''Bachelor-[[:Category:Werkmodul|Werkmodul]] 
''Master-[[:Category:Fachmodul|Fachmodul]] 
''Dozenten:'' Micky Remann, studentische Tutoren 
''Bewertung:'' 4 [[SWS]], 6 [[ECTS]] 
''Termin:'' Donnerstags, 12:30 Uhr 
''Ort:'' Steubenstraße 6a(Medienhaus), Kinoraum 112 
''Erster Termin:'' 21.10.2010 

([[/Visualiszt|Zum Projektmodul "Musikvisualisierung im FullDome-Format am Beispiel von Franz Liszt" geht es hier.]])

==FullDome - Grundlagen und Perspektiven der Ganzkuppelprojektion==
[[File:Fulldome.jpg|thumb|250px|(C)Warik Lawrance, Melbourne Planetarium]]
Wohin entwickelt sich das Medium Fulldome? Die Frage lässt sich am ehesten von denen beantworten, die das junge Genre mit eigenen Inhalten füllen und damit definieren. Praktische Experimente, theoretische Reflexion und medienkünstlerische Produktion liegen sehr eng beieinander. An der Bauhaus-Universität sind in den vergangenen Jahren in Kooperation mit dem Zeiss-Planetarium Jena und dem dort stattfindenden „FullDome Festival“ Projekte entstanden, die international Beachtung gefunden haben. Das FullDome-Theater bietet faszinierende Möglichkeiten, die es in keinem anderen Medium gibt. Zugleich erfordern die Besonderheiten der Bildwelten in erweiterter räumlicher Dimension ein radikales Umdenken in Bezug auf Technik, Herstellung, Komposition und Dramaturgie.

Unter Fulldome wird ein Projektionssystem verstanden, das die gesamte Innenfläche einer Halbkugel – wie zum Beispiel ein Planetarium –mit beliebigen digitalen, bewegten Bilder füllen kann. Es handelt sich um Kino im 360° Ganzkuppelformat. Bei den zu bewegenden Datenmengen lässt sich ein eigenes Fulldome-Projekt nur mit hohem Arbeitsaufwand realisieren. Aufbauend auf Erfahrungen der vergangenen Semester werden im Rahmen des Fachkurses Grundlagen und Perspektiven der Fulldome-Produktion vermittelt. Es werden Workshops in Zusammenarbeit mit dem Zeiss-Planetarium Jena und der Carl Zeiss AG angeboten. Austausch findet auch mit anderen am Medium FullDome arbeitenden Hochschulen und Produzenten im In- und Ausland statt. Die Studierenden und ihre Arbeiten werden aktiv in die Vorbereitungen zum 5. FullDome-Festival im Zeiss-Planetarium Jena einbezogen (12./14. Mai 2014). Neben der Ideenfindung und der praktischen Arbeit wird daran gearbeitet, dass das junge Medium „FullDome“ als innovatives Medienereignis öffentlich wahrgenommen wird.

English:

FullDome basics
Introduction and practical work on content and choreography of films in the 360° FullDome format. Basic skills of creating visual worlds beyond the flat screen, as developed in previous Bauhaus University courses. In cooperation with Zeiss-Planetarium Jena and other fulldome producers. Preparations and projects for the 5th international FullDome Festival in Jena, May 12th - 14th 2011.

Lecturer: Micky Remann (and guest faculty).

==Richtet sich an==
*Master-Studierende der Fakultäten Medien und der Fakultät Gestaltung ('''Fachmodul''': FullDome - Perspektiven der Ganzkuppelprojektion)
*Bachelor -Studierende der Fakultäten Medien und der Fakultät Gestaltung ('''Werkmodul''': FullDome - Grundlagen der Ganzkuppelprojektion)

==Leistungsnachweise==
aktive Teilnahme, Erstellung eines Fulldome Films (Einzeln oder in Gruppen), Dokumentation auf dem Wiki

==Kurstermine==
*21.10. Organisatorisches, Einschreibung, Terminplanung
*28.10. Theorie: Grundlagen, Fulldome vs. planare Projektion am Bsp.
*04.11. Technische und stilistische Möglichkeiten und Grenzen des Domes am Bsp.
*11.11. Fulldome in der Praxis: Arbeiten mit After Effects
*18.11. Fulldome in der Praxis: Arbeiten mit 3dsmax / Vorbesprechung Workshop und Testbilder
*25.11. Auswertung Workshop, Projektideen ausarbeiten
*01.12. Einführung ins Studio (mit Bluescreen)
*02.12. fällt aus
*09.12. Einsteigertutorium für After Effects mit Bezug auf Fulldome
*16.12. Zwischenpräsentation der Projektideen mit ausgearbeitetem Konzept
*--- Weihnachtsferien ---
*06.01. Organisatorisches Treffen für Einzelgespräche
*13.01. Einzelgespräche
*20.01. Einzelgespräche
*27.01. Einzelgespräche
*03.02. Abschlusstermin, Organisation Screeningtermin im Planetarium - Semesterpause

==Sondertermine==
*20.11.10 Fulldome-Workshop bei Carl Zeiss in Jena. Hochschulübergreifend. 11.00 - 24.00 Uhr.
*17.1.11 Testscreening im Planetarium Jena (13Uhr)
*12.02.11 Screening-Workshop bei Carl Zeiss (13 - 18 Uhr) und im Planetarium Jena (22-24Uhr) Hochschulübergreifend
*11.04.11 Deadline für die Einreichung studentischer Filme zum Fulldome Festival 2011
*12.05. - 14.05.11 Fulldome Festival in Jena. (13.05.: Students' Night)

==Projekte der Teilnehmer==
(Hilfe zur Bearbeitung von Wikiseiten findet ihr [[Help:Editing| hier]])

[[File:The mixtures, the encounters.jpg|thumb|The mixtures, the encounters|right|300px]]

'''[[SUBSTANCE ENCOUNTERS/]] (Natercia Chang)'''

Given that the medium is round shape and 360 degrees, the world is the first thing that pops up in the mind. My visualization is very much based on the history of the world, how one civilization started and how one ended. The title of the project "SUBSTANCE ENCOUNTERS" employs a meaning that one civilization came into contact with another. The people, the culture are like substances, that mixed and influenced one another.

'''[[/(AT)against/]] (Katharina Schwarz)'''

Eine 2D-animierte Musikvisualisierung, die bruchstückhaft Liszts Krisen und Erfolge beschreibt. Wie ein Puzzle wird eine schlussendliche grafische Komposition als kuppelfüllende Collage schrittweise zusammengefügt und zeigt in ihrem Entstehungsverlauf mit dem Motiv „Kampf“, abstrakt vier Schwerpunkte aus seinem Leben.

Das Motiv ist begründet in einem Zitat von Stefan Zweig, welches jedem schöpferischen Menschen den Kampf mit seinem Dämon zuschreibt, der sich immer als Helden- und/oder Liebeskampf darstellt.

Die Schwerpunkte lassen sich mit den Schlüsselworten Melancholie, Düsternis, Depression, Suizid, Liebe und Musik zusammenfassen. Inhaltlich sind sie an der Dominanz des Vaters, seiner ersten Lebenskrise von 1827 mit anschließender Depression, seinen Liebesbeziehungen und der Konfrontation mit Thalberg orientiert.
 

'''[[/C R Y S T A L I Z E D/]] (Gergana)'''
[[File:cyabird 2.jpg|thumb|250px|Cyabird]]
[[File:lanscape penta!.jpg|thumb|250px|Landscape Penta]]
[[File:pyra!!!.jpg|thumb|250px|Pyra.Would like to have it 3d]]
Key words: Abstract shapes; Surreality; Solaris; Sci FI; Space ships; Star crafts; Space; Time; Travel; Drift; Absence; Shiny surfaces; Planetary dust; Nebulas; DIstant lights; Darkness, Silence; Slow movement Through; 3d; Pyramids; Pentagons; Crystals; Crystal world; No human presence- no warmth; Frozen; minus -3000ºF; ...

I want to visualize an abstract world. It is solitude, cold. We fly over it slowly, drifting away, being out there, experiencing the landscape and abstract shapes as a surreality. We hear the melancholic tones that echo through the space(liszt's music)...
I will use 3D, real footage and lots of jpg images, png and layers merged together to form a landscape that we move through.

 

'''[[/Hide and Seek/]] (Andréanne Chartrand-Beaudry)'''
This is the sad tale of two kids who didn’t listen to their parents and left the forest path. They played all day in the forest running and screaming until nightfall. As the light faded to darkness they started to feel the cold dampness of nights in the forest. They soon realised that they were lost. The cheer faded from their round faces as they ambled through the forest looking for shelter. To their amazement and surprise, in what seemed to be the deepest part of the forest, they stumbled upon a huge Victorian house surrounded by crooked leafless trees. They rang the bell, hoping the owners of the house would be nice enough to help them find their way back to the outskirts of the forest. No answer came, but the door opened slowly to the dark interior of the house ...
 

'''[[/dance of death/]] (Timea Tofalvi, Daniela Stade)'''
Unsere Animation steht unter dem Motto: liszt meets goethe!
Liszt hat das Stück Totentanz für Piano komponiert, wir werden dieses mit dem gleichnamigen Gedicht von Goethe illustrieren.
 

'''[[/Der Kurier des Czaren/]] (Patrick Richter, Julia Vorkefeld)'''
[[File:DKDC-schwimmer.jpg|thumb|250px|Der Schwimmer aus "Der Kurier des Czaren" Illustration: Jessy Asmus]]
Vor etwa 20 Jahren fand man einen Koffer der einige lose Blätter beinhaltete, deren Fund eine große Hysterie auslöste. Es handelte sich um Textfragmente Franz Kafkas. Darunter war auch ein Text den man als "Der Kurier des Czaren" betitelte. Er ist unvollständig da das Blatt an der unteren Hälfte abgetrennt wurde. Dieser Mysteriöse Text wurde im letzten Semester durch Studenten der visuellen Kommunikation illustriert. Zusammen mit einer der Illustratorinnen möchte ich die absurde Geschichte des Czaren der auf einem Waldweg seinem Gefolge hinterher läuft fulldomisieren. Eine schwarz-weiße Comic-Geschichte mit verqueren Charakteren, immersiv.
 

'''[[/Liszt - Reimagined/]] (Sönke Hahn)'''
[[File:Beispiel Hahn.jpg|thumb|250px|Testbild einer Szene aus Liszts Leben]]
Franz Liszt – sein Leben wirkt wie das eines modernen Popstars: große Kunst, tiefe Schicksalsschläge, tosender Applaus, bittere Einsamkeit und das allmähliche Vergessen eines künstlerischen Lebenswerks. 
„Liszt - Reimagined“ möchte auf unterhaltsame, moderne Art und Weise diesen großen Kosmopoliten wiederentdecken. Erzählt in unserer Gegenwart. In einer Kombination auf realer Footage, gezeichneten Hintergründe und modern interpretierter Liszt-Musik wird dieser Film in einem vierminütigen Schnelldurchlauf das Leben des großen Künstlers nachzeichnen – stets mit einem Augenzwingern, aber auch mit gebührendem Hinweis auf das, was wir alle auch heute noch von Liszt lernen können: Uns als Weltbürger zu bereifen!
 

