According to the countless tweets on the subject, what may be the second most hated font of all time (because nothing is worse than Comic Sans) spends some considerable time up on the screen. According to this post, it's been the font used in all of the promotional materials up until this point.

So, is it actually Papyrus, or a custom-built font that just happens to look exactly like Papyrus? Here's a sample:

You decide. [Twitter, Thanks Michael]

Designing a fake dashboard for an imagined supercomputer or a hovering control panel for a worldwide surveillance system is a different process than creating a genuinely usable UI. Your goal is to imply things: that a machine is powerful; that a villain is formidable; that the software is intuitive, but that the breadth of its powers borders on unknowable. At no point does real-world usability factor in, and nor should it—this is pure fantasy, for an audience raised on Start Buttons, desktop icons and tree menus. Here's a gallery of some of the most famous interfaces; see how many you recognize.

Coleran's UIs are a mix of proudly retro and boldly new, mingling compact pixel art, wireframes and the solid, militaristic reds, blues and blacks of software from the 80s with touch-free gesture systems and overelaborate visualizations. It's the kind of stuff you take for granted in action and sci-fi films, but rounded up in one place, it's a strangely impressive, almost cohesive view of the future of software, as designed by someone with no constraints. [Mark Coleran via Metafilter]

UPDATE: Mark Coleran weighs in. His main point is a good one: These interfaces are the result of the work of many people, not just one man.

BTW, if you hate the gallery format as much as the Grinch hated Christmas, click here.

Flip Ultra HD: We tested basically every pocket camcorder in existence, and this was the best one we found. It shoots 720p HD and is easy enough for your grandma to use. If you're buying a gift for someone looking to experiment on a budget or simply shoot vacation videos, this is a great little cam. $150 [Flip]

Clapboard: No, I'm serious. Though this might just look like a cheesy prom prop (and that's what it is), little has changed about the most recognized icon of the film industry. And for filmmakers, it's still extremely handy in tracking good takes, and syncing sound, if needed. The novelty ones are cheap (and many are probably more for show); but splurge on a fancy dry erase version if you really love the recipient. $2 to $30 [Prom Wishes ; B&H]

Vintage Hollywood Photographs from Life Magazine: Vintage posters are neat, but I'd contend that these Life prints feel a tad more heart-felt. From Kubrick working on 2001 to Marilyn Monroe doing her thing, there are many gems to be found in Life's archives. About $100 [2001 Series; More Life Photos]

Iron Man Arc Reactor: Most people's latent super powers are still off in hiding, but you never know when a nemesis will rip out your power core, forcing you to crawl across your home for a spare. Don't look at the Iron Man Arc Reactor as a superfluous purchase; see it as an investment your loved one's health. $150 [Museum Replicas]

Sony UWP-V1 Wireless Lavalier Mic: During my tenure in broadcast and commercial production, I found a good, wireless lavalier mic to be the most versatile tool in my bag. It can be hidden anywhere on a body/prop, and the pickup frequencies are surprisingly decent for foleying. Sony's entry level mic, the UWP-V1, should serve any young filmmaker well. $485 [B&H]

Kodak Five-Day Cinematography Workshop: Few of us will ever have the chance to shoot on real, 35mm film. But Kodak's boot camp will teach you the basics of 35mm cinematography and give you a chance to burn some 35mm stock while experts hold your hand. The tuition is by no means a non-factor, but come on, it's pretty much the coolest fantasy camp without Michael Jordan or spaceships. $2,000 [Kodak]

DON'T BUY Back to the Future 2 Hat: I know, it's neat you can buy this hat. But it looked dumb on Marty McFly and it will look even worse on whoever you give it to. [Amazon]

4K Red One Camera: Yes, the body itself starts at nor far under $20,000—without lenses, mounts, CF modules or pretty much anything you'll need to use it. Yes, this camera is just as hard to shoot with as any full-fledged film camera (if not even harder). But it's also the cheapest 4K camera you can acquire, and for the price of one extended 35mm camera rental, you'll have a system that's "free to use" again and again. Just make sure to gift those cinematography classes first. $17,500 and Up [Red]

Don't forget to recommend your own favorite gift ideas for movie buffs in comments—include pic and pricing if possible.

All Giz Wants is our annual round-up of favorite gift ideas, including amazing attainable objects and a few far-out fantasies. We'll be popping guides catered to different interests several times per day for the next week, so keep checking back.

