That was just splendid. "The Sanctuary Song" ran for a belting twenty or thirty minutes. Was thinking of recording but then decided, bag that, let's get just get going here.
Guitar is too loud since just enough of the synth to hear the chords is overdoing it a wee bit. Guitar is now dropped down and master volume will be increased so the guitar has the same effective volume but the synth is louder relative to it.
Yah, now that feels like something got accomplished.
That's on top of the Christmas Feast of Chili, Cincinnati Style. Yevette got a food processor for about twenty-five bucks weeks ago and it's been waiting for its opportunity. That thing is surprisingly good. It chopped an onion just right for this and you've got to have that layer of onions because it is required by law for Cincinnati style. I thought those food processors were hundreds of dollars but this thing really gets it done for a tiny fraction of that.
The onions added the missing link to make a tasty meal out of a can of Hormel chili which I would not, by itself, even consider eating except under threat of punishment. Cincinnati's Skyline chili you can eat as a plain bowl with oyster crackers but that doesn't sound at all good with Hormel or Wolf Brand chili.
The way it goes with Cincinnati style is a layer of spaghetti or linguine, then chili, then onions, and then shredded cheddar on top. Add tabasco as you like. It's a bit tempting to add diced tomato and some sliced black olives but then you only need add sour cream and it's a pasta taco.
Exploring how the chili lit up the jams is a little weird but that was the sequence.
This is going along for a while with dry runs of the song until it's time to do the full production with the lasers. Cat and I were talking of lasers versus virtual visual effects in Second Life and the difference, from her perspective, is the liveness of the virtual visuals because they're created in time with the music of the performance. My recording of the laser performance here at the Rockhouse in real can't be anything more than a 2D video for her and that liveness of doing it isn't, for her, there anymore.
She's right and there is no way to capture it in the way it's experienced. For me, the lasers come from behind me and over my head so I see the trails of laser beams all over the place. It's not so much I see them but rather I'm inside them. If the video is shot the other way around with me looking at the lasers, it's like an optical artillery barrage and that's the way it usually looks to the camera. Either way, it's absolutely immersive and it's disappointing in the limitations of presentation since it can't be presented as 3D. The smoke isn't only a texture, it makes clouds with shapes, and the laser beams going through it make shapes of their own.
Capturing all of that is an endless challenge. The video with all the big bang at once is a huge deal and it's highly intrusive for Yevette because the smoke takes over the house. She puts up with a whole lot of high-volume audio but that's asking a wee bit much in doing it with smoke all the time.
The thinking is for three cameras and that requires the one strapped to my head. I know it's needed for this but that tight headband really sucks. There's no way around it, tho. Any story requires three camera viewpoints minimum so the final video has to blaze. That action cam on my head has the best chance of capturing the 3D sense of doing this and that satisfies the annihilation of self in looking away from me rather than at me.
The annihilation is not the same as anonymity because the latter means there is a self, I just won't tell you what it is. For this to be annihilation, the self must be irrelevant, there is only the music.
So the objective is to annihilate myself and, if well-filmed, you become the self through taking my perspective. In that way you will feel the 3D of it.
There's still a lust for one more cam, tho. It would be peachy to put one up in the lightstand looking out along the same plane as the beams. The objective in doing this isn't so much to be clever but to provide more cuts for the edit. When there's a chord change or some type of motif, switching to another view at the end of it emphasizes the sound of it visually. The more cams, the more potential cuts and, hopefully, the more dynamic and interesting the video.
Yah, that's the whizbang epiphany in shooting the video to put you inside me to see the visuals I see and maybe that brings the liveness by making it more dimensional. The action cam definitely has to be in it.
Note: the reason for all the yap is this is imminent. It takes less than five minutes to flip the switches and whatnot for smoke and lasers so this can happen any time.
Imminent isn't tonight ... it's just imminent.
Guitar is too loud since just enough of the synth to hear the chords is overdoing it a wee bit. Guitar is now dropped down and master volume will be increased so the guitar has the same effective volume but the synth is louder relative to it.
Yah, now that feels like something got accomplished.
That's on top of the Christmas Feast of Chili, Cincinnati Style. Yevette got a food processor for about twenty-five bucks weeks ago and it's been waiting for its opportunity. That thing is surprisingly good. It chopped an onion just right for this and you've got to have that layer of onions because it is required by law for Cincinnati style. I thought those food processors were hundreds of dollars but this thing really gets it done for a tiny fraction of that.
The onions added the missing link to make a tasty meal out of a can of Hormel chili which I would not, by itself, even consider eating except under threat of punishment. Cincinnati's Skyline chili you can eat as a plain bowl with oyster crackers but that doesn't sound at all good with Hormel or Wolf Brand chili.
The way it goes with Cincinnati style is a layer of spaghetti or linguine, then chili, then onions, and then shredded cheddar on top. Add tabasco as you like. It's a bit tempting to add diced tomato and some sliced black olives but then you only need add sour cream and it's a pasta taco.
Exploring how the chili lit up the jams is a little weird but that was the sequence.
This is going along for a while with dry runs of the song until it's time to do the full production with the lasers. Cat and I were talking of lasers versus virtual visual effects in Second Life and the difference, from her perspective, is the liveness of the virtual visuals because they're created in time with the music of the performance. My recording of the laser performance here at the Rockhouse in real can't be anything more than a 2D video for her and that liveness of doing it isn't, for her, there anymore.
She's right and there is no way to capture it in the way it's experienced. For me, the lasers come from behind me and over my head so I see the trails of laser beams all over the place. It's not so much I see them but rather I'm inside them. If the video is shot the other way around with me looking at the lasers, it's like an optical artillery barrage and that's the way it usually looks to the camera. Either way, it's absolutely immersive and it's disappointing in the limitations of presentation since it can't be presented as 3D. The smoke isn't only a texture, it makes clouds with shapes, and the laser beams going through it make shapes of their own.
Capturing all of that is an endless challenge. The video with all the big bang at once is a huge deal and it's highly intrusive for Yevette because the smoke takes over the house. She puts up with a whole lot of high-volume audio but that's asking a wee bit much in doing it with smoke all the time.
The thinking is for three cameras and that requires the one strapped to my head. I know it's needed for this but that tight headband really sucks. There's no way around it, tho. Any story requires three camera viewpoints minimum so the final video has to blaze. That action cam on my head has the best chance of capturing the 3D sense of doing this and that satisfies the annihilation of self in looking away from me rather than at me.
The annihilation is not the same as anonymity because the latter means there is a self, I just won't tell you what it is. For this to be annihilation, the self must be irrelevant, there is only the music.
So the objective is to annihilate myself and, if well-filmed, you become the self through taking my perspective. In that way you will feel the 3D of it.
There's still a lust for one more cam, tho. It would be peachy to put one up in the lightstand looking out along the same plane as the beams. The objective in doing this isn't so much to be clever but to provide more cuts for the edit. When there's a chord change or some type of motif, switching to another view at the end of it emphasizes the sound of it visually. The more cams, the more potential cuts and, hopefully, the more dynamic and interesting the video.
Yah, that's the whizbang epiphany in shooting the video to put you inside me to see the visuals I see and maybe that brings the liveness by making it more dimensional. The action cam definitely has to be in it.
Note: the reason for all the yap is this is imminent. It takes less than five minutes to flip the switches and whatnot for smoke and lasers so this can happen any time.
Imminent isn't tonight ... it's just imminent.
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