Final Project and Reflection

https://www.youtube.com/watch?v=AjqKe5qZ2AE&feature=youtu.be


              

After I wrote the previous post, I finished the audio which consists of 28 voice recordings and 2 tracks of the first two movements of Beethoven's Moonlight Sonata 27 opus 2 interpreted by pianist Paul Pitman. I chose this particular piece because it was written in 1801 which is the time period that Alexander von Humboldt and Aime Bonpland explored Central and South America. While it is fairly recognizable, my reason for using it is that the composition has a calm determination to it which I feel captures the sense of purpose that it must have taken these 2 explorer/scientists to undertake their journey. I feel that it also conveys a sense of  the scholarship it required to have the knowledge these men had to be able to understand these foreign countries from a  geological, scientific and archaeological point of view.

Albert Bierstadt, The Rocky Mountains, Lander's Peak

The VideoPad video editing software I used started to freeze up after I added the voice
recordings so that it was very difficult to change the sequence 
of the recordings, their placement or the images once everything was added to the timeline. There were a few revisions that I wanted
to do but could not. I wanted to create more transitions, possibly change a couple of images, add another chart of the volcanoes,
a photograph of John Muir or a Bierstadt painting, another artist that was inspired  by Humboldt and also shaped the view of the
unknown America in the 19th century, but
the software really did not allow me to do this. 

In addition, the software program crashed
several times so at the end of editing, I was
thankful that I had a project that was as near to
the final edit without any setbacks. I wanted to
add text which listed sources, credits and infor-
mation about the pianist as well as the name of the piece and composer. Unfortunately, that was not possible either.

The audio was difficult to match up with the images. It was pretty essential that the images change with the transitions in the narrative. I was not really sure how some of the transitions in the narrative related to the images so I was somewhat unclear where it would be best to change the image.With this type of video, the transition from one image to the next can add to the meaning of the video as long as it is the right one. As an example, using the circle zoom can have the effect of focusing on the subject to give greater insight or it can be a transition in time like the transition from Humboldt talking about his plans for the journey and then showing him in the landscape by a tent in the midst of his travels. That was actually unintentional. I was really pleased with the way that came out. 

The music elevates the viewers ability to assimilate the narrative. Using the multimedia principle, the music helps to give the video a consistency so the graphics which are somewhat different in style come together to create a continuous narrative. (Clark et al, 2008) I also like how the music adds to the mood of the video. When the narration begins discussing Humboldt's influence on the artists of the Hudson River school, the music picks up in a way that seems as if it was planned and actually much was an approximation of placing the narrative about where it seemed it should go. I am sure there must be a way to do this more exactly, but I feel it came together pretty well considering how inexact my editing process was.

There are a couple of graphics I would change. I don't think I adequately explained the concept of bio geography. I thought it was somewhat confusing and the chart by Aime Bonpland was completely illegible. I really should have included a close up of it or explained it better.  This video is a research project and I do not intend on releasing it as a stand alone video or for public viewing on Youtube. However, I enjoyed researching the material for this video. Alexander von Humboldt was and is a very interesting person. As it turns out, the credentials of one of the scholars referenced in the video is slightly incorrect. Frank Baron has a PhD in Germanic studies and has researched literature and art from the Renaissance to the 20th century. In the narrative, he is described as an art historian. His description should probably be changed to scholar but I have not been able to revise the video due to the software problems.

References
Alexander von Humboldt webpage, Wikipedia.org. 
retrieved from: http://en.wikipedia.org/wiki/Alexander_von_Humboldt

Baron, F., 2010. "From Humboldt to Darwin: Influence and Evolution", Alexander von Humboldt Digital Library, University of Kansas, 2013.
retrieved from http://www.avhumboldt.net/_publications/DarwinHumboldt.pdf

Baron, F., 2005. "From Alexander von Humboldt to Frederic Edwin Church: Voyages of Scientific Exploration and Artistic Creativity", Humboldt Digital Library, VI, 10, 2005.
retrieved from: http://www.uni-potsdam.de/romanistik/hin/hin10/inh_baron_3.htm

Buttimer, A., 2012. "Alexander von Humboldt and planet earth’s green mantle", Cybergeo, European Journal of Geography. 
retrieved from: http://cybergeo.revues.org/25478#illustrations

Clark, R. C. , Mayer, R. E., 2008. E-Leaarning and the Science of Instruction, Pfeiffer, an imprint of Wiley, San Francisco, CA. 

Darwin Correspondence Project, Cambridge University Library, University of Cambridge, 2015. retrieved from:   http://www.darwinproject.ac.uk/darwins-letters

Emerson, R. W., 1869. XXIV Humboldt, An Abstract of Mr. Emerson's remarks made at the celebration of the Centennial Anniversary of the birth of Alexander von Humboldt, September 14, 1869, Complete Works of Ralph Waldo Emerson website, RWE.org, 1998.
retrieved from: http://www.rwe.org/xxiv-humboldt.html

The Humboldt Digital Library, The University of Kansas, 
retrieved from: http://www.avhumboldt.net/index.php?page=138

Pitman, Paul, n.d. Piano Sonata no. 14 in C sharp minor, Op. 27 no. 2, (I, II,), Ludwig van Beethovan, Musopen website.
retrieved from:  https://musopen.org/music/278/ludwig-van-beethoven/sonata-no-14-in-c-sharp-minor-moonlight-op-27-no-2/

Sachs, Aaron. 2007. The Humboldt Current: Nineteenth-Century Exploration and the Roots of American Environmentalism. Penguin

The Thomas Jefferson Papers, American Memory website, The Library of Congress online.
retrieved from :  http://memory.loc.gov/ammem/collections/jefferson_papers/

VideoPad video editing software

Images:

Aime Bonpland Daguerrotype, 1850, (cropped) no attribution, Harvard University Library Weissman Preservation Center, Aime Bonpland webpage, Wikipedia Commons.
retrieved from: 
http://commons.wikimedia.org/wiki/File:Aim%C3%A9_Bonpland_daguerreotype.jpg