[[File:3dMandelbrot.jpg|thumb|250px|Testbild eines Mandelbrotfraktals in 3D]]
'''[[/3D Mandelbrot/]] (Tony Wulfert)'''
Eine musikalische Reise durch ein dreidimensionales Mandelbrotfraktal.Eventuell nach dem Chromadepthverfahren. (also so richtig mit 3D Brille)
 

'''[[/Before the Eye Closes/]] (Lasma Kanele, Sandra Guzman, Stephan Isermann)'''
There is a human pupil in an eye of a man. It travels from the eye through the nervous system of the mind. It wants to flow around and explore. Perhaps it tries to escape. Who is the man it belongs to? It is the great master of music -Franz Liszt. His music plays its own part. The pupil in a 3D environment responds to the movements based on the rhythm, and sounds it creates. Till the last second it travels...till the eye closes.
[[Image:Cuatro.jpg|200px|thumb|left|alt text]]
 

'''[[/Tröstung/]] (Bianka Langnickel & Kat Sengstaken)'''
[[File:Fulldomewiki1.jpg|thumb|250px|Testbild von Lichgestalten]]
Das Klangvolumen des Liszt Stück »TRÖSTUNG« wird in eine Bildsprache übersetzt, die sich wie zufällig ihrer eigenen Virtuosität bedient und Elemente der natürlichen Wahrnehmung wie Dre- hung, Reflexion und Streuung bearbeitet. »TRÖSTUNG« erlaubt uns einen Perspektivenwechsel auf das Detailhafte und den Mikrokosmos. Der leidenschaftlich, drängende Charakter der Liszt Kompo- sition »TRÖSTUNG« verleiht dem Stück emotionale Ausdrucksstärke, die wir hier visuell transkri- bieren. Wir möchten mit unserem Beitrag der Musik von Franz Liszt einen neuen Zauber einzuhau- chen und sie mit lebendigen visuellen Elementen sinnvoll ergänzen...
 

'''[[/Visualizing Liszt (*working title*)/]] (Stephan Thiel)'''
Grundgedanke meines Projekts ist die Visualisierung von Musik mithilfe selbstgeschriebener Software.
Anhand eines frei gewählten Werkes und verschiedener Ansätze zu dessen Analyse suche ich nach musikalisch-klanglichen Aspekten, die sich für eine statische Visualisierung unter dem Aspekt der Vergleichbarkeit zu anderen Werken eignen. Das für diese statische Variante entwickelte formale System bildet die Grundlage für eine Umsetzung der Visualisierung als Animation im Fulldome.
Dadurch soll erreicht werden, dass die statische Visualisierung als eine ›Aufzeichnung‹ der live stattfindenden, erlebnisorientierten Visualisierung im Fulldome aufgefasst werden kann, und durch den Vergleich beider Elemente von mehreren Musikstücken neue Einblicke in das musikalische Werk Franz Liszts gewonnen werden können.

das komplette PDF befindet sich [http://dl.dropbox.com/u/411528/20101124_status_01.pdf hier]
 

'''[[/Traumschwindel/]] (Jan Schepanski)'''

Namentlich angelehnt an ein Meisterwerk der noch jungfräulich erscheinenden Geschichte der Bewegtbilddomekunst, möchte sie dieser Film in die grenzenlose Welt der Träume entführen.

 

'''[[/No Title/]] (Natercia Chang)'''
Given that the medium is round shape and 360 degrees, the world is the first thing that pops up in the mind. My visualization is very much based on the history of the world, how one civilization started and how one ended. The title of the project "SUBSTANCE ENCOUNTERS" employs a meaning that one civilization came into contact with another. The people, the culture are like substances, that mixed and influenced one another.

 

'''[[/Petit Litz/]] (Maggie Bücker & Henrike Schneider)'''
[[File:Litz.jpg|thumb|250px|Petit Litz]]
In 'Petit Litz' sitzt ein kleiner Pinguin mit Perücke allein vor einem Flügel.
Der kleine Litz spielt voller Inbrunst. Pinguine kommen in Scharren, weibliche Pinguine schmachten ihn an, Rosen werden geworfen, eine große Null überrollt sein Piano... . Im Schnelldurchlauf und mit einem kleinen Augenzwinkern sieht man das Leben von dem kleinen Litz.
(Technik: Legetrick)

''Zum Titel:

Mit dem Namen „petit Litz“ stieg Liszt in Paris schnell zur Berühmheit auf. Man nannte ihn den wiedergeborenen Mozart.''
 

'''[[/Lichtkomposition/]]'''
[[File:bäume1.jpg|left|thumb|250px|Lichtspiel 1]]
[[File:bäume2.jpg|left|thumb|250px|Lichtspiel 2]]

In der Kuppel sieht man ein virtuoses Lichtspiel aus einer Baum-Komposition.
Es gibt eine Interaktion zwischen Bild und Ton, wobei die Lichtkomposition an die Rhythmen und das Tempo der Lisztmusik angepasst ist.
 

'''[[/Remind me later/]] (Liana Chandra and Katre Haav)'''
[[File:postit equalizer testpic.jpg|thumb|250px|postit equalizer testpic]]
Our FullDome Film idea is to make a music visualisation in a traditional sense. We try to translate Liszts music pieces into picture. We also test how Liszts music sounds like interperted by a rockband or beatbox. We play with the medium using post-its, partly like oversized pixels in stop motion.
 

'''[[/A Human Aquarium/]] (Video Installation by Laura Fong)'''
[[File:ACUARIO FINAL.jpg|thumb|250px|ACUARIO FINAL]]
The basic premise of the piece I want to create to be projected in Fulldome format is the idea or notion of an Aquarium. But instead of fish or marine mammals and other species I want to portray human beings. Why do we go to aquariums to see animals swimming around us without their permission if we can portray humans with their permission…!

I want it to look actually like if they were really swimming above us. Looking at us. Underwater images of people swimming. The first idea was to have them swimming naked to make a direct connection with the marine animals. But lately ive been thinking about having them dressed, with different soft and translucid materials to have a nice visual effect or to have them dressed casual also to make an impression of them living in a normal natural space, trapped in their own social characters, trapped in a fish tank.

I would also like to begin the piece with a bigger quantity of people and towards the end we will see less people and in the last shot we will see only one woman.

For this piece I would like to use thru the whole video installation Franz Liszts song:
“Le Jeux d'Eau a la Villa d'Este”
 

'''[[/Chaos/]] (Chi Zhang & Xiaomei Wang)'''
'''aktuelle Idee-Glocke'''
Geschichte: Er bleibt in einem runden Raum wenn er wacht auf. Wo ist hier? In dem sieht er nur dunkel. Die Wände sind kalt und aus die Metall aufgebaut. Sein Hilfschrei könnte Niemand hören. Angst davor?
Was wird er erleben? Wäre es tot, oder?

'''Erste Idee'''
Wie bekannt, dass die Welt von einzigen und simpelen System aufgebaut wird. 
Für dieses Projekt möchten wir auch durch verschieden Symbol oder Zeichen, die auf unkomplizierten Reglung entstanden ist, darstellen. 
"Self-simalrity" ist eine Grundlage in Mathematik, und Herr Mandelbrot hat eine schöne Galerie, nämlich"Mandelbrot set" geschafft, die auf diese Theorie basiert wurde. (sorry for that we cant explain clearly, so if u want something more about it, please take a short bilck at the link below. Thx!) 
Also, wir machen so einfach, dass wir die Gefühle beim Hören automatisch zeichen oder schreiben. Die Skizze wären die Elemente für der ganze Film. Der zukünftige Effekt wäre ähnliche wie diese Zeichen der Mandelbrot set. Das ist unbeding ein "Chaos" zu machen. Aber das ist stimmt, was wir gerne für unseres Thema nennen möchten.

Flash, AE oder C4D wären der beste Weg unserer Ziel zu erreichen.

'''links'''
* [[wikipedia:Self-similar]]
* [[wikipedia:Mandelbrot set]]
 

'''[[/Liszt /]] (Shuo Liu)'''
ich habe bisher noch keine Entscheidung getroffen, mit welcher Art und Weise ich mein Werk schaffe. Es tut mir sehr leid.

Ich wollte zuerst es durch mehrere Kameras machen, genau gesagt wollte ich durch Stop Motion die Sehenswürdigkeiten von Berlin oder Weimar aufnehmen. Das Hintergrundmusik habe ich Clock ausgewählt. Aber das Stadt Weimar ist relativ still, dies entspricht nicht das Werk davon. Denn es im seinen Werk einen schnellen Takte gibt. Ich glaube die beiden passen nicht zusammen.

Mein zweites Idee war ein Flash über das Leben des Liszt . Wenn ich meine Augen zumache, und sein Musik genießen, tauchen viele springenden schwarzen und weissen Tastaturinstrumenten.
Deswegen möchte ich durch diese Art und Weise einen Flash machen. Im meinen Werk präsentiere ich auch viele schwarz und weiss in meinen Flash wie einen Schattenspiele. Weiß wird als Hintergrund und schwarz Schattenrissen als Figuren.
Zur Zeit versuche ich immer sein Musik wiedermal genau zu hören. Das Lied von Liebestraum gefallt mir sehr gut. Denn der Takt ist relativ langsam, das finde ich gut.
P.s. Ich bemühe mich gerade darum, wie ich Flash benutzen kann.
 

'''[[/Wir waren mal Feinde/]] (Walter Oppel)'''
[[File:Wir feinde squar.jpg|thumb|250px|Ehemalige Innerdeutsche Grenze Thüringen]]
Ich plane eine Dokumentation, die sich mit einen Ort unter freiem Himmel auseinandersetzt und sich dabei der Vorteile des Fulldome-Formats bedient. Das 360° Bild erlaubt es den Betrachter, ähnlich eines historischen Panoramas (Schaubild auf Rundhorizont gemalt), den gesamten Ort um sich herum wahrzunehmen und sich direkt dort hinein versetzt zu fühlen.

Wir waren mal Feinde will ich ein weitere Versuch unternehmen, eine Dokumentation für die Planetariumskuppel zu produzieren und dabei eine für die Zuschauer ansprechenden Umsetzungsform für dieses Genre zu finden. Für die technische Realisierung möchte ich 360° Fotografie/StopMotion und HD Video kombinieren. Über das genau Thema bin ich mir noch nicht sicher, mögliche Orte könnten sein: die ehemalige innerdeutsche Grenze (siehe Foto) oder die Schlachtfelder aus der Napoleon Zeit um 1806 bei Jena.
 

'''[[/Space between sound/]] (Adam Newns)'''
[[File:Sample.png|thumb|250px|All the artefacts in the film at once]]
This is a music visualisation of a section of 'Wanderer Fantasie' by Liszt using photos animated in after effects in an astronomical setting. 2m 28s long.
 

==Semesterapparat==
'''Infos zu Workshops und Exkursionen'''
*[[Media:Fulldomeworkshop Jena 20 11 10(Programm).doc| Programm zum Fulldome Workshop am 20.11.10 (dt.)]]
*[[Media:Exkursion Wolfsburg Programmplan.doc| Programm der Exkursion ins Planetarium Wolfsburg vom 21.10.10 (dt.)]]
*[[Media:Exkursion Wolfsburg Bericht.pdf| Bericht über die Exkursion ins Planetarium Wolfsburg (dt.)]]

'''Fulldome Festival Jena'''
*[[Media:EntryRequirements 2011 final.doc| Teilnahmebedingungen für das Fulldome Festival 2011 in Jena (engl.)]]
*[[Media:Teilnahmebedingungen 2011.doc| Teilnahmebedingungen für das Fulldome Festival 2011 in Jena (dt.)]]
*[[Media:4th annual Fulldome Festival Jena.pdf| Bericht über das Fulldome Festival 2010 (engl.)]]