This very special limited edition of the M7 35mm camera comes in silver chrome with calfskin leather accents in two colors, orange and the mysteriously named "etoupe" (sic). Brian likes the orange but I prefer the etoupe—the orange version seems like the one you'd take on a hunting trip, while the etoupe seems like more of a safari jaunt. What can I say, I love animals, and Brian loves eating them.

The M7 includes a Leica SUMMILUX-M 35 mm f/1.4 ASPH. wide-angle lens, lens hood, LEICAVIT M winder and a matching carrying case. There aren't too many changes from the original M7, just a few cosmetic things mostly so the original styling doesn't clash with your new baby cow skin leather. It's pretty much the best-looking camera I've ever seen, and commands the kind of price you'd expect: £8550, or about $14,400 USD. That's incredibly expensive, sure, but the standard M7 costs about $5,000 and these things last forever, so it's not like you'll have to buy the Leica "M7S" (zing!) in six months. The M7 Hermes edition will be available in the UK sometime in December. [Pocket-Lint via Engadget]

Rumors surrounding the launch of this expensive little retro looker have been with us since about November 10, when the expertly named Leica Rumors site broke word that the company sharing their namesake was all but prepared to reveal a limited edition film camera.

Two weeks before that, the M7 Hermes camera was showcased in Tokyo, looking gorgeous. Its presence there was no accident, apparently, as the latest tidbits, mentioned above, are that this M7 Hermes thing is about to skip onto the scene in a mere 24 hours.

For the price of a compact sedan, it could be yours. [Leica Rumors]

The camera quality is sort of a mixed bag for the bloody independent film. High resolution coupled with gorgeous depth of field tricks emulate Hollywood (or at least, TV-level) production. But, while you can call me old fashioned, blood and guts only look better in low-fi. Best of luck to the group finishing the film. These dailies from week one have some nice moments. [Thanks Super Greene!]

The Nikon Festival has the theme "A Day Through Your Lens," and asks budding filmmakers to upload digital films with that theme, of length less than 140 seconds, to their website. The contest is six weeks long, starting right now. Festival judges include Rainn Wilson (Dwight Schrute of The Office fame), photographer Chase Jarvis, and some girl unfortunately described as an "Internet Personality" with the even more unfortunate name of iJustine. But guys, Rainn Wilson!

Oh yeah, and Ashton Kutcher will be sharing his own entry, partly because he has an advertising deal with Nikon and partly because this contest is tangentially related to Twitter. That '70s Show was a long time ago, you know, and now Twitter is his job—and Ashton Kutcher is nothing if not dedicated to his job.

The winning filmmaker will get $100,000 and some sweet Nikon gear, and there'll also be an audience favorite award worth $25,000, in case iJustine is out of touch with modern independent filmmaking. [Nikon Festival]

Hurlbut is shooting a project based on Navy SEALs, and the trailer (of sorts; it's mostly an awful lot of bikini'd ladies) is shot with a mix of digital and film photography, using the digital Canon 5D MKII and Sony 950 as well as the Arri 235 film camera. He created kind of a contest to see who could pick out the digital shots from the film in the trailer (most is digital, shot with the 5D MKII)—it's way harder than you'd think, not least because the dude is clearly an expert. His wide-angle shots of a yacht and closeups of bikini-clad ladies may look like the intro to a Puff Daddy music video (sing it with me: BEEN AROUND THE WORLD AND AYAYAY) but it is shockingly gorgeous and I'm hard-pressed to be able to tell the difference between digital and film. Check out the video here, and enter his contest here. [Shane Hurlbut via Vincent LaForet]

Only 700 of these limited-edition camera-film sets will be sold at Urban Outfitters, and we've got to admit we really want one: Unless The Impossible Project can get production up and running again, these are the last in a proud lineage of instant developing. Keep in mind, those 700 sets are spread throughout the US and UK, so if you see one, make sure to grab it and hold it tight. [Crunchgear]

We tend to forget about film here at Giz, as we're so taken with the newest and most advanced gadgetry, but there's something so cool about these mechanical wonders. Some of them are decades old, some are brand new, but we're sure they're all a breath of fresh air in the monument to tech that is Tokyo. [Tokyo Camera Style via Crunchgear]

The final product looks like a term project for wood shop class, requiring mostly traditional materials as the Snorricam mount is primarily made of plywood. Not an incredibly difficult construction, for sure, but one that could be really useful for aspiring filmmakers without friends, or those who want to get that crazy angle used in so many movies (Requiem for a Dream comes to mind). [Instructables via MAKE]

Gizmodo '79 is a week-long celebration of gadgets and geekdom 30 years ago, as the analog age gave way to the digital, and most of our favorite toys were just being born.

