H264 codec preferences & DomeTester software

H264 codec
I think that final cut was havign problems exporting into the sorenson3 codec (the issue of blocking & reverse-color-pop for any crossfades).
— So lets just having everyone use the h64 codec. Hopefully this will fix the weird issue.
— Your settings might look different, but here are the basic preferences to guide you.h264-prefs


Don’t forget about this very helpful free tool. It projects your footage into a virtual dome.
— To use it: open the software, load your quicktime, and click/drag to move your perspective.
— Download DomeTester at the bottom of the page. Ignore DomeMod.


The Creative Process – poster
Here is a poster that has continued to refresh me. You can print it out at Kinkos to be 3 foot tall and only cost about $15 on their large format black and white printer.

Pep Talk


I want to congratulate you again on pulling off a very tall order. We started this class just over a month ago. And you just projected your ideas on a state of the art planetarium dome at one of the major museums of science in the world.

Now the fun starts. And what I mean by fun is hard work.

Collaboration is hard work. It depends on honesty, compromise and communication.

Each and every one of you offers a unique perspective and particular talent that we need.   We need writing; audio sampling, composing and editing; video shooting, editing, and animation.  We need titling and transition design; program design; publicity, including graphic design and social networking; we need choreography, props and costuming.   So no one should feel out of the loop or idle.

At this time, there is a heavy focus on the video aspect of our show. Makes sense – the dome is sexy and over-powering. Many of you want to learn that part. I recommend you patiently sit next to someone who knows what they are doing and/or make an appointment with someone who can give you a short tutorial as needed.

For those of you that know what you are doing, you need to give up some control in the spirit of teamwork. This is extremely difficult to do. But absolutely essential if you want to master the real world experience of what happens in the work place in almost any discipline these days.  And this is a major element of the content of this course.

Finally, the creative process depends on feeling comfortable with ambiguity, unknown results, and exploration. You may offer ideas that go nowhere, you may try things that fail and have to start over. If this is what is happening then you know you are in the right place doing the right things.  Being engaged in the process is the goal.  Supporting each others’ ideas, giving up your own for the good of the whole, or giving your idea to others to work on.  That is what collaboration is all about.

We are not only remembered for the products we make but also for the way we make them.

And some quotes about art and science –

“If we want to get an answer to our deepest questions—the questions of who we are and what everything is—we will need to draw from both science and art, so that each completes the other.”



Thoughts on the interconnections of Art and Science

The artist’s pursuit of an integration of the broad areas of Art and Science is a legitimate and inspired goal. And there are often many artists germinating these seeds within the culture. The integration of Art and Science is one of the most persistent ‘memes’ in the evolution of culture. Some of the earliest scientific ideas have come down to us in the form of artworks, such as calendars. In prehistory, written language, painting, drawing, sculpture, fibers, jewelry, ceramics, vocal and instrumental music, and dance were used to directly represent seasonal cycles and other patterns in nature, and to revealing our connection to them, both individually and socially. The separation of Art and Science seems to be a comparatively recent occurrence. Leonardo da Vinci is an obvious example of an artist who was engaged with scientific principles. The early Greeks recognized little separation between Art and ‘Natural Philosophy’. Benjamin Franklin’s many scientific experiments are legendary, and his letters and other writings are considered works of literature. He was, among many personalities, both scientist and artist. The transcendentalists (particularly Thoreau), Edgar Allen Poe (A Descent Into the Maelstrom, Eureka: an Essay on the Material and Spiritual Universe), Herman Melville (Moby Dick), Jules Verne (Twenty Thousand Leagues Under the Sea), John Steinbeck and Edward Ricketts (The Sea of Cortez) and even James Joyce (see his description of water on pgs. 671-672 of Ulysses), qualify as formative champions of relating Art and Science, to name a few.

In contrast, many artists today view science as ‘the enemy.’ A simplistic vision of ‘Big Science’, which supports and is supported by the military and by big business, has been a standard reaction among artists for over one hundred years, with its roots based in nineteenth century romantic idealism. Similarly, there are many scientists who passionately support the arts as long as the art doesn’t cross the boundary into the ‘hard’ sciences such as astronomy, physics, or biology. Artists will always be concerned with maintaining personal freedom and fighting the status-quo, while scientists must worry about the preservation of data from contamination which they have fought so hard to protect.