'''Tutorials und Basics'''
*[[Media:Fulldome technische Grundlagen(T Fritzsche 09).pdf|Tutorial: '''Technische Grundlagen im Fulldome'''(dt.)]]
*[[Media:FulldomeSettings 3dsmax((T Fritzsche 07).pdf|Tutorial: '''Fulldome Filme erstellen mit 3dsmax'''(dt.)]]
*[[Media:5CameraRig-2.pdf|Tutorial: '''Fulldome Filme mit After Effects 3D Ebenen erstellen'''(dt.)]]
*[[Media:Fulldome-KomplexesWoelben.zip|Tutorium: '''Fulldome Verzerrungen - Komplexes Wölben mit After Effects'''(inkl. Projektdateien / dt.)]]
*[[Media:Einstellungen.pdf| Tutorium: '''Rendereinstellungen für Fulldome in After Effects'''(dt.)]]
*[[Media:AE-Turorial.pdf|Tutorium: '''After Effects und Fulldome für Einsteiger''' vom 9.12.10(dt.)]]
*[[Media:QuoVadis-Fulldome leaflet.pdf|Basic: „Quo Vadis Fulldome“ - Grundsatzvortrag von Volkmar Schorcht zu Fulldome(dt.)]]

'''Material für die kursinternen Tutorien'''
*[[Media:FullDome-5-Camera-Rig.zip|Projektdatei für Tutorial: '''Fulldome Filme mit After Effects 3D Ebenen erstellen''']]
*[http://webuser.uni-weimar.de/~olif2166/Bluebox_Tutorial.zip Footagedateien für Tutorium: '''After Effects und Fulldome für Einsteiger''' vom 9.12.10 (ca 700MB)]

'''Franz Liszt Musikstücke'''
* [http://webuser.uni-weimar.de/~olif2166/Visualiszt/F_Liszt_Musikstuecke.zip Franz Liszt Musikstücke zur Verwendung durch die Kursteilnehmer]

'''Andere'''
*[http://webuser.uni-weimar.de/~olif2166/LotterieSounds_1-46.zip Soundschnipsel für die Musikvisualisierungslotterie]
*[[Media:Fulldome Musikvisu Hausaufgabe 14_01.zip|Hausaufgabe Musikvisualisierung für den 14.1.11]]

==Links==
'''Andere Fulldome-Kurse'''
*[[/Visualiszt|„Musikvisualisierung im FullDome-Format am Beispiel von Franz Liszt“ (Projektmodul)]]
* [[GMU:Immersive Strategien]] (Werkmodul)

'''Fulldome Festivals'''
*[http://www.fulldome-festival.de Offizielle Festivalseite des Fulldome Festivals in Jena]
*[http://www.planetarium-jena.de/ Seite des Jenaer Planetariums]
*[http://www.students-nightlife.de/wp-content/uploads/sn_nl_award.pdf Teilnahmebedingungen am Students's Nightlife Award]
*[http://www.students-nightlife.de Student's Nightlife Internetseite]
*[http://cyprusdomefest.com/2010/12/08/hello-world/ Cyprus Domefest]

'''Fulldome Filme online schauen'''
*[http://www.skyskan.com/products/content Professionelle Fulldome Produktionen als Streaming Filme]

'''Fulldome Tutorials/Basics'''
*[http://artslab.unm.edu/beginner_fulldome.html Hue's Beginner's Guide to Fulldome Production]
*[http://pineappleware.undonet.com/index.html A long way to Dome Master - Theoretical and practical approach on the Fulldome Format "Dome Master"]

'''Tools und Software'''
*[http://extranet.spitzinc.com/download/ Glom (Freeware Stitching Programm zur Generierung von Fulldome Bildern)]
*[http://incom.org/projekt/1372 DomeMod und Dometester (2 kostenlose Programme zum Preview von Bildern und Filmen im Fulldomeformat in einer virtuellen Kuppel)]
*[http://software.multimeios.pt/fulldome/index.html Fulldome Plugin für After Effects (Kostenpflichtiges Plugin für After Effects zur Gegenzerrung von Fulldome Bildern)]
*[http://www.ranchcomputing.com/M_freesoftware.php FRAMANIP Pro, Software zur schnellen Vorschau von Einzelbildsequenzen]

'''Community'''
*[http://www.studivz.net/Groups/Overview/49d5dbc9ff3b8fcc StudiVZ Gruppe zu Fulldome]
*[http://www.facebook.com/home.php?sk=group_155007091211304&ap=1 Facebook Gruppe zu Fulldome]

'''Andere'''
*[http://www.xrez.com/tech-and-services/fulldome-theatre-production/ interaktive 3D Fahrt durch eine Fulldome Kuppel]
*[[wikipedia:Fulldome|englischer Wikipedia Eintrag zu Fulldome]]
*[http://3d-top-event.com/ Seite von Panoramafotograf Torsten Hemke]
*[http://domelab2010.anat.org.au/ Umfangreicher Blog mit Diskussionen rund um Fulldome]
[[File:Example.jpg]]

[[Category:Fachmodul]]
[[Category:Werkmodul]]
[[Category:WS10]]

IMM:Fulldome

2011-03-06T03:55:23Z

Petu3224: /* Projekte der Teilnehmer */

''Bachelor-[[:Category:Werkmodul|Werkmodul]] 
''Master-[[:Category:Fachmodul|Fachmodul]] 
''Dozenten:'' Micky Remann, studentische Tutoren 
''Bewertung:'' 4 [[SWS]], 6 [[ECTS]] 
''Termin:'' Donnerstags, 12:30 Uhr 
''Ort:'' Steubenstraße 6a(Medienhaus), Kinoraum 112 
''Erster Termin:'' 21.10.2010 

([[/Visualiszt|Zum Projektmodul "Musikvisualisierung im FullDome-Format am Beispiel von Franz Liszt" geht es hier.]])

==FullDome - Grundlagen und Perspektiven der Ganzkuppelprojektion==
[[File:Fulldome.jpg|thumb|250px|(C)Warik Lawrance, Melbourne Planetarium]]
Wohin entwickelt sich das Medium Fulldome? Die Frage lässt sich am ehesten von denen beantworten, die das junge Genre mit eigenen Inhalten füllen und damit definieren. Praktische Experimente, theoretische Reflexion und medienkünstlerische Produktion liegen sehr eng beieinander. An der Bauhaus-Universität sind in den vergangenen Jahren in Kooperation mit dem Zeiss-Planetarium Jena und dem dort stattfindenden „FullDome Festival“ Projekte entstanden, die international Beachtung gefunden haben. Das FullDome-Theater bietet faszinierende Möglichkeiten, die es in keinem anderen Medium gibt. Zugleich erfordern die Besonderheiten der Bildwelten in erweiterter räumlicher Dimension ein radikales Umdenken in Bezug auf Technik, Herstellung, Komposition und Dramaturgie.

Unter Fulldome wird ein Projektionssystem verstanden, das die gesamte Innenfläche einer Halbkugel – wie zum Beispiel ein Planetarium –mit beliebigen digitalen, bewegten Bilder füllen kann. Es handelt sich um Kino im 360° Ganzkuppelformat. Bei den zu bewegenden Datenmengen lässt sich ein eigenes Fulldome-Projekt nur mit hohem Arbeitsaufwand realisieren. Aufbauend auf Erfahrungen der vergangenen Semester werden im Rahmen des Fachkurses Grundlagen und Perspektiven der Fulldome-Produktion vermittelt. Es werden Workshops in Zusammenarbeit mit dem Zeiss-Planetarium Jena und der Carl Zeiss AG angeboten. Austausch findet auch mit anderen am Medium FullDome arbeitenden Hochschulen und Produzenten im In- und Ausland statt. Die Studierenden und ihre Arbeiten werden aktiv in die Vorbereitungen zum 5. FullDome-Festival im Zeiss-Planetarium Jena einbezogen (12./14. Mai 2014). Neben der Ideenfindung und der praktischen Arbeit wird daran gearbeitet, dass das junge Medium „FullDome“ als innovatives Medienereignis öffentlich wahrgenommen wird.

English:

FullDome basics
Introduction and practical work on content and choreography of films in the 360° FullDome format. Basic skills of creating visual worlds beyond the flat screen, as developed in previous Bauhaus University courses. In cooperation with Zeiss-Planetarium Jena and other fulldome producers. Preparations and projects for the 5th international FullDome Festival in Jena, May 12th - 14th 2011.

Lecturer: Micky Remann (and guest faculty).

==Richtet sich an==
*Master-Studierende der Fakultäten Medien und der Fakultät Gestaltung ('''Fachmodul''': FullDome - Perspektiven der Ganzkuppelprojektion)
*Bachelor -Studierende der Fakultäten Medien und der Fakultät Gestaltung ('''Werkmodul''': FullDome - Grundlagen der Ganzkuppelprojektion)

==Leistungsnachweise==
aktive Teilnahme, Erstellung eines Fulldome Films (Einzeln oder in Gruppen), Dokumentation auf dem Wiki

==Kurstermine==
*21.10. Organisatorisches, Einschreibung, Terminplanung
*28.10. Theorie: Grundlagen, Fulldome vs. planare Projektion am Bsp.
*04.11. Technische und stilistische Möglichkeiten und Grenzen des Domes am Bsp.
*11.11. Fulldome in der Praxis: Arbeiten mit After Effects
*18.11. Fulldome in der Praxis: Arbeiten mit 3dsmax / Vorbesprechung Workshop und Testbilder
*25.11. Auswertung Workshop, Projektideen ausarbeiten
*01.12. Einführung ins Studio (mit Bluescreen)
*02.12. fällt aus
*09.12. Einsteigertutorium für After Effects mit Bezug auf Fulldome
*16.12. Zwischenpräsentation der Projektideen mit ausgearbeitetem Konzept
*--- Weihnachtsferien ---
*06.01. Organisatorisches Treffen für Einzelgespräche
*13.01. Einzelgespräche
*20.01. Einzelgespräche
*27.01. Einzelgespräche
*03.02. Abschlusstermin, Organisation Screeningtermin im Planetarium - Semesterpause

==Sondertermine==
*20.11.10 Fulldome-Workshop bei Carl Zeiss in Jena. Hochschulübergreifend. 11.00 - 24.00 Uhr.
*17.1.11 Testscreening im Planetarium Jena (13Uhr)
*12.02.11 Screening-Workshop bei Carl Zeiss (13 - 18 Uhr) und im Planetarium Jena (22-24Uhr) Hochschulübergreifend
*11.04.11 Deadline für die Einreichung studentischer Filme zum Fulldome Festival 2011
*12.05. - 14.05.11 Fulldome Festival in Jena. (13.05.: Students' Night)

==Projekte der Teilnehmer==
(Hilfe zur Bearbeitung von Wikiseiten findet ihr [[Help:Editing| hier]])

[[File:The mixtures, the encounters.jpg|thumb|The mixtures, the encounters|right|300px]]

'''[[SUBSTANCE ENCOUNTERS/]] (Natercia Chang)'''

Given that the medium is round shape and 360 degrees, the world is the first thing that pops up in the mind. My visualization is very much based on the history of the world, how one civilization started and how one ended. The title of the project "SUBSTANCE ENCOUNTERS" employs a meaning that one civilization came into contact with another. The people, the culture are like substances, that mixed and influenced one another.

'''[[/(AT)against/]] (Katharina Schwarz)'''

Eine 2D-animierte Musikvisualisierung, die bruchstückhaft Liszts Krisen und Erfolge beschreibt. Wie ein Puzzle wird eine schlussendliche grafische Komposition als kuppelfüllende Collage schrittweise zusammengefügt und zeigt in ihrem Entstehungsverlauf mit dem Motiv „Kampf“, abstrakt vier Schwerpunkte aus seinem Leben.