Begas,R., 1883. Alexander von Humboldt sculpture, Humboldt University, Berlin, 
Wikipedia Commons. retrieved from: 
http://wikimapia.org/#lang=en&lat=52.517646&lon=13.396235&z=20&m=b&show=/7867130/Alexander-von-Humboldt-Statue

Bonpland, A., 1807, "Geographie of Plants", Zurich Central Library, Zurich, Switzerland, Aime Bonpland webpage, Wikipedia Commons. retrieved from: 
http://commons.wikimedia.org/wiki/File:Zentralbibliothek_Z%C3%BCrich_-_Ideen_zu_einer_Geographie_der_Pflanzen_nebst_einem_Naturgem%C3%A4lde_der_Tropenl%C3%A4nder_-_000012142.jpg

Church, F. E., 1862. "Cotopaxi", Detroit Institute of Art, Detroit, Michigan, USA, The Public's Library and Digital Archive website.retrieved from: 
http://www.ibiblio.org/ulysses/gec/painting/church/cotopaxi1862.jpg

Church, F. E., 1854, "Tequendama Falls, Near Bogota, New Granada", Cincinnati Art Museum, Cincinnati, Ohio, USA, Frederic Edwin Church webpage, Wikipedia Commons. 
retrieved from: 
http://commons.wikimedia.org/wiki/File:Frederic_Edwin_Church__Tequendama_Falls,_Near_Bogota,_New_Granada.jpg

Ender,E., ca. 1850. "Alexander von Humboldt and Aime Bonpland in the Amazonas Jungle", oil, Berlin Brandenbergische Akademie der Wissenschaften, (U.S Public Domain) Alexander von Humboldt webpage, Wikipedia Commons. retrieved from: http://commons.wikimedia.org/wiki/File:Humboldt_and_Bonplant_in_the_Jungle.jpg

Friedrich, C. D., ca. 1834, "Stages of Life (beach picture, beach scene in Wiek)", Museum de bildenden Kunste, Leipzig, Germany, Wikipedia Commons, retrieved from:
http://en.wikipedia.org/wiki/File:Caspar_David_Friedrich_013.jpg

Humboldt, A. von, 1810. "Chute du Tequendama", Vues des Cordilleres et Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris. retrieved from 
http://caliban.mpipz.mpg.de/humboldt/atlas/images/tafel_06.jpg

Humboldt, A. von, 1810. "Landscape as focus for both scientific and humanistic study, Gas Volcanoes of Turbaco in Columbia", table 41, Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris. retrieved from:
http://cybergeo.revues.org/docannexe/image/25478/img-8.jpg

Humboldt, A. von, 1810. "Le Chimborazo vu depuis Le Plateau de Tapia", detail, M. Thibaut after F. W. H. A. von Humboldt, Hand colored stipple engraving, Vues des Cordilleres et Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris. LuEsther T. Mertz Library, New York Botanical Garden Online exhibits, Sci.web.nybg.org. retrieved from:
http://sciweb.nybg.org/science2/Onlinexhibits/exhbtcata.html

Humboldt, A. von, 1810. "Masse detachee de la Pyramide de Cholula",  Vues des Cordilleres et Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris. retrieved from:
http://caliban.mpipz.mpg.de/humboldt/atlas/images/tafel_08.jpg

Humboldt, A. von, 1810. "Passage de Quindiu dans la Cordillera des Andes",   Vues des Cordilleres et Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris.  retrieved from: 

http://caliban.mpipz.mpg.de/humboldt/atlas/images/tafel_05.jpg

Humboldt, A. von, 1810. "Ponts Natural d'Icononzo",  Vues des Cordilleres et Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris. retrieved from: 
http://caliban.mpipz.mpg.de/humboldt/atlas/images/tafel_04.jpg

Humboldt, A. von, 1810. "Pyramide de Cholula",  Vues des Cordilleres et Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris. retrieved from: 
http://caliban.mpipz.mpg.de/humboldt/atlas/images/tafel_07.jpg

Humboldt, A. von, 1810. "Relief in Basalt", Vues des Cordilleres et Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris.  retrieved from: 
http://olivercowdery.com/texts/plate08a.jpg

Humboldt, A. von, 1810. "Rochers basaltiques et Cascade de Regla",  Vues des Cordilleres et Monumens des Peuples Indigines d'Amerique, F. Schoell, Paris. retrieved from: 
http://caliban.mpipz.mpg.de/humboldt/atlas/images/tafel_22.jpg

Humboldt, A. von, 1814. "Self Portrait", (U. S. Public Domain), Alexander von Humboldt webpage, Wikipedia. retrieved from: http://commons.wikimedia.org/wiki/File:Alexander_von_Humboldt-selfportrait.jpg

Humboldt Current chart, Humboldt Current webpage, Wikipedia Commons. retrieved from:
http://commons.wikimedia.org/wiki/File:Humboldt_current.jpg

Karnstedt A., 2009. Alexander von Humboldt's American expedition from 1799-1804 map,Wikipedia Commons, Alexander von Humboldt webpage, Wikipedia.
retrieved from:
 http://commons.wikimedia.org/wiki/File:AvHumboldts_Americatravel_map_en.svg

Largilliere, N. de, (workshop), after 1724-25. Voltaire (at age 24), detail, Musee Carnavalet, Paris, France, Voltaire webpage, Wikipedia Commons. retrieved from: 
http://en.wikipedia.org/wiki/File:Voltaire.jpg

Loutherbourg, P. J. de, latter part of 18th century, Seascape with Sunset, Residenzgalarie, Salzburg, Germany, Phillip Jacob Loutherbourg Webpage, Wikipedia Commons. retrieved from:
http://commons.wikimedia.org/wiki/File:Philipp_Jakob_Loutherbourg_d._J._-_Seascape_with_Sunset_-_WGA13732.jpg