In spite of this divisive history, it is this group’s view that the ‘coevolution’ of art and science will proceed from the pressures brought about by individuals from both camps who share the long view. They hold in common the instinct to connect, unify, take risks, and explore new ideas and new ways of understanding and experiencing events that shape our culture.

Nature and Inquiry artists group, Boston MA, 2006




Feb 27 Class at MOS!

Tonight we want to have quicktime mov files to play on the dome! no matter WHAT they look like. square round low res slideshow. whatever. and it would be great to have some audio ideas too – appropriated snippets talking sampled sounds. whatever.  Please let us know if you are are stuck. We want to use our limited time at the MOS well.

Also you will probably have some work time as a group tonight at the MOS so bring your laptops or whatever you might need.

And as Lina suggested we should spend some time talking about the performative aspects of the show too.  We will also discuss PR tonight.

See you later!


Production and PR

This wednesday is our second visit to the planetarium.

After wednesday, we have three more working visits there:

March 13
March 20
April 24

The final test run:

May 8th

The final

May 29th

After the class on wednesday, depending on where you are on the production, I will email each group their respective timeline.

Below are critical points that you need to incorporate (I did mention some before).

– Narrative that works in 14 min

– Shot list

– Props for your performance

– Start timing your scenes, think about cues for your performance. When your  are done with your visuals start laying down your sound.

– Start creating a timeline for production. As I said before, we only have 3 more visits!!  Include shooting , Video editing, sound Editing, Composite, Animations and Rendering time

Please, if you have any question don’t hesitate to contact me.

Cosmix – Immersive Media Festival

Here is an excellent resource for all types of fulldome production. http://stardust.ringling.edu/cosmix/fulldome/index.html

The Cosmix initiative is a community building effort on the part of the Ringling College of Art and Design, Bishop Planetarium at the South Florida Museum, and Riverview High School Planetarium to lay groundwork for a number of potential collaborations that would extend the reach of these institutions into relationships with new audiences.

Cosmix 2013 Festival – http://stardust.ringling.edu/cosmix/

Gonzo Futurist Manifesto & Metamodernism

I just ran across this and thought you all might find it inspirational.

The gonzo futurist is a super-empowered hopeful individual. She may have been a ‘graduate with no future’ (Mason, 2011), or the victim of public sector cuts, but has since grieved and moved on. She plays, tests, and play tests; making the best of the tools and technologies at her disposal. Comfortable calling on (and being called on by) her friends, peers, and tribe, her sense-making skills are social and connected. Her thinking may, occasionally, ‘be located inside the brains of other people.’ (Wheeler, 2011)

The gonzo futurist is a ‘deep generalist’ (Cascio, 2011) and ‘analytical polyglot’ (Smith, 2011). She has an ‘almost supernatural awareness of impacts and implications … [is] ready to adapt when necessary, building long-lasting systems when possible.’ (Cascio, 2011) Like Cayce Pollard, she is a ‘woman of affect, not of feeling (…) [an] empress of the amygdala.’ (Berlant)

The gonzo futurist is resilient. She works smart, not hard. She has one eye on the ‘adjacent possible’, switches codes, and contributes to the commons. She may be privileged, but has no time for competition, alpha male dick-waving, or beggar-thy-neighbour. Her success does not come at your expense.

Bombarded by stimuli, the gonzo futurist is an OODA cyborg. Observe, orient, decide, act.

Click to access gonzo-futurist-manifesto.pdf


Also a beautiful definition of metamodernism. Mmmmmm!

Van den Akker and Vermeulen define metamodernism as a continuous oscillation, a constant repositioning between positions and mindsets that are evocative of the modern and of the postmodern but are ultimately suggestive of another sensibility that is neither of them: one that negotiates between a yearning for universal truths on the one hand and an (a)political relativism on the other, between hope and doubt, sincerity and irony, knowingness and naivety, construction and deconstruction. They suggest that the metamodern attitude longs for another future, another metanarrative, whilst acknowledging that future or narrative might not exist, or materialize, or, if it does materialize, is inherently problematic.