Das Motiv ist begründet in einem Zitat von Stefan Zweig, welches jedem schöpferischen Menschen den Kampf mit seinem Dämon zuschreibt, der sich immer als Helden- und/oder Liebeskampf darstellt.

Die Schwerpunkte lassen sich mit den Schlüsselworten Melancholie, Düsternis, Depression, Suizid, Liebe und Musik zusammenfassen. Inhaltlich sind sie an der Dominanz des Vaters, seiner ersten Lebenskrise von 1827 mit anschließender Depression, seinen Liebesbeziehungen und der Konfrontation mit Thalberg orientiert.
 

'''[[/C R Y S T A L I Z E D/]] (Gergana)'''
[[File:cyabird 2.jpg|thumb|250px|Cyabird]]
[[File:lanscape penta!.jpg|thumb|250px|Landscape Penta]]
[[File:pyra!!!.jpg|thumb|250px|Pyra.Would like to have it 3d]]
Key words: Abstract shapes; Surreality; Solaris; Sci FI; Space ships; Star crafts; Space; Time; Travel; Drift; Absence; Shiny surfaces; Planetary dust; Nebulas; DIstant lights; Darkness, Silence; Slow movement Through; 3d; Pyramids; Pentagons; Crystals; Crystal world; No human presence- no warmth; Frozen; minus -3000ºF; ...

I want to visualize an abstract world. It is solitude, cold. We fly over it slowly, drifting away, being out there, experiencing the landscape and abstract shapes as a surreality. We hear the melancholic tones that echo through the space(liszt's music)...
I will use 3D, real footage and lots of jpg images, png and layers merged together to form a landscape that we move through.

 

'''[[/Hide and Seek/]] (Andréanne Chartrand-Beaudry)'''
This is the sad tale of two kids who didn’t listen to their parents and left the forest path. They played all day in the forest running and screaming until nightfall. As the light faded to darkness they started to feel the cold dampness of nights in the forest. They soon realised that they were lost. The cheer faded from their round faces as they ambled through the forest looking for shelter. To their amazement and surprise, in what seemed to be the deepest part of the forest, they stumbled upon a huge Victorian house surrounded by crooked leafless trees. They rang the bell, hoping the owners of the house would be nice enough to help them find their way back to the outskirts of the forest. No answer came, but the door opened slowly to the dark interior of the house ...
 

'''[[/dance of death/]] (Timea Tofalvi, Daniela Stade)'''
Unsere Animation steht unter dem Motto: liszt meets goethe!
Liszt hat das Stück Totentanz für Piano komponiert, wir werden dieses mit dem gleichnamigen Gedicht von Goethe illustrieren.
 

'''[[/Der Kurier des Czaren/]] (Patrick Richter, Julia Vorkefeld)'''
[[File:DKDC-schwimmer.jpg|thumb|250px|Der Schwimmer aus "Der Kurier des Czaren" Illustration: Jessy Asmus]]
Vor etwa 20 Jahren fand man einen Koffer der einige lose Blätter beinhaltete, deren Fund eine große Hysterie auslöste. Es handelte sich um Textfragmente Franz Kafkas. Darunter war auch ein Text den man als "Der Kurier des Czaren" betitelte. Er ist unvollständig da das Blatt an der unteren Hälfte abgetrennt wurde. Dieser Mysteriöse Text wurde im letzten Semester durch Studenten der visuellen Kommunikation illustriert. Zusammen mit einer der Illustratorinnen möchte ich die absurde Geschichte des Czaren der auf einem Waldweg seinem Gefolge hinterher läuft fulldomisieren. Eine schwarz-weiße Comic-Geschichte mit verqueren Charakteren, immersiv.
 

'''[[/Liszt - Reimagined/]] (Sönke Hahn)'''
[[File:Beispiel Hahn.jpg|thumb|250px|Testbild einer Szene aus Liszts Leben]]
Franz Liszt – sein Leben wirkt wie das eines modernen Popstars: große Kunst, tiefe Schicksalsschläge, tosender Applaus, bittere Einsamkeit und das allmähliche Vergessen eines künstlerischen Lebenswerks. 
„Liszt - Reimagined“ möchte auf unterhaltsame, moderne Art und Weise diesen großen Kosmopoliten wiederentdecken. Erzählt in unserer Gegenwart. In einer Kombination auf realer Footage, gezeichneten Hintergründe und modern interpretierter Liszt-Musik wird dieser Film in einem vierminütigen Schnelldurchlauf das Leben des großen Künstlers nachzeichnen – stets mit einem Augenzwingern, aber auch mit gebührendem Hinweis auf das, was wir alle auch heute noch von Liszt lernen können: Uns als Weltbürger zu bereifen!
 

[[File:3dMandelbrot.jpg|thumb|250px|Testbild eines Mandelbrotfraktals in 3D]]
'''[[/3D Mandelbrot/]] (Tony Wulfert)'''
Eine musikalische Reise durch ein dreidimensionales Mandelbrotfraktal.Eventuell nach dem Chromadepthverfahren. (also so richtig mit 3D Brille)
 

'''[[/Before the Eye Closes/]] (Lasma Kanele, Sandra Guzman, Stephan Isermann)'''
There is a human pupil in an eye of a man. It travels from the eye through the nervous system of the mind. It wants to flow around and explore. Perhaps it tries to escape. Who is the man it belongs to? It is the great master of music -Franz Liszt. His music plays its own part. The pupil in a 3D environment responds to the movements based on the rhythm, and sounds it creates. Till the last second it travels...till the eye closes.
[[Image:Cuatro.jpg|200px|thumb|left|alt text]]
 

'''[[/Tröstung/]] (Bianka Langnickel & Kat Sengstaken)'''
[[File:Fulldomewiki1.jpg|thumb|250px|Testbild von Lichgestalten]]
Das Klangvolumen des Liszt Stück »TRÖSTUNG« wird in eine Bildsprache übersetzt, die sich wie zufällig ihrer eigenen Virtuosität bedient und Elemente der natürlichen Wahrnehmung wie Dre- hung, Reflexion und Streuung bearbeitet. »TRÖSTUNG« erlaubt uns einen Perspektivenwechsel auf das Detailhafte und den Mikrokosmos. Der leidenschaftlich, drängende Charakter der Liszt Kompo- sition »TRÖSTUNG« verleiht dem Stück emotionale Ausdrucksstärke, die wir hier visuell transkri- bieren. Wir möchten mit unserem Beitrag der Musik von Franz Liszt einen neuen Zauber einzuhau- chen und sie mit lebendigen visuellen Elementen sinnvoll ergänzen...
 

'''[[/Visualizing Liszt (*working title*)/]] (Stephan Thiel)'''
Grundgedanke meines Projekts ist die Visualisierung von Musik mithilfe selbstgeschriebener Software.
Anhand eines frei gewählten Werkes und verschiedener Ansätze zu dessen Analyse suche ich nach musikalisch-klanglichen Aspekten, die sich für eine statische Visualisierung unter dem Aspekt der Vergleichbarkeit zu anderen Werken eignen. Das für diese statische Variante entwickelte formale System bildet die Grundlage für eine Umsetzung der Visualisierung als Animation im Fulldome.
Dadurch soll erreicht werden, dass die statische Visualisierung als eine ›Aufzeichnung‹ der live stattfindenden, erlebnisorientierten Visualisierung im Fulldome aufgefasst werden kann, und durch den Vergleich beider Elemente von mehreren Musikstücken neue Einblicke in das musikalische Werk Franz Liszts gewonnen werden können.

das komplette PDF befindet sich [http://dl.dropbox.com/u/411528/20101124_status_01.pdf hier]
 

'''[[/Traumschwindel/]] (Jan Schepanski)'''

Namentlich angelehnt an ein Meisterwerk der noch jungfräulich erscheinenden Geschichte der Bewegtbilddomekunst, möchte sie dieser Film in die grenzenlose Welt der Träume entführen.

 

'''[[/No Title/]] (Natercia Chang)'''
Liebestraum means "Dream of Love" in German. The melody of this piece of music indulges listeners in a dream, a dantacy of love.

Love is beautiful, so beautiful that it can't hardly be real. This basic instinct has almost been forgotten; aggression, hatred seem to be the ego of survival.

Long before 4000 years, before Christ was born, wars already began when the first few world civilization took place.

I want to employ this piece of music to express how countries and cultures were taken over, exploited and conquered throughout the history of human civilization. How bombs were easily dropped onto earth and millions of people were killed. I want to make a contrast of how beautiful the world and people could be with this music, at the same time showing the brutal history of human beings in a subtle way....
 

'''[[/Petit Litz/]] (Maggie Bücker & Henrike Schneider)'''
[[File:Litz.jpg|thumb|250px|Petit Litz]]
In 'Petit Litz' sitzt ein kleiner Pinguin mit Perücke allein vor einem Flügel.
Der kleine Litz spielt voller Inbrunst. Pinguine kommen in Scharren, weibliche Pinguine schmachten ihn an, Rosen werden geworfen, eine große Null überrollt sein Piano... . Im Schnelldurchlauf und mit einem kleinen Augenzwinkern sieht man das Leben von dem kleinen Litz.
(Technik: Legetrick)

''Zum Titel:

Mit dem Namen „petit Litz“ stieg Liszt in Paris schnell zur Berühmheit auf. Man nannte ihn den wiedergeborenen Mozart.''
 

'''[[/Lichtkomposition/]]'''
[[File:bäume1.jpg|left|thumb|250px|Lichtspiel 1]]
[[File:bäume2.jpg|left|thumb|250px|Lichtspiel 2]]

In der Kuppel sieht man ein virtuoses Lichtspiel aus einer Baum-Komposition.
Es gibt eine Interaktion zwischen Bild und Ton, wobei die Lichtkomposition an die Rhythmen und das Tempo der Lisztmusik angepasst ist.
 

'''[[/Remind me later/]] (Liana Chandra and Katre Haav)'''
[[File:postit equalizer testpic.jpg|thumb|250px|postit equalizer testpic]]
Our FullDome Film idea is to make a music visualisation in a traditional sense. We try to translate Liszts music pieces into picture. We also test how Liszts music sounds like interperted by a rockband or beatbox. We play with the medium using post-its, partly like oversized pixels in stop motion.
 

'''[[/A Human Aquarium/]] (Video Installation by Laura Fong)'''
[[File:ACUARIO FINAL.jpg|thumb|250px|ACUARIO FINAL]]
The basic premise of the piece I want to create to be projected in Fulldome format is the idea or notion of an Aquarium. But instead of fish or marine mammals and other species I want to portray human beings. Why do we go to aquariums to see animals swimming around us without their permission if we can portray humans with their permission…!

I want it to look actually like if they were really swimming above us. Looking at us. Underwater images of people swimming. The first idea was to have them swimming naked to make a direct connection with the marine animals. But lately ive been thinking about having them dressed, with different soft and translucid materials to have a nice visual effect or to have them dressed casual also to make an impression of them living in a normal natural space, trapped in their own social characters, trapped in a fish tank.

I would also like to begin the piece with a bigger quantity of people and towards the end we will see less people and in the last shot we will see only one woman.