Melbye, A., 1843. Seascape, Hermitage Museum, St. Petersburg, Russia, Anton Melbye webpage, Wikipedia Commons. retrieved from: 
http://commons.wikimedia.org/wiki/File:Anton_Melbye_(painter)_-_Seascape_-_WGA14750.jpg

Peale, C., 1791. Portrait of Thomas Jefferson (cropped), Independence National Historical Park, Philadelphia, PA, Thomas Jefferson webpage, Wikipedia Commons. retrieved from: 
http://commons.wikimedia.org/wiki/File:T_Jefferson_by_Charles_Willson_Peale_1791_2.jpg

Richmond, G., ca. 1830's, Portrait of Charles Darwin, from Origins, by Richard Leakey and Roger Lewin, Charles Darwin webpage, Wikipedia Commons. retrieved from: 
http://commons.wikimedia.org/wiki/File:Charles_Darwin_by_G._Richmond.png

Rouse, S. W.artist, Schoff, S.A., engraver, 1878, Ralph Waldo Emerson portrait, head and shoulders facing right (cropped), Library of Congress Prints and Photographs Division, Library of Congress. retrieved from: 
http://loc.gov/pictures/resource/ppmsca.07398/

Schrader, J., 1859. Baron Alexander von Humboldt, Metropolitan Museum of Art, New York, New York, Alexander von Humboldt webpage, Wikipedia Commons. retrieved from: 
http://commons.wikimedia.org/wiki/File:Baron_Alexander_von_Humboldt_by_Julius_Schrader_1859.jpg

Stieler, J. K., 1843, Portrait of Alexander von Humboldt, Schloss Charlottenhoff, Potsdam, Alexander von Humboldt webpage, Wikipedia Commons. retrieved from: 
http://commons.wikimedia.org/wiki/File:Stieler,_Joseph_Karl_-_Alexander_von_Humboldt_-_1843.jpg

Weitsch, F. G., 1806, A portrait of Humboldt, Alte Nationalegalerie, Berlin, Germany, Alexander von Humboldt webpage, Wikipedia Commons. retrieved from: 
http://commons.wikimedia.org/wiki/File:Alexandre_humboldt.jpg

Weitsch, F. G., 1810. Alexander von Humboldt und Aime Bonpland am Fub des Vulkans Chimborazo, Alexander von Humboldt webpage, Wikipedia Commons. retrieved from: 
http://commons.wikimedia.org/wiki/File:Humboldt-Bonpland_Chimborazo.jpg

New Tools and Technologies-IClone

As I have almost finished my video about Alexander von Humboldt, I decided to check out IClone software. Once I began watching the video ICone Beginners Guide:Scene Creation, I knew this is the software I have been looking for to create an animated version of the Alexander von Humboldt film.

This video shows how to create a set for filming an animation.https://www.youtube.com/watch?v=rvlSi1jLl54 It is somewhat like building in virtual reality, but easier. The software has a "snap to" function which automatically aligns parts with each other. When I built my environments in virtual reality, I had quite a few problems with the individual parts lining up with each other. IClone also has a feature where one can rotate a component at a 90 degree angle so building an architectural structure would be a lot easier than guessing how close the walls were or if they were perpendicular to each other.

The second video goes into more information about textures and lighting:
https://www.youtube.com/watch?v=rUX2ZsyowjY Knowing there are so many textures and building materials is very exciting. Roof tile for instance which is basically a photo transfer in virtual reality. I also was excited to see the amount of props which the software comes with. The props in virtual reality are somewhat simplistic and the scale is always off. Generally a room tends to look out of proportion or has a "science fiction sense to it as you can see in this shot I took in Second Life of my avatar wearing a balloon for a hat. I think it looks like a retro futuristic post card from a World's Fair from the 1950's or 1960's

Marjorie Thompson copyright 2014

The video IClone 6-Your First Scene by M. D. McCallum was also interesting.
https://www.youtube.com/watch?v=21j7xii-sHs

In this video, creating the landscape, lighting and avatar animation are briefly discussed. I was relieved to find this video as I was unsure about how one would create a set which did not have architectural walls as a defining boundary. After I watched the last videos, I thought that perhaps the set would have restrictions about how far the edges of it extended before the grid the virtual reality sets are built on showed up.

When I was building my virtual reality island, I found that plants really added quite a bit to the believably of the space.  On the SUNY Island, I thought the addition of plants made the gardens a very nice space.

Marjorie Thompson copyright 2014

When I built my virtual reality island, I added quite a few palm trees and many other bushes to give it a more tropical feel. Although most trees are from one tree prop, I varied the size them and rotated each so that they seem like they grew in a somewhat random fashion.

Sculpture Island, Marjorie Thompson copyright 2014

All this will be extremely helpful in creating sets for a movie about Alexander von Humboldt. As he explored, he collected plant samples. All the paintings of the area are extremely lush but I think if I were to use this software I would be able to create something that would have a feeling similar to the paintings from this time period.

Alexander von Humboldt und Aimé Bonpland in der Urwaldhütte, Oil, Eduard Ender (c.1850) in the Berlin-Brandenburgische Akademie der Wissenschaften, public domain United States

I do not feel bad coming to this conclusion at the end of the semester. I really do not think I would have been able to build multiple sets, learn about lighting and animate avatars in the amount of time that I had. I would have had to do that in addition to writing a script, creating a storyboard and all the things that were accomplished this semester. Another project...

