Well, we really don't wanna say too much about it. We gang of the same philosophy just shoot. Hungry? Blood up? Click on ME.
We are in need of crews, the best from IMD. Don't let those plain P guys make the history!
( Co-Producers: Yimin & Andres yiminfilm@gmail.com theultimateaction@yahoo.com )
The Photoplay: A Psychological Study - Hugo Munsterberg;
The Surfaces of Reality - Michael Roemer;
The Language of Vision - Gyorgy Kepes;
Art and Visual Perception - Rudolf Anheim;
Film as Art - Rudolf Arnheim;
Toward True Cinema - Slavko Vorkapich;
An Introduction to Psychology (only the part of the visual and aural);
An Introduction of Film History;
....
(I'm cautions to see reading is good for fine arts - except the history. For cinema, the recorded media, many productive researches along the history are based on hands-on experiments; Playing with text (medium) doesn't mean anything because it has nothing to do with cinema, another medium. The Bibliography of the recorded media, cinema, should be a serial of cinematic pieces.)
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Sculptural expression of breaking away with the limit of t & s
See from other angel (A):
See from other angel (B):
View image">Briarose - Robert Coover
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View image">Hiroshima Mon Amour
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View image">Painting: Dude descending a staircase.
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VFXWorld presents the last excerpt from Building Interactive Worlds in 3D by Jean-Marc Gauthier. This month concludes a look at using the virtual camera for The Diner project.
By Jean-Marc Gauthier
Location: Chengdu, China
Time: Dec 24, 2005
This is an outdoor collective game. The more the players, the intense and
fun it is. People line up having the leading one play the role of the HEN
while the lining people, playing the role of CHICKEN must hold with both
hands the clothing of the on in front of s/he from behind. A the beginning,
one chosen player stands facing the HEN to be the EAGLE.
The fun is: EAGLE tries to capture the CHICKEN at the end of the line and
the HEN tries to block the EAGLE from her children.
Now there are 3 MODs for it:
Nothing changes but CHICKEN circle around, hand in hand. Mission for both sides remains.
Two EAGLES and two HENS. Each EAGLE tries to catch the opposite CHICKEN. HENS try to shelter.
One EAGLE and one HEN but two lines for CHICKEN. If the EAGLE approaches from the left, the one at the end of the left line breaks its connection with the left lin and form a ending chain to the right line. The 2nd last chicken of the left line breaks the connection after the 1st last chicken builds connection (with the right line). The eagle always tries to catch the last one of the right line. If the eagle approaches from the right, the symmetrical happens.
]]>My research – retrospection, present and the near future
1988~1998 10-year skill preparation
1998~2001 back to school for graduate study: Film/Video, Animation and Multimedia
Why visual/aural psychology is so important?
The power of 1 frame
An example: Little Big Man and Dede Allen
Bruce Block. The Visual Story - Visual Perception/Psychology vs. Entertainment Industry of Motion Images.
Some constructive advices from the division e.g. Sensation and Perception, a course of the Psychology Dept., might be helpful.
My experiments done before my time of USC (...)
]]> Interactive Cinema:1. Branched Story:
I finished one experiment in 2000~2001(also as my thesis film) in 60 minutes: RED BALLOON . Miaromedia Authorware was the one to mock up the interface.
My interest changed when I’ve been inspired of the huge interactive literature, esp. with the emerging new techs during my further studies.
I tried other applications e.g. Kosakow. The result is not so good. I’m in search of more powerful ones, now into MAX/MSP/JITTER - thanks to Perry.
2. Multi-Cam narrative:
Inspired by the Camera Array, patented, I finished a 3-cam-interactive movie in CTIN499. The difference is it has multi-timelines narration in a broader scope, which refreshes the notations of recording media.
3. Why Stereoscopic:
In the paper done for CTIN505, I went through the evolution of the spacious notations for cinema editing/montage, reads construction, as the “hardware” is getting improved. The rest half of this study is time notation.
This could be better-finished if I could make some short films (5~7 minutes) with a stereoscopic camera. I wonder if the division could help me. I have my own camera, not so good but just enough for experiment. If the division could offer a stereoscopic $200~400 adapter, that’ll be great.
Problems to solve:
How to write a multi-timeline story and match its structure with visual/aural/interactive structure?
How a story should it be to suit the multi-timeline and interactive cinema?
How to limit the interactivity (since there is no unlimited interactivity for recorded media both because of the narrative economy and the technical limit)? How much interactivity could this media (interactive cinema) offer to give to the audience?
Software and hardware problems e.g. how fast a computer I need for the real-time interactivity. What would the voting system hardware be?
Methods:
1. Short storytelling in CTIN499 Database Cinema to make a good foreseeing for a larger piece;
2. Thoroughly evaluate the MAX/MSP/JITTER to see if it’s good enough for the project;
3. Research for the electromechanics for the hardware. Maybe they are already in stock.
What I Want To Accomplish:
Have an interactive movie shown in theater with clear storytelling (not a so-called experimental) and full interactivity. All the narrative and media treatment fit perfect to the interactive cinema system.
]]>Before the game starts, four declare some other bar-goer in the club for their own shadow (but should be with her/his approval, of course). The shadow's job is taking drink for his/her asshole (Sorry, did I say that?) - yes, ALCOHOL - for free till s/he must leave.