For this piece I would like to use thru the whole video installation Franz Liszts song:
“Le Jeux d'Eau a la Villa d'Este”
 

'''[[/Chaos/]] (Chi Zhang & Xiaomei Wang)'''
'''aktuelle Idee-Glocke'''
Geschichte: Er bleibt in einem runden Raum wenn er wacht auf. Wo ist hier? In dem sieht er nur dunkel. Die Wände sind kalt und aus die Metall aufgebaut. Sein Hilfschrei könnte Niemand hören. Angst davor?
Was wird er erleben? Wäre es tot, oder?

'''Erste Idee'''
Wie bekannt, dass die Welt von einzigen und simpelen System aufgebaut wird. 
Für dieses Projekt möchten wir auch durch verschieden Symbol oder Zeichen, die auf unkomplizierten Reglung entstanden ist, darstellen. 
"Self-simalrity" ist eine Grundlage in Mathematik, und Herr Mandelbrot hat eine schöne Galerie, nämlich"Mandelbrot set" geschafft, die auf diese Theorie basiert wurde. (sorry for that we cant explain clearly, so if u want something more about it, please take a short bilck at the link below. Thx!) 
Also, wir machen so einfach, dass wir die Gefühle beim Hören automatisch zeichen oder schreiben. Die Skizze wären die Elemente für der ganze Film. Der zukünftige Effekt wäre ähnliche wie diese Zeichen der Mandelbrot set. Das ist unbeding ein "Chaos" zu machen. Aber das ist stimmt, was wir gerne für unseres Thema nennen möchten.

Flash, AE oder C4D wären der beste Weg unserer Ziel zu erreichen.

'''links'''
* [[wikipedia:Self-similar]]
* [[wikipedia:Mandelbrot set]]
 

'''[[/Liszt /]] (Shuo Liu)'''
ich habe bisher noch keine Entscheidung getroffen, mit welcher Art und Weise ich mein Werk schaffe. Es tut mir sehr leid.

Ich wollte zuerst es durch mehrere Kameras machen, genau gesagt wollte ich durch Stop Motion die Sehenswürdigkeiten von Berlin oder Weimar aufnehmen. Das Hintergrundmusik habe ich Clock ausgewählt. Aber das Stadt Weimar ist relativ still, dies entspricht nicht das Werk davon. Denn es im seinen Werk einen schnellen Takte gibt. Ich glaube die beiden passen nicht zusammen.

Mein zweites Idee war ein Flash über das Leben des Liszt . Wenn ich meine Augen zumache, und sein Musik genießen, tauchen viele springenden schwarzen und weissen Tastaturinstrumenten.
Deswegen möchte ich durch diese Art und Weise einen Flash machen. Im meinen Werk präsentiere ich auch viele schwarz und weiss in meinen Flash wie einen Schattenspiele. Weiß wird als Hintergrund und schwarz Schattenrissen als Figuren.
Zur Zeit versuche ich immer sein Musik wiedermal genau zu hören. Das Lied von Liebestraum gefallt mir sehr gut. Denn der Takt ist relativ langsam, das finde ich gut.
P.s. Ich bemühe mich gerade darum, wie ich Flash benutzen kann.
 

'''[[/Wir waren mal Feinde/]] (Walter Oppel)'''
[[File:Wir feinde squar.jpg|thumb|250px|Ehemalige Innerdeutsche Grenze Thüringen]]
Ich plane eine Dokumentation, die sich mit einen Ort unter freiem Himmel auseinandersetzt und sich dabei der Vorteile des Fulldome-Formats bedient. Das 360° Bild erlaubt es den Betrachter, ähnlich eines historischen Panoramas (Schaubild auf Rundhorizont gemalt), den gesamten Ort um sich herum wahrzunehmen und sich direkt dort hinein versetzt zu fühlen.

Wir waren mal Feinde will ich ein weitere Versuch unternehmen, eine Dokumentation für die Planetariumskuppel zu produzieren und dabei eine für die Zuschauer ansprechenden Umsetzungsform für dieses Genre zu finden. Für die technische Realisierung möchte ich 360° Fotografie/StopMotion und HD Video kombinieren. Über das genau Thema bin ich mir noch nicht sicher, mögliche Orte könnten sein: die ehemalige innerdeutsche Grenze (siehe Foto) oder die Schlachtfelder aus der Napoleon Zeit um 1806 bei Jena.
 

'''[[/Space between sound/]] (Adam Newns)'''
[[File:Sample.png|thumb|250px|All the artefacts in the film at once]]
This is a music visualisation of a section of 'Wanderer Fantasie' by Liszt using photos animated in after effects in an astronomical setting. 2m 28s long.
 

==Semesterapparat==
'''Infos zu Workshops und Exkursionen'''
*[[Media:Fulldomeworkshop Jena 20 11 10(Programm).doc| Programm zum Fulldome Workshop am 20.11.10 (dt.)]]
*[[Media:Exkursion Wolfsburg Programmplan.doc| Programm der Exkursion ins Planetarium Wolfsburg vom 21.10.10 (dt.)]]
*[[Media:Exkursion Wolfsburg Bericht.pdf| Bericht über die Exkursion ins Planetarium Wolfsburg (dt.)]]

'''Fulldome Festival Jena'''
*[[Media:EntryRequirements 2011 final.doc| Teilnahmebedingungen für das Fulldome Festival 2011 in Jena (engl.)]]
*[[Media:Teilnahmebedingungen 2011.doc| Teilnahmebedingungen für das Fulldome Festival 2011 in Jena (dt.)]]
*[[Media:4th annual Fulldome Festival Jena.pdf| Bericht über das Fulldome Festival 2010 (engl.)]]

'''Tutorials und Basics'''
*[[Media:Fulldome technische Grundlagen(T Fritzsche 09).pdf|Tutorial: '''Technische Grundlagen im Fulldome'''(dt.)]]
*[[Media:FulldomeSettings 3dsmax((T Fritzsche 07).pdf|Tutorial: '''Fulldome Filme erstellen mit 3dsmax'''(dt.)]]
*[[Media:5CameraRig-2.pdf|Tutorial: '''Fulldome Filme mit After Effects 3D Ebenen erstellen'''(dt.)]]
*[[Media:Fulldome-KomplexesWoelben.zip|Tutorium: '''Fulldome Verzerrungen - Komplexes Wölben mit After Effects'''(inkl. Projektdateien / dt.)]]
*[[Media:Einstellungen.pdf| Tutorium: '''Rendereinstellungen für Fulldome in After Effects'''(dt.)]]
*[[Media:AE-Turorial.pdf|Tutorium: '''After Effects und Fulldome für Einsteiger''' vom 9.12.10(dt.)]]
*[[Media:QuoVadis-Fulldome leaflet.pdf|Basic: „Quo Vadis Fulldome“ - Grundsatzvortrag von Volkmar Schorcht zu Fulldome(dt.)]]

'''Material für die kursinternen Tutorien'''
*[[Media:FullDome-5-Camera-Rig.zip|Projektdatei für Tutorial: '''Fulldome Filme mit After Effects 3D Ebenen erstellen''']]
*[http://webuser.uni-weimar.de/~olif2166/Bluebox_Tutorial.zip Footagedateien für Tutorium: '''After Effects und Fulldome für Einsteiger''' vom 9.12.10 (ca 700MB)]

'''Franz Liszt Musikstücke'''
* [http://webuser.uni-weimar.de/~olif2166/Visualiszt/F_Liszt_Musikstuecke.zip Franz Liszt Musikstücke zur Verwendung durch die Kursteilnehmer]

'''Andere'''
*[http://webuser.uni-weimar.de/~olif2166/LotterieSounds_1-46.zip Soundschnipsel für die Musikvisualisierungslotterie]
*[[Media:Fulldome Musikvisu Hausaufgabe 14_01.zip|Hausaufgabe Musikvisualisierung für den 14.1.11]]

==Links==
'''Andere Fulldome-Kurse'''
*[[/Visualiszt|„Musikvisualisierung im FullDome-Format am Beispiel von Franz Liszt“ (Projektmodul)]]
* [[GMU:Immersive Strategien]] (Werkmodul)

'''Fulldome Festivals'''
*[http://www.fulldome-festival.de Offizielle Festivalseite des Fulldome Festivals in Jena]
*[http://www.planetarium-jena.de/ Seite des Jenaer Planetariums]
*[http://www.students-nightlife.de/wp-content/uploads/sn_nl_award.pdf Teilnahmebedingungen am Students's Nightlife Award]
*[http://www.students-nightlife.de Student's Nightlife Internetseite]
*[http://cyprusdomefest.com/2010/12/08/hello-world/ Cyprus Domefest]

'''Fulldome Filme online schauen'''
*[http://www.skyskan.com/products/content Professionelle Fulldome Produktionen als Streaming Filme]

'''Fulldome Tutorials/Basics'''
*[http://artslab.unm.edu/beginner_fulldome.html Hue's Beginner's Guide to Fulldome Production]
*[http://pineappleware.undonet.com/index.html A long way to Dome Master - Theoretical and practical approach on the Fulldome Format "Dome Master"]

'''Tools und Software'''
*[http://extranet.spitzinc.com/download/ Glom (Freeware Stitching Programm zur Generierung von Fulldome Bildern)]
*[http://incom.org/projekt/1372 DomeMod und Dometester (2 kostenlose Programme zum Preview von Bildern und Filmen im Fulldomeformat in einer virtuellen Kuppel)]
*[http://software.multimeios.pt/fulldome/index.html Fulldome Plugin für After Effects (Kostenpflichtiges Plugin für After Effects zur Gegenzerrung von Fulldome Bildern)]
*[http://www.ranchcomputing.com/M_freesoftware.php FRAMANIP Pro, Software zur schnellen Vorschau von Einzelbildsequenzen]

'''Community'''
*[http://www.studivz.net/Groups/Overview/49d5dbc9ff3b8fcc StudiVZ Gruppe zu Fulldome]
*[http://www.facebook.com/home.php?sk=group_155007091211304&ap=1 Facebook Gruppe zu Fulldome]

'''Andere'''
*[http://www.xrez.com/tech-and-services/fulldome-theatre-production/ interaktive 3D Fahrt durch eine Fulldome Kuppel]
*[[wikipedia:Fulldome|englischer Wikipedia Eintrag zu Fulldome]]
*[http://3d-top-event.com/ Seite von Panoramafotograf Torsten Hemke]
*[http://domelab2010.anat.org.au/ Umfangreicher Blog mit Diskussionen rund um Fulldome]
[[File:Example.jpg]]

[[Category:Fachmodul]]
[[Category:Werkmodul]]
[[Category:WS10]]

2011-03-05T23:44:56Z

Petu3224: Created page with "Title: SUBSTANCE ENCOUNTERS Project Holder: Natercia Chang Credits: Laura Fong, Sahar Hashim, Ivo Santos, Asami Tesuka Music: "Bafo de Shiva", by Norberto Lobo, Gloria Tang ..."

IMM:Fulldome

2011-03-05T23:16:59Z

Petu3224: /* Projekte der Teilnehmer */

''Bachelor-[[:Category:Werkmodul|Werkmodul]] 
''Master-[[:Category:Fachmodul|Fachmodul]] 
''Dozenten:'' Micky Remann, studentische Tutoren 
''Bewertung:'' 4 [[SWS]], 6 [[ECTS]] 
''Termin:'' Donnerstags, 12:30 Uhr 
''Ort:'' Steubenstraße 6a(Medienhaus), Kinoraum 112 
''Erster Termin:'' 21.10.2010 

([[/Visualiszt|Zum Projektmodul "Musikvisualisierung im FullDome-Format am Beispiel von Franz Liszt" geht es hier.]])