References

Alexander von Humboldt webpage, Wikipedia,retrieved from;
http://en.wikipedia.org/wiki/Alexander_von_Humboldt#/media/File:Humboldt_and_Bonplant_in_the_Jungle.jpg

Google Sketchup, Google 3D Warehouse website
retrieved from: https://3dwarehouse.sketchup.com/

McCallum, M. D. aka Warlord720, 2015. IClone 6-Your first scene, Youtube, Jan. 1 2015.
retrieved from: https://www.youtube.com/watch?v=21j7xii-sHs

Reallusion, 2015. IClone Beginners Guide:Scene Creation Part 1, Youtube, April 9, 2015.
retrieved from: https://www.youtube.com/watch?v=rvlSi1jLl54

Reallusion, 2015. IClone Beginners Guide:Scene Creation Part 2, Youtube, April 9, 2015.

retrieved from: https://www.youtube.com/watch?v=rUX2ZsyowjY

Reallusion, 2014. IClone 6- New Features Guide, Youtube, Dec. 19, 2014.

retrieved from: https://www.youtube.com/watch?v=CM7328frqSI&list=PL_VXo2OHwix8FZhP5pxpFQo9z8Oi03op9

Final Reflections on the Project and Semester

Alexander von Humboldt and Aime Bonpland at the Chimborazo base,
Friedrich Georg Weitsch, 1809

My interest in Alexander von Humboldt is primarily due to his scientific research into the environment and how ecosystems are connected. With the amount of skepticism about the science behind climate change, I thought that it would be important to make the general public aware of his research. Before deciding to create a short video on Alexander von Humboldt, I researched information online to see if there were any films created about him. As it turns out there is one video which is an animation created by George Mehler:
http://ed.ted.com/lessons/who-is-alexander-von-humboldt-george mehler
It is very informative and conveys quite a bit of information for the short 5 minute presentation that it is. However, for a man as amazing as Humboldt, I was shocked there was really nothing else-at least online.

When contemplating this project, I initially thought I would create an animation but was overwhelmed by the prospect of learning many different techniques that I would need to create an animated film. I really wanted to create a video that added to the knowledge of Alexander von Humboldt and his work. I also was restricted by a limited budget.

When I viewed the animation about Alexander von Humboldt, my initial reaction was that I really wanted to see documents from the journey. As an example, when I learned that he had sketched the Mayan ruins, my first thought was "What did his sketches look like?" I thought they might be very simple drawings, vague lines hastily put down to remind the viewer of the site visited. I was really quite impressed with Humboldt's artistic ability as is evidenced in this self portrait from 1814 or the print made from Humboldt's sketch of a landscape they passed through on their 5 year journey.

Alexander von Humboldt
Self Portrait 1814

The Natural Bridges of Icononzo, Humboldt,
1814

Sketching
 on
site is
difficult.
One has
to transport
paper, a
board to
draw on
and stand
or sit at the
site to record
the view.




Then you have to transport the drawing on your journey.I am actually amazed they were able to transport the drawings at all.

I finally decided that I wanted to take a different approach from a simple or not so simple animation. As my audience would be adults who were not aware of Humboldt's work, I wanted to focus on artwork created about him and by him. During the early 1800's, paintings and drawings served to create documentation of people, events as well as scientific discoveries.

In college, I took a course on English Romantic writers of the 1700's and 1800's. A few years after, I viewed a show at the Chicago Public Library about the art created in the 1800's which was inspired by the work of writers such as Wordsworth and Coleridge, the concept of exploration, the infinite as well as the exoticism of unexplored regions of the world. Having researched the 1800's in various other art and literature movements, I was aware of many other paintings which separately have a presence but if considered together, create a very interesting story. I also felt that the artwork itself conveys information about what the artists and scientists of the time were trying to accomplish.

In creating this video, I was very frustrated as I put the images together because I really wanted to use the material that I read to create a full length movie. His journal is so interesting that I think Humboldt must be the best kept secret of the 19th century. It was also difficult to assemble images which varied in style and create a sense of consistency with the narrative.

The project itself does not seem big enough to have worked for an entire semester. I see this as preliminary study for a longer work. As the content of the video is based on the works I read, creating a longer video is very much dependent on the amount of time I have to read and assimilate the work into a creative format.

Humboldt's scientific method and the research which he conducted on his journey are quite remarkable to read. Everywhere he went, he took scientific readings, measurements, analyzed rocks for their mineral content and made observations about ocean currents, volcanoes, etc. Quite a remarkable mind! I had originally intended to include more quotes from his journal. However, once I put the images together with the script, it became clear that there was a certain amount of time that an image can remain on the screen before it becomes boring. If I had enough time to add animation, perhaps the additional quotes would make sense. It was also difficult to find quotes that stood on their own and made sense, out of the context of describing a 5 year journey through Central and South America.

In the final analysis, I think the video is a good first step towards a project that I hope I will be able to finish-that is a full length movie. It is good to have large goals.

References

Alexander von Humboldt webpage, Wikipedia, retrieved from
http://en.wikipedia.org/wiki/Alexander_von_Humboldt

Mehler, G., 2013. Who is Alexander von Humboldt? TED-ed Lessons, April 3. 2013, TED.com
retrieved from: http://ed.ted.com/lessons/who-is-alexander-von-humboldt-george mehler

von Humboldt, A., 1814. Researches Vol. I, Oliver's Bookshelf, OliverCowdery.com.
retrieved from: http://olivercowdery.com/texts/1814Humb.htm

Animation and Gaming in the Past, Present and Future

In the book review, Moving Innovation, the history of animation is discussed in reference to "convergent technologies and techniques throughout history that would ultimately result in modern CG". (Carter, 2014) While Toy Story (1996) was the first movie made with computer animation (Carter, 2014), the history of animation goes back beyond Muybridge and his use of multiple images to record motion. 