Basically, the software examines each frame and warps it to form a steady line of shots based on a 3D projection of the cameras path (courtesy of off-the-shelf Adobe software), giving a buttery-smooth look almost as good as if the camera was on rails. It's got a few downsides, namely that it can only be applied after the entire film is shot, and the resulting product will need a little bit of cropping. But it still looks like a pretty great tool for amateur filmmakers, and should be available in about two years. [New Scientist]

There's definitely other software that'll do this kind of thing, but AnalogColor lets you create faux-Polaroids by degrading your current photos in several different ways, including those fun streaks that resulted from light leaks. It's available for $10 on OS X and Windows. [Pentacom via Wired]

Digital Domain was already working on some secondary characters for Transformers 2 while George Lucas' Industrial Light and Magic building the main robots like Optimus Prime. Yes, Transformers 2 had such a big budget that DD was hired just to ride shotgun.

One key moment of DD's handiwork depicts the transformation of a girl named Alice—played by actress Isabel Lucas—into a lethal robot. The main shot, seen above, uses digital techniques like advanced particle simulation (physics) to tear 10,000 pieces of skin away from a girl's body—the kind of high-concept graphics that require lots of software know-how, and computers to do incredible amounts of heavy lifting. It was the sort of shot that showcased everything DD could do.

When Michael Bay saw it, he found it lacking.

After watching an early edit of the movie, Bay had decided that although the wide shot of Alice was nice, the film was missing a close-up—he wanted 40 frames of the girl's face as she began transforming.

The close-up wouldn't take as much as the full-body master shot. Instead of 10,000 pieces of skin, only about 50 had to move. But because of time, budget and manpower constraints, this animation had to be done the old-fashioned way—working by hand. It meant that five guys would spend the next three months of their lives on less than two seconds of the finished film.

Computer graphics supervisor Paul George Palop walked me through their process of crafting the "very, very painful" 40 frames.

The goal sounded simple: Transform this closeup of a human into a closeup of a robot. Alice's face would begin to shatter away, revealing a gruesome creature underneath. But to model in 3D over digital film takes some prep work. To make the effect look real, the guys would need to map the 2D film original shot into digital 3D space. Then they could add all the neat robot stuff.

First, the DD team cut out all of the background and extraneous objects (including Shia LaBeouf's head), isolating the female figure. It's the first step of a classic technique known as rotoscoping, a trick that predates Disney, in which animators overlay cartoon characters and other animation on top of live action backgrounds. (Now that CG has blended humans and cartoons, it's probably safe to say that there isn't an FX-heavy movie made now that doesn't involve some kind of rotoscoping.)

With the basic 2D work done, DD used a laser scan of Lucas' figure to create a perfect 3D map. The rotoscope plate was then laid over this map, allowing the animators to work with real image depth and geometry. We don't have that exact shot, so we stole a still from the later wide shot to make the point. On the right, you have the 3D body scan model. On the left, you can see the 3D applied to the 2D figure.

One artist worked solely on the little skin plates that cracked away around Alice's mouth. Each of these 50 or so pieces was hand-animated, frame by frame, to create the short effect. But to enhance the illusion of movement, artists applied extra texture to the tiles along with some displacement mapping to each tile's edge, which essentially complicates the square shape into an array of small triangles. (See how they look all jagged in the version on the right?) One the 3D-animated shapes were laid out, they had to be naturally lit, lest the girl's skin look unnatural before she transformed completely into a metal monster.

In the meantime, the exact movements of the human Alice head needed to be applied to the newly animated robot Alice head, so that any movement from the former could be copied instantly in the latter.

Finally, all of the pieces were composited, rendered and placed on a newly drawn background. You'll notice that beyond the obvious visual effects, artists beefed up Alice's figure a bit. They rebuilt the end of her left arm and, while they were at it, added a bit more lift in the back of her hair. Even with a blockbuster megamovie deadline, there's always time for last-minute styling.

After all of this meticulous work—three months of effort from digital effects masters—audiences everywhere got a bonus 40 frames of remarkable robotic transformation. Ironically, one of the movie's chief complaints would be its length.

20 UK Vue cinemas will offer audiences the opportunity to steer a spaceship through an asteroid belt. Two IR cameras will track the audience (the left half raises their hands to veer left, the right half raises their hands to veer right). None of the experience is prerendered—it's all an interactive video game.

As films go 3D, it'll be interesting to see if theaters (and movie makers) take the opportunity to integrate more interactive elements to the experience. Raising my hand in the air, however, is not how I see myself defeating the Decepticons to rule the Universe. [Register Hardware]