==FullDome - Grundlagen und Perspektiven der Ganzkuppelprojektion==
[[File:Fulldome.jpg|thumb|250px|(C)Warik Lawrance, Melbourne Planetarium]]
Wohin entwickelt sich das Medium Fulldome? Die Frage lässt sich am ehesten von denen beantworten, die das junge Genre mit eigenen Inhalten füllen und damit definieren. Praktische Experimente, theoretische Reflexion und medienkünstlerische Produktion liegen sehr eng beieinander. An der Bauhaus-Universität sind in den vergangenen Jahren in Kooperation mit dem Zeiss-Planetarium Jena und dem dort stattfindenden „FullDome Festival“ Projekte entstanden, die international Beachtung gefunden haben. Das FullDome-Theater bietet faszinierende Möglichkeiten, die es in keinem anderen Medium gibt. Zugleich erfordern die Besonderheiten der Bildwelten in erweiterter räumlicher Dimension ein radikales Umdenken in Bezug auf Technik, Herstellung, Komposition und Dramaturgie.

Unter Fulldome wird ein Projektionssystem verstanden, das die gesamte Innenfläche einer Halbkugel – wie zum Beispiel ein Planetarium –mit beliebigen digitalen, bewegten Bilder füllen kann. Es handelt sich um Kino im 360° Ganzkuppelformat. Bei den zu bewegenden Datenmengen lässt sich ein eigenes Fulldome-Projekt nur mit hohem Arbeitsaufwand realisieren. Aufbauend auf Erfahrungen der vergangenen Semester werden im Rahmen des Fachkurses Grundlagen und Perspektiven der Fulldome-Produktion vermittelt. Es werden Workshops in Zusammenarbeit mit dem Zeiss-Planetarium Jena und der Carl Zeiss AG angeboten. Austausch findet auch mit anderen am Medium FullDome arbeitenden Hochschulen und Produzenten im In- und Ausland statt. Die Studierenden und ihre Arbeiten werden aktiv in die Vorbereitungen zum 5. FullDome-Festival im Zeiss-Planetarium Jena einbezogen (12./14. Mai 2014). Neben der Ideenfindung und der praktischen Arbeit wird daran gearbeitet, dass das junge Medium „FullDome“ als innovatives Medienereignis öffentlich wahrgenommen wird.

English:

FullDome basics
Introduction and practical work on content and choreography of films in the 360° FullDome format. Basic skills of creating visual worlds beyond the flat screen, as developed in previous Bauhaus University courses. In cooperation with Zeiss-Planetarium Jena and other fulldome producers. Preparations and projects for the 5th international FullDome Festival in Jena, May 12th - 14th 2011.

Lecturer: Micky Remann (and guest faculty).

==Richtet sich an==
*Master-Studierende der Fakultäten Medien und der Fakultät Gestaltung ('''Fachmodul''': FullDome - Perspektiven der Ganzkuppelprojektion)
*Bachelor -Studierende der Fakultäten Medien und der Fakultät Gestaltung ('''Werkmodul''': FullDome - Grundlagen der Ganzkuppelprojektion)

==Leistungsnachweise==
aktive Teilnahme, Erstellung eines Fulldome Films (Einzeln oder in Gruppen), Dokumentation auf dem Wiki

==Kurstermine==
*21.10. Organisatorisches, Einschreibung, Terminplanung
*28.10. Theorie: Grundlagen, Fulldome vs. planare Projektion am Bsp.
*04.11. Technische und stilistische Möglichkeiten und Grenzen des Domes am Bsp.
*11.11. Fulldome in der Praxis: Arbeiten mit After Effects
*18.11. Fulldome in der Praxis: Arbeiten mit 3dsmax / Vorbesprechung Workshop und Testbilder
*25.11. Auswertung Workshop, Projektideen ausarbeiten
*01.12. Einführung ins Studio (mit Bluescreen)
*02.12. fällt aus
*09.12. Einsteigertutorium für After Effects mit Bezug auf Fulldome
*16.12. Zwischenpräsentation der Projektideen mit ausgearbeitetem Konzept
*--- Weihnachtsferien ---
*06.01. Organisatorisches Treffen für Einzelgespräche
*13.01. Einzelgespräche
*20.01. Einzelgespräche
*27.01. Einzelgespräche
*03.02. Abschlusstermin, Organisation Screeningtermin im Planetarium - Semesterpause

==Sondertermine==
*20.11.10 Fulldome-Workshop bei Carl Zeiss in Jena. Hochschulübergreifend. 11.00 - 24.00 Uhr.
*17.1.11 Testscreening im Planetarium Jena (13Uhr)
*12.02.11 Screening-Workshop bei Carl Zeiss (13 - 18 Uhr) und im Planetarium Jena (22-24Uhr) Hochschulübergreifend
*11.04.11 Deadline für die Einreichung studentischer Filme zum Fulldome Festival 2011
*12.05. - 14.05.11 Fulldome Festival in Jena. (13.05.: Students' Night)

==Projekte der Teilnehmer==
(Hilfe zur Bearbeitung von Wikiseiten findet ihr [[Help:Editing| hier]])

'''[[SUBSTANCE ENCOUNTERS/]] (Natercia Chang)'''

'''[[/(AT)against/]] (Katharina Schwarz)'''
Eine 2D-animierte Musikvisualisierung, die bruchstückhaft Liszts Krisen und Erfolge beschreibt. Wie ein Puzzle wird eine schlussendliche grafische Komposition als kuppelfüllende Collage schrittweise zusammengefügt und zeigt in ihrem Entstehungsverlauf mit dem Motiv „Kampf“, abstrakt vier Schwerpunkte aus seinem Leben.

Das Motiv ist begründet in einem Zitat von Stefan Zweig, welches jedem schöpferischen Menschen den Kampf mit seinem Dämon zuschreibt, der sich immer als Helden- und/oder Liebeskampf darstellt.

Die Schwerpunkte lassen sich mit den Schlüsselworten Melancholie, Düsternis, Depression, Suizid, Liebe und Musik zusammenfassen. Inhaltlich sind sie an der Dominanz des Vaters, seiner ersten Lebenskrise von 1827 mit anschließender Depression, seinen Liebesbeziehungen und der Konfrontation mit Thalberg orientiert.
 

'''[[/C R Y S T A L I Z E D/]] (Gergana)'''
[[File:cyabird 2.jpg|thumb|250px|Cyabird]]
[[File:lanscape penta!.jpg|thumb|250px|Landscape Penta]]
[[File:pyra!!!.jpg|thumb|250px|Pyra.Would like to have it 3d]]
Key words: Abstract shapes; Surreality; Solaris; Sci FI; Space ships; Star crafts; Space; Time; Travel; Drift; Absence; Shiny surfaces; Planetary dust; Nebulas; DIstant lights; Darkness, Silence; Slow movement Through; 3d; Pyramids; Pentagons; Crystals; Crystal world; No human presence- no warmth; Frozen; minus -3000ºF; ...

I want to visualize an abstract world. It is solitude, cold. We fly over it slowly, drifting away, being out there, experiencing the landscape and abstract shapes as a surreality. We hear the melancholic tones that echo through the space(liszt's music)...
I will use 3D, real footage and lots of jpg images, png and layers merged together to form a landscape that we move through.

 

'''[[/Hide and Seek/]] (Andréanne Chartrand-Beaudry)'''
This is the sad tale of two kids who didn’t listen to their parents and left the forest path. They played all day in the forest running and screaming until nightfall. As the light faded to darkness they started to feel the cold dampness of nights in the forest. They soon realised that they were lost. The cheer faded from their round faces as they ambled through the forest looking for shelter. To their amazement and surprise, in what seemed to be the deepest part of the forest, they stumbled upon a huge Victorian house surrounded by crooked leafless trees. They rang the bell, hoping the owners of the house would be nice enough to help them find their way back to the outskirts of the forest. No answer came, but the door opened slowly to the dark interior of the house ...
 

'''[[/dance of death/]] (Timea Tofalvi, Daniela Stade)'''
Unsere Animation steht unter dem Motto: liszt meets goethe!
Liszt hat das Stück Totentanz für Piano komponiert, wir werden dieses mit dem gleichnamigen Gedicht von Goethe illustrieren.
 

'''[[/Der Kurier des Czaren/]] (Patrick Richter, Julia Vorkefeld)'''
[[File:DKDC-schwimmer.jpg|thumb|250px|Der Schwimmer aus "Der Kurier des Czaren" Illustration: Jessy Asmus]]
Vor etwa 20 Jahren fand man einen Koffer der einige lose Blätter beinhaltete, deren Fund eine große Hysterie auslöste. Es handelte sich um Textfragmente Franz Kafkas. Darunter war auch ein Text den man als "Der Kurier des Czaren" betitelte. Er ist unvollständig da das Blatt an der unteren Hälfte abgetrennt wurde. Dieser Mysteriöse Text wurde im letzten Semester durch Studenten der visuellen Kommunikation illustriert. Zusammen mit einer der Illustratorinnen möchte ich die absurde Geschichte des Czaren der auf einem Waldweg seinem Gefolge hinterher läuft fulldomisieren. Eine schwarz-weiße Comic-Geschichte mit verqueren Charakteren, immersiv.
 

'''[[/Liszt - Reimagined/]] (Sönke Hahn)'''
[[File:Beispiel Hahn.jpg|thumb|250px|Testbild einer Szene aus Liszts Leben]]
Franz Liszt – sein Leben wirkt wie das eines modernen Popstars: große Kunst, tiefe Schicksalsschläge, tosender Applaus, bittere Einsamkeit und das allmähliche Vergessen eines künstlerischen Lebenswerks. 
„Liszt - Reimagined“ möchte auf unterhaltsame, moderne Art und Weise diesen großen Kosmopoliten wiederentdecken. Erzählt in unserer Gegenwart. In einer Kombination auf realer Footage, gezeichneten Hintergründe und modern interpretierter Liszt-Musik wird dieser Film in einem vierminütigen Schnelldurchlauf das Leben des großen Künstlers nachzeichnen – stets mit einem Augenzwingern, aber auch mit gebührendem Hinweis auf das, was wir alle auch heute noch von Liszt lernen können: Uns als Weltbürger zu bereifen!
 

[[File:3dMandelbrot.jpg|thumb|250px|Testbild eines Mandelbrotfraktals in 3D]]
'''[[/3D Mandelbrot/]] (Tony Wulfert)'''
Eine musikalische Reise durch ein dreidimensionales Mandelbrotfraktal.Eventuell nach dem Chromadepthverfahren. (also so richtig mit 3D Brille)
 

'''[[/Before the Eye Closes/]] (Lasma Kanele, Sandra Guzman, Stephan Isermann)'''
There is a human pupil in an eye of a man. It travels from the eye through the nervous system of the mind. It wants to flow around and explore. Perhaps it tries to escape. Who is the man it belongs to? It is the great master of music -Franz Liszt. His music plays its own part. The pupil in a 3D environment responds to the movements based on the rhythm, and sounds it creates. Till the last second it travels...till the eye closes.
[[Image:Cuatro.jpg|200px|thumb|left|alt text]]
 

'''[[/Tröstung/]] (Bianka Langnickel & Kat Sengstaken)'''
[[File:Fulldomewiki1.jpg|thumb|250px|Testbild von Lichgestalten]]
Das Klangvolumen des Liszt Stück »TRÖSTUNG« wird in eine Bildsprache übersetzt, die sich wie zufällig ihrer eigenen Virtuosität bedient und Elemente der natürlichen Wahrnehmung wie Dre- hung, Reflexion und Streuung bearbeitet. »TRÖSTUNG« erlaubt uns einen Perspektivenwechsel auf das Detailhafte und den Mikrokosmos. Der leidenschaftlich, drängende Charakter der Liszt Kompo- sition »TRÖSTUNG« verleiht dem Stück emotionale Ausdrucksstärke, die wir hier visuell transkri- bieren. Wir möchten mit unserem Beitrag der Musik von Franz Liszt einen neuen Zauber einzuhau- chen und sie mit lebendigen visuellen Elementen sinnvoll ergänzen...
 