Researchers postulate that the multiple images characteristic of cave paintings could be due to the painters' attempts to create moving images of animals in the flickering of the torchlight which lit caves.In an article in Antiquity, "archaeologist Marc Azéma of the University of Toulouse–Le Mirail in France and independent French artist Florent Rivère argued that by about‭ ‬30,000‭ ‬years ago Paleolithic artists used "animation effects" in their paintings. To render the movement, they deconstructed it in successive images." Here is a link to an animation archaeologist Marc Azema made demonstrating these theories:

http://www.miramax.com/subscript/lascaux-cave-paintings-animation-video/(Azema, 2011) On the website Passe Simple, http://www.passesimple.net/index.phpthere is a film which introduces the book Prehistoire du Cinema written by Marc Azema where he discusses these theories in depth. This short film shows several animated cave paintings as well as toys made from bones which were found in caves. These bone toys featured drawings of animals which were strung on what appear to be strips of rawhide. Similar to Victorian toys, when twirled, they created a sense of animated movement. (Azema, 2011)

In the review of Moving Image, experimental art films were also discussed as the precursors of computer animations. The work of Oskar Fischinger is cited as an early pioneer of cinema. (Carter, 2014) Fischinger made films in the 1920's-1940's or 50's. Using colored geometric shapes against painted backgrounds, his animations create abstract compositional explorations reminiscent of such art movements as Cubism, Rayonism and Futurism. Links to his works can be found at The Center for Visual Music: 

http://centerforvisualmusic.org/Fischinger/ There are animation cells on this website and if you have a Vimeo account, you can see his animation, Radio Dynamics, at this link:
https://vimeo.com/ondemand/34629/123382579

In the review,"Digital visual effects in cinema",  it is pointed out that ‘special effects’ and ‘visual effects’are 2 completely different processes. While special effects can create elements that the audience notices, visual effects are supposed to integrate seemlessly, perpetuating the cinematic illusion.(Floquet, 2014) It was also postulated that as films are a combination of film footage, visual effects and special effects, all films should be considered animations.

"Such an issue has too often and for too many years been ignored, as if animation should not be worthy of recognition." (Floquet, 2014)

Multi award winning Tutsy NAvArAthnA explores the interface of virtual reality and reality in his experimental films. Semi autobiographical in narrative, he uses an avatar as his main character to represent a film director exploring the fictional and real aspects of his world. Mixing machinima made in virtual reality (primarily Second Life) with film footage of real world scenes as well as images taken from historical sources and early cartoons, his movies are multimedia creations where multiple realities are expressed through the different image styles. These juxtapositions are further enhanced by special effects such as using color filters to change black and white film footage to red or green or adding graphic lines to create the idea of video scrambling as a part of the visual narrative. The juxtaposition of image styles creates films which explore the multilevel nature of what is considered to be reality. Rather than flat cartoon characters, the avatars are revealed as complex characters through the use of these special effects. As an example, he uses live footage walking from the first person perspective of a person looking at his feet with footage of the avatar shown from his back. This further conveys the idea of multiple realities and the end result are films which explore the multilevel nature of consciousness.

The science fiction film, Journey into the Metaverse, centers around a journey made by an avatar: https://www.youtube.com/watch?v=iw5md8RpfWs While his avatar is the subject, this is also what appears to be a personal journey taken in reality as well as virtual reality. One finds that a quest of self discovery taken through virtual reality and the real world is central to the meaning of the film.

In the Last Syllable of Recorded Time, https://www.youtube.com/watch?v=VDSB4NnmyG0 his avatar urges people to create art or work that matters rather than being consumers or maneuvered like players on a chess board. Using the multiple images of the hands of a clock ticking in the sky as a walking skeleton plays a grand piano with a classical painting on the lid creates a visually stunning collage which is atmospheric. His use of stark black and white images mixed with vivid color creates a memorable and profoundly poetic contemplation about the brevity of life. Layering images he creates atmospheric collages which represent complex ideas with poetic subjectivity. As it was pointed out in Digital Visual Effects in Cinema, the use of animations and avatars does not detract from the message of the film but enhances it. (Floquet, 2014)

As was pointed out in the review, "Digital Visual Effects of Cinema", many film makers are using virtual reality to create films which do not use actors. (Floquet, 2014). Rather than losing empathy, these filmmakers integrate the conflict between reality and virtual reality into the narrative of their films and freely discuss this as an existential element of their films.  This creates a connection with the audience. Animation is an area that many innovative films are being made and this area will continue to expand as people are able to explore their creativity as digital tools increase access to this art form.

References

Azema, M., n.d. "Sequential Animation: The First Paleolithic Animated Pictures", Miramax Blog, Miramax.com.

retrieved from:http://www.miramax.com/subscript/lascaux-cave-paintings-animation-video/

Azema, M. 2011. Passe Simple website retrieved from: http://www.passesimple.net/index.php

Carter, C. (2014). Book review: Moving Innovation: A History of Computer Animation. Animation, 7 (3), 358–361. doi:10.1177/1746847714546254

Floquet, P. (2014). Book review: Digital Visual Effects in Cinema: The Seduction of Reality. Animation, 9, (3), 352–355. doi:10.1177/1746847714546252

Lorenzi, R., 2013, Stoneage Artists Created Prehistoric Movies, Archaeology Blog, NewsDiscovery,com June 8, 2012.

retrieved from http://news.discovery.com/history/archaeology/prehistoric-movies-120608.htm

NAvArAthnA, T., 2011. Journey into the Metaverse, YouTube.
retrieved from: https://www.youtube.com/watch?v=iw5md8RpfWs

NAvArAthnA, T., 2012. Last Symbol of Recorded Time, YouTube.
retrieved from: https://www.youtube.com/watch?v=VDSB4NnmyG0

Recording Audio

Here it is Thursday of Module 4 week 2 and I still do not have a mic. Time has really gotten away from me. I had a mic but it was not working effectively. Initially I was planning on ordering one from Amazon or some other online retail source, but here it is Thursday and still no microphone. I finally decided to go the Walmart to see what they have. I am hoping that I might find a mic I can use.  

There were many gaming headsets with mics so I really did not know which to buy. I found a salesperson who was an ex gamer. He told me that he had used several different headsets and although the sound quality can be different for the headsets, he really could not detect much difference in the sound quality from the mics. I found a Logitech set which has a filter over the mic. He said that type of design makes the audio smoother. 