The game refreshes whenever the shadow must leaves(for any reason) on condition that s/he successes or not to throw dart right at the heart of the board. If s/he does, the asshole vs. president (bumblefuck vs. the vice) clear zero automatically. If s/he doesn't hit the heart, s/he leaves but his/her asshole (Sorry, did I say that again?) must finish a alcohol drink her/himself. If there's no other guy in the club at the beginning, the bar tender/hostess is an option but in the new rule: the bar tender/hostess make the choice: alcohol, non-alcohol or whatever drink.
There are reasons why the social works:
Does free drink works for bar-goeres? Of course.
Does free drink works for bar tender/hostess? Most probably.
Will Asshole(s) be more oppressed? Depends on the luck and the price of the drink in the club.
Is there a chance for the oppressed to be less oppressed? Humm, barely unless the SHADOW won't leave her/his family alone long. But, if s/he would or s/he is single, the club may be a place to kill time, I mean, as well as make frind(s).
FATE DOMINATES WHEN THINGS GO NOIR
]]>"Tropical Circle" is doing good in metaphor, having the players be both prey and predator is just an exellent mechanic. However, the color pieces just negativiate a clear narrative, especially with the consideration of the nicely put such that high contrast tropical forest pic at the center. Consequently, the niche for each piece is left just an abstract, meanlingless geometric square. I think that's why the story/narration feels incomplete.
"Coattails" has a very nice mechanics of changing tracks. The dice-rolling and new rules work well. But the metaphor seems not strong enough. So, we almost lost interest to do the changing track and having a bit fun beating the opponents' pawns back to zero. I estimate this design would be better if the story part could be more developed.
When we were designing the R&P version, we spent long time discussing the mapping problem. We reached finally to have the mechanic symmatric for both side so that the player won't be mathematically bothering if s/he is playing inferior chance. We called it "fair". As we decided to add the "blockade" into, we added "Fire", and "Donut" fun to "Boarder" escape.
Overall, I think the harmony of the game really weighs much on how the story and the mechanics could balance for each other, and as for the board game design, the balance of geometry/topology mechanics and elements of the real life relations. The only goal is the adjust each for be perfectly working with its counterpart - life story for geometry and vice vasus. What's more, for the player, they see pawns and graphics and a board with narrative potentials, while the math hides underneath - isn't it important to balance more for the visual clue!
I'm still thinking of the installation of the multi-screen projection. The moment when windows are rolling down, with the music starting, is rather dramatic. I noticed people stopped there awaiting for something to happen. However, obviously, the content of the movies are not so well organized as expected. If they are better arranged in some other way - e.g. what to show for each screen, with some consideration of the in-screen spacial accordance ...
Anyway, I think this 2D plane installation is yet acceptable and I only expect "good" content to fit.
2 The hung whale models still have some inspirations:
Could this immersive intension be advanced/enhanced by adding connection to the glass exhibits? What if lining more models (turtles, flock of fish etc. lining right to the front of the glass shelter spot)...
3 The volume of it is comparatively small, I don't think a multi-cam ball is worthy now, especially considering the $5000 budget. But there might be other ways to make use of camera: what if have the frogman ware a camera hat while the video displays realtimely outside to the visitors...
....
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Not so complicated for me, FUN is sitting down by a tea case at the clearance among some 1,800-year old acient buildings
which date back to 3-Kingdom time of China,
under the tender shade of 1,000-year-old maidenhair trees,
enjoying the lotus redolence from nearby pool,
and, playing GO with friends,
eating nice local snacks...
Enjoying such a simple life is fun for me.
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The Multi-Camera Ball, decorated in any color(s) of sea creatures, floats and dives at the the viewer(s)'s will, in order to view and interactiviate with the fishes in the tank. So, without waiting by the side of thick glass shelter for the fishes to show up from the dark deep tank, viewers can "step" as close to the fishes as they want, even when they are sleeping, approaching in or shying away.
The smart lighting system, with its intelligent corresponding to the chosen camer(by the viewer), only turns the necessary 3 of them on casting "key", "fill" and "back" lights onto the fish, to show good profile and volume of those "shy" fishes in perfect view in color. The number of the lights must be enough as well as well-positioned according to the tank geograph, so as to guarantee immediate and accurate lighting in accordance with the choosing/switching camera. Wherever and whenever the fishes move, the viewers can always 1. drive the ball to interactiviate with the fish 2. view how fishes react to the "round sea creature" or stay still leisurely.
Controller/Console: it can be any style, so long as it's narrative-like appearance captures the viewers/players' attention for satisfactory long time. These are just possibilities:
1 super boring old-fashioned 2 deep-sea crystal magic ball flashing colorful lights
3 tank in tank: this one is particularly for gamers, mostly children (or guys prefer disconnecting with the reality while teaching/talking philosophy - or the structure of the world - in college level)
Tank-in-"Tank"
......
The display:
1 panoramic display: multi-cam sys, either ball or wall, makes it so easy to generate a panoramic display for the views
2 dome/circle display: actually the topologic relative of the panoramic, particularly for alternative people
3 tank in tank wall display: 6 sides of the larger box could be projected seamlessly as a whole view exactly as the camera ball sees - again, for gamers only
4 the power of multi-cam: fishes are all enjoying z-axial equalty! The synthetic aperture image, using tilted focal planes using the homography factorization, make this come true
Of course, to be more immersive, which is my favorite, we offer stereoscopic images, simply because we have multi-cam: camera set side by side with each other.
Links to Graphics Stanford about MultiCam SYS.
My thoughts on driving power: 4-motor-driven, all directional power sys. I hope it works well for real (for engineers)
By far, my conceptulization draft is over but I feel I can do more....
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Bee of yuechuan. All Rights Reserved 2005
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Hope it's better than YM Zhang's HoFD.