'''[[/Visualizing Liszt (*working title*)/]] (Stephan Thiel)'''
Grundgedanke meines Projekts ist die Visualisierung von Musik mithilfe selbstgeschriebener Software.
Anhand eines frei gewählten Werkes und verschiedener Ansätze zu dessen Analyse suche ich nach musikalisch-klanglichen Aspekten, die sich für eine statische Visualisierung unter dem Aspekt der Vergleichbarkeit zu anderen Werken eignen. Das für diese statische Variante entwickelte formale System bildet die Grundlage für eine Umsetzung der Visualisierung als Animation im Fulldome.
Dadurch soll erreicht werden, dass die statische Visualisierung als eine ›Aufzeichnung‹ der live stattfindenden, erlebnisorientierten Visualisierung im Fulldome aufgefasst werden kann, und durch den Vergleich beider Elemente von mehreren Musikstücken neue Einblicke in das musikalische Werk Franz Liszts gewonnen werden können.

das komplette PDF befindet sich [http://dl.dropbox.com/u/411528/20101124_status_01.pdf hier]
 

'''[[/Traumschwindel/]] (Jan Schepanski)'''

Namentlich angelehnt an ein Meisterwerk der noch jungfräulich erscheinenden Geschichte der Bewegtbilddomekunst, möchte sie dieser Film in die grenzenlose Welt der Träume entführen.

 

'''[[/No Title/]] (Natercia Chang)'''
Liebestraum means "Dream of Love" in German. The melody of this piece of music indulges listeners in a dream, a dantacy of love.

Love is beautiful, so beautiful that it can't hardly be real. This basic instinct has almost been forgotten; aggression, hatred seem to be the ego of survival.

Long before 4000 years, before Christ was born, wars already began when the first few world civilization took place.

I want to employ this piece of music to express how countries and cultures were taken over, exploited and conquered throughout the history of human civilization. How bombs were easily dropped onto earth and millions of people were killed. I want to make a contrast of how beautiful the world and people could be with this music, at the same time showing the brutal history of human beings in a subtle way....
 

'''[[/Petit Litz/]] (Maggie Bücker & Henrike Schneider)'''
[[File:Litz.jpg|thumb|250px|Petit Litz]]
In 'Petit Litz' sitzt ein kleiner Pinguin mit Perücke allein vor einem Flügel.
Der kleine Litz spielt voller Inbrunst. Pinguine kommen in Scharren, weibliche Pinguine schmachten ihn an, Rosen werden geworfen, eine große Null überrollt sein Piano... . Im Schnelldurchlauf und mit einem kleinen Augenzwinkern sieht man das Leben von dem kleinen Litz.
(Technik: Legetrick)

''Zum Titel:

Mit dem Namen „petit Litz“ stieg Liszt in Paris schnell zur Berühmheit auf. Man nannte ihn den wiedergeborenen Mozart.''
 

'''[[/Lichtkomposition/]]'''
[[File:bäume1.jpg|left|thumb|250px|Lichtspiel 1]]
[[File:bäume2.jpg|left|thumb|250px|Lichtspiel 2]]

In der Kuppel sieht man ein virtuoses Lichtspiel aus einer Baum-Komposition.
Es gibt eine Interaktion zwischen Bild und Ton, wobei die Lichtkomposition an die Rhythmen und das Tempo der Lisztmusik angepasst ist.
 

'''[[/Remind me later/]] (Liana Chandra and Katre Haav)'''
[[File:postit equalizer testpic.jpg|thumb|250px|postit equalizer testpic]]
Our FullDome Film idea is to make a music visualisation in a traditional sense. We try to translate Liszts music pieces into picture. We also test how Liszts music sounds like interperted by a rockband or beatbox. We play with the medium using post-its, partly like oversized pixels in stop motion.
 

'''[[/A Human Aquarium/]] (Video Installation by Laura Fong)'''
[[File:ACUARIO FINAL.jpg|thumb|250px|ACUARIO FINAL]]
The basic premise of the piece I want to create to be projected in Fulldome format is the idea or notion of an Aquarium. But instead of fish or marine mammals and other species I want to portray human beings. Why do we go to aquariums to see animals swimming around us without their permission if we can portray humans with their permission…!

I want it to look actually like if they were really swimming above us. Looking at us. Underwater images of people swimming. The first idea was to have them swimming naked to make a direct connection with the marine animals. But lately ive been thinking about having them dressed, with different soft and translucid materials to have a nice visual effect or to have them dressed casual also to make an impression of them living in a normal natural space, trapped in their own social characters, trapped in a fish tank.

I would also like to begin the piece with a bigger quantity of people and towards the end we will see less people and in the last shot we will see only one woman.

For this piece I would like to use thru the whole video installation Franz Liszts song:
“Le Jeux d'Eau a la Villa d'Este”
 

'''[[/Chaos/]] (Chi Zhang & Xiaomei Wang)'''
'''aktuelle Idee-Glocke'''
Geschichte: Er bleibt in einem runden Raum wenn er wacht auf. Wo ist hier? In dem sieht er nur dunkel. Die Wände sind kalt und aus die Metall aufgebaut. Sein Hilfschrei könnte Niemand hören. Angst davor?
Was wird er erleben? Wäre es tot, oder?

'''Erste Idee'''
Wie bekannt, dass die Welt von einzigen und simpelen System aufgebaut wird. 
Für dieses Projekt möchten wir auch durch verschieden Symbol oder Zeichen, die auf unkomplizierten Reglung entstanden ist, darstellen. 
"Self-simalrity" ist eine Grundlage in Mathematik, und Herr Mandelbrot hat eine schöne Galerie, nämlich"Mandelbrot set" geschafft, die auf diese Theorie basiert wurde. (sorry for that we cant explain clearly, so if u want something more about it, please take a short bilck at the link below. Thx!) 
Also, wir machen so einfach, dass wir die Gefühle beim Hören automatisch zeichen oder schreiben. Die Skizze wären die Elemente für der ganze Film. Der zukünftige Effekt wäre ähnliche wie diese Zeichen der Mandelbrot set. Das ist unbeding ein "Chaos" zu machen. Aber das ist stimmt, was wir gerne für unseres Thema nennen möchten.

Flash, AE oder C4D wären der beste Weg unserer Ziel zu erreichen.

'''links'''
* [[wikipedia:Self-similar]]
* [[wikipedia:Mandelbrot set]]
 

'''[[/Liszt /]] (Shuo Liu)'''
ich habe bisher noch keine Entscheidung getroffen, mit welcher Art und Weise ich mein Werk schaffe. Es tut mir sehr leid.

Ich wollte zuerst es durch mehrere Kameras machen, genau gesagt wollte ich durch Stop Motion die Sehenswürdigkeiten von Berlin oder Weimar aufnehmen. Das Hintergrundmusik habe ich Clock ausgewählt. Aber das Stadt Weimar ist relativ still, dies entspricht nicht das Werk davon. Denn es im seinen Werk einen schnellen Takte gibt. Ich glaube die beiden passen nicht zusammen.

Mein zweites Idee war ein Flash über das Leben des Liszt . Wenn ich meine Augen zumache, und sein Musik genießen, tauchen viele springenden schwarzen und weissen Tastaturinstrumenten.
Deswegen möchte ich durch diese Art und Weise einen Flash machen. Im meinen Werk präsentiere ich auch viele schwarz und weiss in meinen Flash wie einen Schattenspiele. Weiß wird als Hintergrund und schwarz Schattenrissen als Figuren.
Zur Zeit versuche ich immer sein Musik wiedermal genau zu hören. Das Lied von Liebestraum gefallt mir sehr gut. Denn der Takt ist relativ langsam, das finde ich gut.
P.s. Ich bemühe mich gerade darum, wie ich Flash benutzen kann.
 

'''[[/Wir waren mal Feinde/]] (Walter Oppel)'''
[[File:Wir feinde squar.jpg|thumb|250px|Ehemalige Innerdeutsche Grenze Thüringen]]
Ich plane eine Dokumentation, die sich mit einen Ort unter freiem Himmel auseinandersetzt und sich dabei der Vorteile des Fulldome-Formats bedient. Das 360° Bild erlaubt es den Betrachter, ähnlich eines historischen Panoramas (Schaubild auf Rundhorizont gemalt), den gesamten Ort um sich herum wahrzunehmen und sich direkt dort hinein versetzt zu fühlen.

Wir waren mal Feinde will ich ein weitere Versuch unternehmen, eine Dokumentation für die Planetariumskuppel zu produzieren und dabei eine für die Zuschauer ansprechenden Umsetzungsform für dieses Genre zu finden. Für die technische Realisierung möchte ich 360° Fotografie/StopMotion und HD Video kombinieren. Über das genau Thema bin ich mir noch nicht sicher, mögliche Orte könnten sein: die ehemalige innerdeutsche Grenze (siehe Foto) oder die Schlachtfelder aus der Napoleon Zeit um 1806 bei Jena.
 

'''[[/Space between sound/]] (Adam Newns)'''
[[File:Sample.png|thumb|250px|All the artefacts in the film at once]]
This is a music visualisation of a section of 'Wanderer Fantasie' by Liszt using photos animated in after effects in an astronomical setting. 2m 28s long.
 

==Semesterapparat==
'''Infos zu Workshops und Exkursionen'''
*[[Media:Fulldomeworkshop Jena 20 11 10(Programm).doc| Programm zum Fulldome Workshop am 20.11.10 (dt.)]]
*[[Media:Exkursion Wolfsburg Programmplan.doc| Programm der Exkursion ins Planetarium Wolfsburg vom 21.10.10 (dt.)]]
*[[Media:Exkursion Wolfsburg Bericht.pdf| Bericht über die Exkursion ins Planetarium Wolfsburg (dt.)]]

'''Fulldome Festival Jena'''
*[[Media:EntryRequirements 2011 final.doc| Teilnahmebedingungen für das Fulldome Festival 2011 in Jena (engl.)]]
*[[Media:Teilnahmebedingungen 2011.doc| Teilnahmebedingungen für das Fulldome Festival 2011 in Jena (dt.)]]
*[[Media:4th annual Fulldome Festival Jena.pdf| Bericht über das Fulldome Festival 2010 (engl.)]]

'''Tutorials und Basics'''
*[[Media:Fulldome technische Grundlagen(T Fritzsche 09).pdf|Tutorial: '''Technische Grundlagen im Fulldome'''(dt.)]]
*[[Media:FulldomeSettings 3dsmax((T Fritzsche 07).pdf|Tutorial: '''Fulldome Filme erstellen mit 3dsmax'''(dt.)]]
*[[Media:5CameraRig-2.pdf|Tutorial: '''Fulldome Filme mit After Effects 3D Ebenen erstellen'''(dt.)]]
*[[Media:Fulldome-KomplexesWoelben.zip|Tutorium: '''Fulldome Verzerrungen - Komplexes Wölben mit After Effects'''(inkl. Projektdateien / dt.)]]
*[[Media:Einstellungen.pdf| Tutorium: '''Rendereinstellungen für Fulldome in After Effects'''(dt.)]]
*[[Media:AE-Turorial.pdf|Tutorium: '''After Effects und Fulldome für Einsteiger''' vom 9.12.10(dt.)]]
*[[Media:QuoVadis-Fulldome leaflet.pdf|Basic: „Quo Vadis Fulldome“ - Grundsatzvortrag von Volkmar Schorcht zu Fulldome(dt.)]]