The mic on the Logitech headset seems to produce audio that is not too loud. The audio is smooth, without the problem of sound distortion from being too loud or a reduction in the sound due to an inadequate mic. The problem of recording in segments is that the sound can be inconsistent from one sound clip to another. As I tend to stutter or leave long gaps of silence as I speak, I will have to practice quite a bit to come up with a good recording.I hope that I can get the audio to have a consistent tonality throughout the video.  

Now that I have a mic that will work, I have been looking into the process of adding audio to a video. I previously attempted to add audio to a Kickstarter video I made for a story that I have been working on. That attempt was unsuccessful as the audio did not upload onto the video that I made-not sure why-I do not think the software program that I used for that project was adequate. Or perhaps I did not convert the file into a format that could be uploaded onto the Kickstarter website.

As I was trying to get an idea about how to add audio to the video,  I watched several tutorials about the process. Obviously, a tutorial should be for the specific video software one has elected to use. Unfortunately, having used a PowerPoint to create a storyboard, I still had to find video software. The tutorial "Add Audio to Your Movie" focused on video editing software called VideoPad, created by NCH Software: http://www.nchsoftware.com/videopad/tutorial.html#audio  Adding audio seems like it should be fairly easy. I like the fact that there are individual volume controls for each audio clip as well as the fact that one can edit the audio in WavePad if needed and then import the files. Having the individual audio controls will hopefully make it easier to create sound consistency throughout the video. 

From the tutorials, this software is similar to the software I have used previously. The images upload easily and one can drag and drop them into the video or add them at the end by right clicking on the image and then adding it to the storyboard. The movie can be previewed as it is being developed. VideoPad software allows for file conversion into several formats, according the where one uploads the final video for viewing. It also allows for recording audio, with each audio segment added separately to the video track and then syncing with the images. Each image on the video timeline has a block where you can add a transition. It also allows the opportunity to change the time the image is displayed.

I loaded many of my images onto the program and ran a trial of the video sequence. Some of the images should be enlarged or reformatted. What the software does not do is give options about the type of shots so I may alter my images in Paint or Photoshop to have to the option of closeups or to be able to change the size of the images. I may use one image for several cells,focusing on details specific to the script. I think the audio will be somewhat wordy for each image so zooming in on focused details will add interest to the video. 

I tried several audio recordings which went very well. I am planning on rewriting my script and then beginning to record the audio segments for each image. After several attempts at recording, I finally figured out that if I add the music as one track first, I can record the narration over the music and have music in the background as I read. I tried to read first and then add the music but that did not allow for a layering of sound. If I record the narration over the music then I can have 2 tracks playing. Now I have to rewrite my script and make sure I rehearse it about 100 times at least so that I don't stutter which is a problem I have. Hopefully I will be able to have a decent audio track at the end of the semester.

References

DiCasa, S.,"Filmmaking 101 - How to Record High Quality Audio on a Budget," DiCasaFilm retrieved from: https://www.youtube.com/watch?v=k0rHak6aJl8

Nolfo, E., 2015. Sound recording tips: how to record awesome location sound, LAvideoFilmMaker.com
retrieved from: http://www.lavideofilmmaker.com/location-sound-recording/location-sound-recording-shotgun-microphone-placement.html

Techsmith, "Create better audio: Mics, Recording, Audio FX", retrieved from: http://www.techsmith.com/tutorial-camtasia-mac-gs-12-better-audio-mics-recording-audiofx.html

VideoPad Tutorial, Add Audio to Your Movie, NCH Software
retrieved from: http://www.nchsoftware.com/videopad/tutorial.html#audio

Rough Draft

https://www.youtube.com/watch?v=ZWytoC6CTfI

This is a very rough draft of my video about Alexander von Humboldt. There is an additional audio track at the end which was supposed to be edited out. I am still getting the hang of audio so just stop the video at the last photo rather that listen to a repeat of the Moonlight Sonata for an additional 5 minutes. The video is 6-7 minutes rather than 11+.

I have to redo the narration which will be painfully obvious once you get to the middle of the video where the images and the narration get really out of sync. That and the fact that I am stumbling over the words is unfortunate. I also have to revise the script to explain more about that the landscapes towards the end, the waterfall and the volcano are by Frederic Church. Giving credit to the photographer Manfred Bruckels who photographed the von Humboldt statue by Reinhold Begas in front of Humboldt University in Berlin. His photo was listed under a Creative Commons license so I really appreciate being able to use it as I do not see me being able to get to Berlin to photograph the sculpture for this video.

My sources also have to be added which will probably take all of the last module of this course, that and completely revising the video as I redo the audio since the 7 revisions I saved did not save in any form resembling the final version of this video.

When I thought about what it would be like to make this video, I was not prepared for the amount of material that exists written by Alexander von Humboldt and also written about him. The process of skimming a 300+ page book to find 3-5 sentences which could sum up the work of an incredibly amazing mind, not to mention the thousands of pages written by him in his book Kosmos which I was not able to read, was an extremely daunting prospect. I hope that the quotes I found do justice to his accomplishments. 

About the images: I wanted to use images from the time period because I feel they capture elements of the thought and the Zeitgeist of the time. Showing the charts developed from Humboldt's readings, one of which was created by Bonpland, Humboldt's fellow explorer, shows the technical abilities of these explorer scientists. I think I should add Amie Bonpland to the video.

Aimé Bonpland (1773-1858) French Botantist

In the final analysis, the rough draft came out better than I thought it would. I enjoyed working with the art that I used in the video and learning about Alexander von Humboldt. The video captures some of the concept that I had when I began.

