest on our laurels. We need to keep this momentum going. We must ride this wave and turn it into a tsunami!"
A puzzled look crossed several faces. Then, one of the crew members, a young demon with particularly pointy ears, raised his hand tentatively. "Uh, boss... What's a tsunami?"
I couldn't help but chuckle. Sometimes I forgot that my knowledge from my past life didn't always translate. "Good question," I said, nodding appreciatively. "A tsunami is a word from Japon in the East Watch. It describes a massive wave, bigger than you can imagine, that can sweep away entire cities."
A chorus of "Ohhs" and nods rippled through the group.
I smiled. Good thing that there is an alternate country for Japan here in this world, just like how America became Empirica and other nations have their counterparts. The existence of Japon in the East Watch, complete with their word "tsunami," was a convenient coincidence that made explaining certain concepts much easier. It was moments like these that made me appreciate the strange parallels between this world and my previous one.
"So," I continued, my voice rising with excitement, "are you ready to create our next masterpiece? To make a film so incredible, so groundbreaking, that it'll sweep across the world like a tsunami, leaving everyone in awe?"
The team leaned in, their eyes shining with anticipation.
"Our next project," I announced, pausing for dramatic effect, "will be 'The Good, The Bad and the Ugly.' It's a story of three men - a demon, an elf, and a dwarf - caught in a web of greed, deception, and unlikely alliances. Set against the backdrop of the Empirican Frontier Age, it'll be a tale of moral ambiguity, survival, and the blurred lines between hero and villain."