'''Material für die kursinternen Tutorien'''
*[[Media:FullDome-5-Camera-Rig.zip|Projektdatei für Tutorial: '''Fulldome Filme mit After Effects 3D Ebenen erstellen''']]
*[http://webuser.uni-weimar.de/~olif2166/Bluebox_Tutorial.zip Footagedateien für Tutorium: '''After Effects und Fulldome für Einsteiger''' vom 9.12.10 (ca 700MB)]

'''Franz Liszt Musikstücke'''
* [http://webuser.uni-weimar.de/~olif2166/Visualiszt/F_Liszt_Musikstuecke.zip Franz Liszt Musikstücke zur Verwendung durch die Kursteilnehmer]

'''Andere'''
*[http://webuser.uni-weimar.de/~olif2166/LotterieSounds_1-46.zip Soundschnipsel für die Musikvisualisierungslotterie]
*[[Media:Fulldome Musikvisu Hausaufgabe 14_01.zip|Hausaufgabe Musikvisualisierung für den 14.1.11]]

==Links==
'''Andere Fulldome-Kurse'''
*[[/Visualiszt|„Musikvisualisierung im FullDome-Format am Beispiel von Franz Liszt“ (Projektmodul)]]
* [[GMU:Immersive Strategien]] (Werkmodul)

'''Fulldome Festivals'''
*[http://www.fulldome-festival.de Offizielle Festivalseite des Fulldome Festivals in Jena]
*[http://www.planetarium-jena.de/ Seite des Jenaer Planetariums]
*[http://www.students-nightlife.de/wp-content/uploads/sn_nl_award.pdf Teilnahmebedingungen am Students's Nightlife Award]
*[http://www.students-nightlife.de Student's Nightlife Internetseite]
*[http://cyprusdomefest.com/2010/12/08/hello-world/ Cyprus Domefest]

'''Fulldome Filme online schauen'''
*[http://www.skyskan.com/products/content Professionelle Fulldome Produktionen als Streaming Filme]

'''Fulldome Tutorials/Basics'''
*[http://artslab.unm.edu/beginner_fulldome.html Hue's Beginner's Guide to Fulldome Production]
*[http://pineappleware.undonet.com/index.html A long way to Dome Master - Theoretical and practical approach on the Fulldome Format "Dome Master"]

'''Tools und Software'''
*[http://extranet.spitzinc.com/download/ Glom (Freeware Stitching Programm zur Generierung von Fulldome Bildern)]
*[http://incom.org/projekt/1372 DomeMod und Dometester (2 kostenlose Programme zum Preview von Bildern und Filmen im Fulldomeformat in einer virtuellen Kuppel)]
*[http://software.multimeios.pt/fulldome/index.html Fulldome Plugin für After Effects (Kostenpflichtiges Plugin für After Effects zur Gegenzerrung von Fulldome Bildern)]
*[http://www.ranchcomputing.com/M_freesoftware.php FRAMANIP Pro, Software zur schnellen Vorschau von Einzelbildsequenzen]

'''Community'''
*[http://www.studivz.net/Groups/Overview/49d5dbc9ff3b8fcc StudiVZ Gruppe zu Fulldome]
*[http://www.facebook.com/home.php?sk=group_155007091211304&ap=1 Facebook Gruppe zu Fulldome]

'''Andere'''
*[http://www.xrez.com/tech-and-services/fulldome-theatre-production/ interaktive 3D Fahrt durch eine Fulldome Kuppel]
*[[wikipedia:Fulldome|englischer Wikipedia Eintrag zu Fulldome]]
*[http://3d-top-event.com/ Seite von Panoramafotograf Torsten Hemke]
*[http://domelab2010.anat.org.au/ Umfangreicher Blog mit Diskussionen rund um Fulldome]
[[File:Example.jpg]]

[[Category:Fachmodul]]
[[Category:Werkmodul]]
[[Category:WS10]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T17:52:10Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

<videoflash type="vimeo">19329969|500|300</videoflash>

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T15:38:09Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

<videoflash type="vimeo">19304433|500|300</videoflash>

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:50:57Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

[http://www.vimeo.com/19304433 watch this video]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:49:56Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

[[File:<iframe src="http://player.vimeo.com/video/19304433" width="400" height="225" frameborder="0"></iframe><a href="http://vimeo.com/19304433">the girlfriends</a> from <a href="http://vimeo.com/naterciachang">natercia chang</a> on <a href="http://vimeo.com">Vimeo</a>.]]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:48:26Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

[[File:<iframe src="http://player.vimeo.com/video/19304433" width="400" height="225" frameborder="0"></iframe><a href="http://vimeo.com/19304433">the girlfriends</a> from <a href="http://vimeo.com/naterciachang">natercia chang</a> on <a href="http://vimeo.com">Vimeo</a>..avi]]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:47:36Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

[[File:<iframe src="http://player.vimeo.com/video/19304433" width="400" height="225" frameborder="0"></iframe><a href="http://vimeo.com/19304433">the girlfriends</a> from <a href="http://vimeo.com/naterciachang">natercia chang</a> on <a href="http://vimeo.com">Vimeo</a>.]]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:46:39Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

[http://<iframe src="http://player.vimeo.com/video/19304433" width="400" height="225" frameborder="0"></iframe><a href="http://vimeo.com/19304433">the girlfriends</a> from <a href="http://vimeo.com/naterciachang">natercia chang</a> on <a href="http://vimeo.com">Vimeo</a>.]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:45:40Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

<iframe src="http://player.vimeo.com/video/19304433" width="400" height="225" frameborder="0"></iframe><a href="http://vimeo.com/19304433">the girlfriends</a> from <a href="http://vimeo.com/naterciachang">natercia chang</a> on <a href="http://vimeo.com">Vimeo</a>.

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:43:21Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

[ht<iframe src="http://player.vimeo.com/video/19304433" width="400" height="225" frameborder="0"></iframe><a href="http://vimeo.com/19304433">the girlfriends</a> from <a href="http://vimeo.com/naterciachang">natercia chang</a> on <a href="http://vimeo.com">Vimeo</a>.tp://www.vimeo.com/19304433 Watch this video]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:28:00Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

[http://www.vimeo.com/19304433 Watch this video]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:27:28Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:
[http://www.vimeo.com/19304433 link title]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:26:36Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

[http://www.vimeo.com/19304433 link title]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:26:07Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:
[http://http://www.vimeo.com/19304433 link title]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-29T07:25:19Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:
[http://http://www.vimeo.com/19304433]

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-24T16:49:05Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing, then to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:
coming soon

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-24T16:47:19Z

Petu3224: /* Screen 3 - the girlfriends */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I leave.

This video is different than the other two because it meant to be the imaginary series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

However the visual and audio are prolonged, thus distorting the sound itself. It then creates a feeling of hollow and creepiness which contrasts with the happy faces, foreshadowing the emptiness I will have after they are gone. It also shows my view on how a person perceives vibes; from a normal pace and tone before processing to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:
coming soon

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-24T16:34:20Z

Petu3224: /* Screen 2 - the park */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who are portrayed masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I am out of town.

This video is different than the other two because it meant to be a series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

It also shows my view on how a person perceives vibes; from a normal pace and tone before processing to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-24T16:32:06Z

Petu3224: /* Screen 1 - the screens */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and at the same time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who look masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I am out of town.

This video is different than the other two because it meant to be a series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

It also shows my view on how a person perceives vibes; from a normal pace and tone before processing to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-24T16:30:08Z

Petu3224: /* Screen 2 - the park */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they were talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who look masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I am out of town.

This video is different than the other two because it meant to be a series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

It also shows my view on how a person perceives vibes; from a normal pace and tone before processing to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]

GMU:Breaking the Timeline/projects/nicht blind, mute und deaf

2011-01-24T16:28:45Z

Petu3224: /* I. Concept */

== I. Concept ==
To replace dialogues from my memory, such as the conversations I have heard on TV, dialogues in a film and songs I usually listen to on the images I see every day in Weimar.

The project tends to show the feeling of alienation and solitary while celebrating the natural born ability of my mind, that is even if it is frustrating to be not able to understand from the actual audio in reality, my mind can replace another audio track onto the visual, thus generating a new scene that I preferred in my mind.

== II. Video descriptions and Film language ==
=== Screen 1 - the screens ===
It shows a collage of the footages of a game during the World Cup (Germany vs Ghana) that I was watching, including livestream, TV, youtube highlights, Fifa (playstation). While the audio was taken from the same match on the same day and time on a TV channel (a Portuguese channel) in Macau that I used to watch football games.

The collage of flikery footages depicts the huge flow of information of mass media. Images we see on TV, on Internet contains more information than we need, even on one single item. For example, for a football game, there is already a wide range of selections online or TV channels we can choose, excluding radio and podcast. It is the wide range of choices that makes us take it for granted, that allows us to jump from one source to another without digesting the content. It also reflects the relationship between audio and visual. In here, Portuguese and German would not make a big difference for me, it is the images I am watching helps me understand and it is the huge amount of images I am viewing that I almost ignore the importance of the audio. The thing that keeps my interest is the familiar voices, the articulation of a language that provokes my nostalgia.

<videoflash type="vimeo">19014594|500|300</videoflash>

=== Screen 2 - the park ===
It is a random day during the semester, part of the routine of a person does. Besides going to class, working, shopping at the grocery, a nice day in the summer would be chilling out at the park. So I took the camera with me, I saw some German boys were playing football, chatting, laughing and having fun. It would be very nice to know what they are talking.

In this context, I am a foriegner, an outsider who does not speak the same language and does not belong to their group. The camera position shows the allienation and distance between an ingroup and an outsider: a long shot, blurred, peeks (grass in the foreground). The camera movement depicts the exhaustion in getting to understand and waiting for a chance to communicate when the camera lost its focus while tilting down.

The audio is taken from a Hong Kong film, Beast Cops (1998), directed by Gordon Chan and Dante Lam. The summery of their conversation is that what matters in life is not about doing things to please the others, it is about doing things to please yourself. The dialoge is simple and it becomes sacastic when the voice is dubbed to teenagers' conversation but not the adults, as this simple topic can also be discussed among teenagers. Whereas in the film, it is discussed among men who look masculine and mature.

<videoflash type="vimeo">19014964|500|300</videoflash>

=== Screen 3 - the girlfriends ===
It is a collage of distorted close ups of the girls I met in Weimar. They are the people who I spent most of my time with, who I will miss and see in my mind when I am out of town.

This video is different than the other two because it meant to be a series of images in the actual mind. This is why it employs a lot of effects that imitate the exagerrated imagery in the mind.

Moreover, I believe music is the best common language among us, it is to express our emotions and to show passion to one another. The tune I used is taken from Modjo "Lady" (acoustic version) which decribes the romantic moment when a man meets a woman. It fits quite well to my friendship as they represent my romance to meet new people as well as the escape from being an outsider.

It also shows my view on how a person perceives vibes; from a normal pace and tone before processing to a slow motion, altered pitch chanting while the mind processes a melodic expression.

Watch this video:

To download the full documentation including the topics presented before:
[[Media:Project documentation.pdf]]