Digital Music, Digital Sound and Multimedia

Untitled, Intaglio etching, 18" x 24", Marjorie Thompson Copyright 1976

The Chicago area has always had a vibrant music scene. As I researching information about The Cellar, a teen club in my home town Arlington Heights for this blog, I found this video "How Chicago Rocked The 60's" created for a WTTW show, Chicago Stories:
https://www.youtube.com/watch?v=J3p-lqKYu2g It details information about the Chicago music business and shows what a pivotal role live music events played in establishing bands. The paper "Music in the Digital Age" discusses some elements of the marketing and distribution of music before and after digital music. (Sen, 2010) This video is an interesting supplement to it.

If you've never heard of The Cellar, here's a link to a blog about when The Who played there
in 1967: http://www.undergroundbee.com/2010/11/30/when-the-who-came-to-town/(Loerzel,2010). Although I never went to shows there (too young), I have a an interesting association with it. When I was in junior high, a friend and myself decided that we wanted to put together a fashion show. We partnered with a local dress shop and modeled their Mod clothing line at The Cellar during a break between The Shadows of Knight and another band. This was before fashion and Rock and Roll were associated so I think we were trail blazers, especially for 7th graders.

In Urbana, Illinois where I went to college as an undergraduate at The University of Illinois, there were many music venues where bands played as a part of a larger college touring circuit. Legendary bands such as The Grateful Dead and The Elvis Costello Band played intimate concerts in bars which seated less than 100 people. As I would sit in the audience, I would think about how I could visually depict the experience of the live performance. This etching was inspired by the music of Miles Davis.

When MTV began in the early 1980's, the first music video shown was "Video Killed the Radio Star" by the band The Buggles. Having taken film making in high school, I thought MTV would become an amazing innovative platform to showcase experimental films.

https://www.youtube.com/watch?v=W8h5OEivJdA

With MTV, videos were instantly associated with music. Although most of the films were not experimental, images and lyrics redefined each other as videos associated with songs went beyond concert footage. Although I do not know if these films were created with digital technology, they are part of a journey of how music and video became combined into a multimedia experience.

In this blog I would like to look at how multimedia innovations have affected digital music and digital sound as these areas have expanded into digital publishing, apps and other multimedia expressions, incorporating visual and interactive elements.

The best lyrics are poems as well as songs. When Rod Stewart created the music video for "Broken Arrow" in 1991, for me it explored visual imagery that went beyond the lyrics into an area of visual poetry. https://www.youtube.com/watch?v=hS5Hp-LFNe0 In this video, the atmospheric natural landscape is contrasted to the dystopian urban scene to depict two people struggling to find meaning in their lives and come together, despite the circumstances of their lives. The video for the REM song "Losing My Religion" is another example of visual poetry. They have taken the style of Caravaggio and updated it to a contemporary profound discussion about the tragedy of life and the human condition. https://www.youtube.com/watch?v=xwtdhWltSIg

In the paper, "Music in the Digital Age", discusses how digital capabilities are putting production back in the hands of the artists and musicians. "The merger of audio technologies with computing technologies converted music into an information product. Technological innovations changed how music and songs are bought and consumed today."(Sen, 2010) In the Time Magazine article "U2's New Mission" the article discusses U2's decision to release their album "Songs of Innocence" in partnership with Apple. In it, Bono talks about how he is interested in creating an interactive image and music platform that people can use on their computers as a way to create a product that people would buy. (Mayer/Cupertino, 2014)

This idea is similar to innovations in the digital publishing world. In an article for the Wall Street Journal called "Blowing Up The Book" writer Alexandra Alter discusses a digital book "Chopsticks" which is a book as well as an app. The book allows readers to read instant messages, listen to the protagonist's favorite songs, and gives readers the opportunity to rearrange the pages to create a customized version of the story. (Alter, 2012)

I thought digitally enhanced version of T. S. Eliot's The Waste Land mentioned in the article sounded really interesting. The author mentioned the app has a facsimile of the original manuscript (with edits by Ezra Pound) as well as 1933 and 1947 recordings of Eliot reading.(Alter, 2012) The prospect of T.S. Eliot reading The Waste Land is enough to interest me to find out what it is like.

On Touchpress Limited Website, there is an interesting assemblage of reviews, interviews with the publisher about why they decided to create an app for The Waste Land. Although I only viewed the introductory video on the Touchpress website, the percussion in the background as T. S. Eliot reads very dramatically accentuates Elliot's voice. The poetic images are further enhanced by the videos of detached crowds walking on city streets.
http://thewasteland.touchpress.com/(Touchpress) One drawback of a visual presentation is that it might interpret the images in the poem differently than the reader imagines. I imagined the poem taking place in a more surreal landscape. The background percussion creates a Beat Poet atmosphere and the crowds are from a more contemporary time than the time period of WWI. Which seems to be the goal of the the creators of the app.

There are several links to other apps such as an app for Seamus Heaney's translation of five fables written by Robert Henryson, a 15th century Scottish poet: http://fivefablesapp.co. Hearing the poems read in the original Middle Scots language of the 1500's is fascinating. The original language is very rhythmic and lyrical. As text, these poems are somewhat inaccessible to most people not familiar with this ancient language. Being able hear the text read and view the original language with the English translation next to it really brings the language from the 1500's to life.(Touchpress)

The app for Shakespeare's Sonnets http://shakespeares-sonnets.touchpress.com/ immerses one in Shakespeare's language in a new way. Stephen Fry's masterful reading of Sonnet 130 gives insight into Shakespeare's original intent. His expressive interpretation gives voice to Shakespeare's beautifully crafted language. Rather than the sonnet being an archaic version of dead English, Fry's reading reveals Shakespeare's emotional soliloquy confessing his innermost thoughts to the reader. Many people might have difficulty understanding the sonnets and hearing them read gives them a timeless voice. (Touchpress)

Touchpress is a pretty interesting company. They have created apps for many different subjects from the Atlas to Vivaldi. I really liked their approach to classical music which they characterize as "Classical music reimagined" In 2014, they received the Royal Philharmonic Society Award for Creative Communication.They show the score which they call a Beatmap as the music plays and you can listen to interviews of musicians and scholars discuss the pieces.  In the app for the Four Seasons by Vivaldi, one is given the opportunity to view the score as the music plays, hear interviews with experts and musicians, listen to one instrument isolated from the entire orchestra, watch videos of musicians playing the masterpiece and learn more about the piece. (Touchpress)

http://vivaldisfourseasons.com/?tpnav=1

These apps give the user a window into the creative process of music creation. The Beatmap provides the opportunity to view the musical score as the music plays. For anyone who loves music, one can see how different instruments contribute to the sound of the piece, which is further enhanced by being able to hear one instrument at the push of a button. By understanding how the music is made, one appreciates it to a greater degree. In that sense, they provide an expanded version of a live music event. Perhaps music will be released as new concepts such as apps like these which will create products that people will want to buy.

References

Alter, A., 2012, "Blowing Up The Book", Wall Street Journal Book Section, Wall Street Journal, January 20, 2012. retrieved from 

http://www.wsj.com/articles/SB10001424052970204468004577169001135659954

Loerzel, R, 2010. "When The Who came to Town" blog post, Underground Bee, November 30, 2010
retrieved from:http://www.undergroundbee.com/2010/11/30/when-the-who-came-to-town/

R.E.M, 2006, "Losing My Religion"(video),  YouTube, July 1 2011 

retrieved from:https://www.youtube.com/watch?v=xwtdhWltSIg

Sen, A., 2010, "Music in the Digital Age: Musicians and Fans Around the World Come Together on "The Net", Global Media Journal:American Edition, vol. 9, issue 16, pages 1-25.

Stewart, R., 1991, "Broken Arrow"(video), Deluxe Music, YouTube July 23, 2012.

retrieved from:https://www.youtube.com/watch?v=hS5Hp-LFNe0

The Buggles, "Video Killed the Radio Star", YouTube retrieved from:
https://www.youtube.com/watch?v=W8h5OEivJdA&list=RDW8h5OEivJdA#t=0

Touchpress Limited Web Site retrieved from http://www.touchpress.com/

New Tools and Technology

I had been trying out several software programs to create a storyboard. My idea of how storyboard software should perform is there should be a function where one can upload an image and then one should be able to add text. That's it. 

When I initially looked over Celtx, and used it for creating a script, I thought Celtx would be useful in creating a storyboard as well. I thought that Celtx was a little difficult to use. At this link you can find a preliminary draft of my script which I did not think worked that well: 

https://www.celtx.com/a/ux/scripteditor?id=https%3A%2F%2Fwww.celtx.com%2Ffeeds%2Fdefault%2Fprivate%2Ffull%2F575a0f58e9cb3a8e83f8e676905920ff00290af0

Looking over the other functions of Celtx, I decided that I really did not need the scheduling function which Celtx has and from what I could tell about the storyboard function, I thought that it was difficult to use as I was having a hard time uploading my images. I decided that I would look for a different software program to create the storyboard.

I decided to try Digital Story, the Google Docs version of storyboard. At first it seemed ok. However, once I added more than a handful of images, it became very difficult to control. I don't know whether it was because I missed the memo, but I was only able to upload 9 images before the formatting became very erratic. As I tried to add more images, the formatting became very hard to control. If I tried to move images around, I ended up with large empty spaces which I could not eliminate by adjusting the images or margins. I was unable to add more than 3 pages of images with 3 images per page. I could not add images to areas regardless of how many times I clicked on an area or refreshed the page. You can see my efforts here:

https://docs.google.com/document/d/1YNoC0X9efgPzfS1_Zzi4SwyVlJqHMTMO12kVZXS0Kc0/edit?usp=sharing

After struggling with Google storyboard for more than a week, I decided that would not be able to come up with a document that I could use. I thought about using a different version of a Google Docs Storyboard template. There are several versions which offer different characteristics. Here is a link to a page with different Google Storyboard templates. I believe you will have to log into Google to view it:

https://drive.google.com/templates?q=Storyboard&ddrp=1#

The version which has cells that you can upload images into and each cell is a second of footage might be more useful and function better for my purposes, even though my images will be on screen for about 10 seconds.  However, after having so many problems with adding more than a few images to the template, I am reluctant to try it. 

I also thought about the option of drawing a storyboard. The problem with drawing a storyboard is that drawing does not give one much room for revising the storyboard as the concept for the video develops. You have to know the sequencing of the film which I am not sure about right now. I finally decided I would just use PowerPoint to create my storyboard.

PowerPoint allows for a great deal of flexibility. I really like the blank slide design without formatting. PowerPoint allows for uploading images, adding a text box, copying and pasting text from other sites on the web, and rearranging the slides as the video content is revised. Once the presentation is created, transition animation can be added and I intend on using the page turning transitions to give it the sense of a sketchbook.

Well, after I wrote the preceding text,  I went back to Celtx.The storyboard function is easier to use than I thought . Here's a link to the storyboard in process that I tried out with a few images: 

https://www.celtx.com/a/ux/story?id=https%3A%2F%2Fwww.celtx.com%2Ffeeds%2Fdefault%2Fprivate%2Ffull%2Fd5980a3f0b658795d153b9a76022435816bd8671

Since I have already created a good part of the storyboard in PowerPoint, I guess I'll stick with it. I think PowerPoint will give me the option of more space for text. Otherwise there is a great deal of similarity between the two in the way you can play the video after they are added as single images.

References

Celtx website retrieved from

https://www.celtx.com/a/ux/scripteditor?id=https%3A%2F%2Fwww.celtx.com%2Ffeeds%2Fdefault%2Fprivate%2Ffull%2F575a0f58e9cb3a8e83f8e676905920ff00290af0

Google Storyboard templates, Google Docs webpage retrieved from 

https://drive.google.com/templates?q=Storyboard&ddrp=1#